Arts and Cultural Education in Iceland : Professor Anne Bamford

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high school and with the various organisations engaged in higher and further education ‣ With a few exceptions, the role of cultural institutions in promoting and expanding arts education in schools is largely under developed. Active partnership involves the direct inclusion of a range of cultural and artistic organizations in the planning and delivery of arts education programmes in schools. The most effective programmes have managed to build sustainable, long-term and reciprocal associations with cultural agencies and industries. Countries that have effective arts and cultural education generally have active partnerships across sectors, disciplines and organisations. The notion of an active partnership involves the direct inclusion of a range of cultural and artistic organizations in all aspects of the planning and delivery. The best of these provide sustainable, long-term and reciprocal associations. These sustained associations are centred on shared responsibility for planning, implementing and evaluating programmes. While the most common partnerships in a world context are between the cultural and educational sectors, a number of countries have a range of agencies supporting arts education including private individuals (the most common one), enterprise, the community, trade unions and a number of other possible partnerships. These partnerships tend to encourage the pooling of financial resources, human resources and expertise to produce substantial arts education programmes. The international research suggests that successful partnerships are sustained and involve shared responsibility for planning and evaluation. This is generally not the case in Iceland, where professional artists tend to come into the school for short-term ‘special projects’ or for schoolbased performances rather than as a sustained part of curriculum implementation. This tends to be an isolated experience, as this comment emphasises; “I have a background in theatre and I work with a lot of schools in the area of drama, I travel between schools and I am completely self-sufficient and stand alone, it really doesn’t connect with what’s happening in the schools” (artist in school). The exception to this was music, where some music schools worked actively within the school. Also, by chance rather than planning, a shortage of teachers in textiles, design and woodcraft mean that these areas may be taught by industry professionals. Special occasions, such as festivals and performances also provided opportunities for partnership working. For example several schools employed professional directors, composers and musicians to guide preparations for school performances. This can be seen in Figure 3.2.1 where music schools are the most common collaborator with the compulsory school. 54
Figure 3.2.1 Compulsory school collaborations Figures 3.2.2 to 3.2.3 indicate that visits from professional artists and cultural groups into the school occur frequently but that the initiative for such activities is more likely to come from the school. Figure 3.2.2 Frequency of artists or groups of artists visiting the compulsory school per year Figure 3.2.3 Frequency per year of pupils in compulsory school participating in organised visits to cultural institutions 55
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Arts and Cultural Education in Icel
Page 3 and 4: Acknowledgements This research woul
Page 5 and 6: Helga Rut Guðmundsdóttir Helgi Vi
Page 7 and 8: 5.4.2 Talent developement..........
Page 9 and 10: practices, but in reality there are
Page 11 and 12: Chapter 1: Introduction and overvie
Page 13 and 14: school type to which the comment re
Page 15 and 16: A future study could examine specif
Page 17 and 18: The number of pupils with a foreign
Page 19 and 20: pre-primary school teachers were so
Page 21 and 22: Figure 1.5.3: How useful is the Nat
Page 23 and 24: The conclusions from this report in
Page 25 and 26: primary level exceptional students
Page 27 and 28: ‣ Schools and colleges should be
Page 29 and 30: Increasingly, schools are becoming
Page 31 and 32: here, it is a good cooperation. We
Page 33 and 34: In terms of suggested improvements
Page 35 and 36: There are 300 hundred pupils in thi
Page 37 and 38: Figure 1.12.2 Accessibility of the
Page 39 and 40: e active in a range of local profes
Page 41 and 42: schools have waiting lists of child
Page 43 and 44: Going to local schools… well we t
Page 45 and 46: in theatre. The students really lov
Page 47 and 48: We had a great show. The teachers d
Page 49 and 50: lot of satisfaction out of the proc
Page 51 and 52: Chapter 2 World Benchmarking 2.1 In
Page 53: Chapter 3: Responses to quality 3.1
Page 57 and 58: In the survey, dance schools report
Page 59 and 60: The school is participating in the
Page 61 and 62: visitors. The diverse and ‘quirky
Page 63 and 64: A smaller group of girls performs a
Page 65 and 66: Figure 3.3.6 Pupil performances in
Page 67 and 68: way the children’s artworks were
Page 69 and 70: has always been and it is 20 or 30
Page 71 and 72: ‣ Funding should encourage risk t
Page 73 and 74: music sector could be less constrai
Page 75 and 76: Conversely, the accessibility of ou
Page 77 and 78: Vignette 3.7.4 Every day there are
Page 79 and 80: Despite the geographical challenges
Page 81 and 82: In visual arts we mainly assess acc
Page 83 and 84: We try to do professional developme
Page 85 and 86: This vignette from an academic in t
Page 87 and 88: in offering adult education. Other
Page 89 and 90: demanding more of our schools and t
Page 91 and 92: It was argued that the arts may not
Page 93 and 94: (teacher a professional photographe
Page 95 and 96: There is a lot of respect amongst p
Page 97 and 98: “The popularity of pop music is g
Page 99 and 100: Others would argue that the connect
Page 101 and 102: interrelationship with nature and c
Page 103 and 104: From this summary, it can be seen t
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training of senior secondary arts t
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Vignette 5.2.4 Our selection proces
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There is a lack of connection betwe
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During the research, various school
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The following sections are other as
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For older pupils, there are electiv
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Before I came here no-one was doing
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Creative and cultural industries Mo
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While the previously listed recomme
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