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Arts and Cultural Education in Iceland : Professor Anne Bamford

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Figure 3.8.3 Do parents have the option to evaluate the school (Dance)<br />

Similarly, parents <strong>in</strong> Music school were <strong>in</strong>volved <strong>in</strong> the evaluation process, as can be seen <strong>in</strong><br />

Figure 3.8.4.<br />

Figure 3.8.4 Do parents <strong>and</strong> students have the option to evaluate the music school?<br />

3.9 Ongo<strong>in</strong>g professional development<br />

‣ Beyond the specialised teachers, teacher confidence <strong>and</strong> expertise to teach arts<br />

<strong>and</strong> creative education is low, particularly <strong>in</strong> the compulsory school<br />

‣ Professional development opportunities can be expensive <strong>and</strong> short-term<br />

‣ Postgraduate education is not generally accessible to teachers that are <strong>in</strong> full-time<br />

employment, except through ‘sabbatical’ provisions<br />

‣ Onl<strong>in</strong>e education has provided professional development for more isolated<br />

teachers (especially preschool teachers) but is not considered to be a successful<br />

model for arts education<br />

‣ There are untra<strong>in</strong>ed teachers work<strong>in</strong>g <strong>in</strong> arts education<br />

‣ More connections are needed between the various providers of professional<br />

development<br />

‣ While the professional development of teachers is vital, the professional<br />

development of artists is also a key issue<br />

‣ Teacher education <strong>and</strong> research expertise <strong>in</strong> arts education needs to be developed<br />

‣ Professional development <strong>in</strong> the value of arts <strong>and</strong> cultural education is needed for<br />

school pr<strong>in</strong>cipals<br />

It was widely reported that there is a pattern of fall<strong>in</strong>g levels of confidence to teach the arts<br />

<strong>in</strong> Icel<strong>and</strong> <strong>and</strong> a lack of skill, experience <strong>and</strong> expertise. There appears to be reductions <strong>in</strong> teacher<br />

education <strong>in</strong> the arts <strong>and</strong> it is possible for a teacher to qualify without any tra<strong>in</strong><strong>in</strong>g <strong>in</strong> arts <strong>and</strong><br />

creative education. Similarly, specialist arts <strong>and</strong> music teachers may have expertise <strong>in</strong> their<br />

discipl<strong>in</strong>e field but very little if any education tra<strong>in</strong><strong>in</strong>g or <strong>in</strong>duction <strong>in</strong>to how children learn <strong>and</strong><br />

develop <strong>in</strong> the arts. In more isolated <strong>and</strong> difficult to staff areas there is a real shortage of<br />

qualified teachers especially <strong>in</strong> music <strong>and</strong> woodcraft. Internationally tra<strong>in</strong>ed teachers fill many of<br />

the gaps. These <strong>in</strong>ternational teachers tend to be of a high st<strong>and</strong>ard <strong>and</strong> appear to adapt<br />

effectively to the Icel<strong>and</strong>ic system.<br />

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