Arts and Cultural Education in Iceland : Professor Anne Bamford

practices, but in reality there are very few examples of music or other arts schools that make a
concerted effort to be inclusive for special needs pupils. Cultural institutions should continue to
make their work more broadly accessible, especially to communities located some distance from
the institutions. A committee should be formed with the specific task of encouraging diversity
and monitoring issues of accessibility.
Innovative, passionate and committed arts teachers are needed if arts education is to reach
a high standard and while there were concerns about falling standards of arts education within
teacher education numerous instances of high quality teaching were observed in Iceland.
Teachers are generally well-qualified, but there is a shortage of qualified arts teachers in more
remote areas, especially in the field of music in the general school. The issue was made that
there is insufficient time given to art and culture within teacher education and many students
are leaving teacher education without having the skills and knowledge need to be effective arts
educators. In response to these perceived shortfalls, teacher education providers could become
important in lifelong approaches to teachers’ professional development. It is reported that
initiatives in teacher education have been reduced, rather than increased. More post-graduate
places need to exist for professional degrees for practicing artists (across music and all the art
forms) and teachers (at all levels) to enhance their qualifications is creative and cultural
education. A review of teacher education is currently underway and the results of this research
and other research needs should be enacted to improve teacher education in the arts.
A notable feature of Icelandic arts education is the extensive system of local government
funded after school music schools. The curriculum of music schools is generally based on
classical music and traditional instrumental instructional approaches. Music schools tend to
operate in separate facilities and with individual instrumental and vocal tuition. Music schools
should be encouraged to continue to work more closely with their local compulsory school(s)
and research needs to be undertaken on the impact of group or individual tuition on musical
instrument and vocal learning on pupils, attendance, enjoyment and quality of learning. Parents
make considerable financial contributions to arts and cultural education so the effects of
changes in affordability of music school lessons needs to be monitored to ensure there is not an
adverse impact on attendance or accessibility.
A number of private options are also available for after school visual arts, craft and dance
activities. Other activities operating at the local level include amateur theatre groups, bands and
choirs. These other art forms do not receive the same degree of support as music but some
music schools could consider widening their offer to include other art forms.
Ongoing partnerships between the education, culture and creative industry sectors needs to
be embedded within policy and practice. Partnerships between the schools and outside agencies
(artists, industry, cultural organisations) are not common in Iceland with the exception of some
music schools which are embedded in close partnership with some schools. Meetings should
occur on a regular basis between those people responsible for culture and education at the
national, municipal and local level to encourage shared strategic thinking and communication of
good practices and initiatives. Partnerships should be extended, in terms of the number of
schools involved, the diversity of partnering organisations, and the length of time of the
partnerships.
In relation to the creative industries, data needs to be collected on the economic, social and
cultural impact of the professional and amateur cultural and artistic activities in Iceland,
including the impact of festivals and the newly emergent cultural and environmental tourism.
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