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6 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FuturePreface to the English translationThe Cultural Rucksack programme is part of theGovernment’s cultural policy. It is a national effortin which the cultural and education sectors cooperateon providing school pupils throughout thecountry with the opportunity to becomeacquainted with, understand and enjoy all formsof artistic and cultural expression at the professionallevel.The state took over the administration of theCultural Rucksack in 2001, and today every pupilat primary and lower secondary school in thecountry is able to participate in the programme.During their school career the pupils becomeacquainted with different forms of artistic and culturalexpression in the fields of music, theatre,film, the visual arts, literature and the cultural heritage.As from 2008 the programme is beingextended to include all pupils at upper secondaryschool. This means that around 800 000 schoolpupils, aged from 6 to 19, will take part in the CulturalRucksack activities.The Cultural Rucksack is mainly financed bythe funds allocated to culture from the surplusearned by Norsk Tipping, the state-owned gamingcompany. NOK 167 million of these funds is allocatedannually to the programme.The present White Paper sets out the principlesfor the further development of the CulturalRucksack.The following are the main points:1. The White Paper sets out the objectives of theCultural Rucksack and the principles on whichit is based. The Cultural Rucksack is a programmefor ensuring that school pupils havethe opportunity to participate in artistic andcultural activities provided by professionals inthe cultural sector. The objectives and principlesof the programme have to take accountof the national curriculum established underthe Knowledge Promotion Reform, but the activitiesare not intended to be a substitute for theaesthetic subjects taught by the school. Theprogramme is intended to be an out-of-the-ordinary,but at the same time self-evident, supplementto school activities. A further principle isthat there should be local and regional roomfor action, which will ensure local enthusiasm,activity and involvement.2. The White Paper emphasises that there shouldbe a clear division of work between the culturaland school sectors. The cultural sector isresponsible for the artistic and other culturalactivities, while the school is responsible forintegrating the activities with the school dayand the school curriculum, and for ensuringthat preparation and follow-up are carried outin connection with the various activities underthe programme.3. The Cultural Rucksack is mainly financed fromNorsk Tipping funds. The counties and municipalitiesreceive a share of the Cultural Rucksackallocation and are responsible for ensuringthat these funds are used in accordancewith the principles of the programme. Thefunds are to be used in their entirety to financecultural activities for the pupils, and may not beused for administrative purposes or competence-buildingfor teachers or artists.4. The Cultural Rucksack will be extended toupper secondary school over a period of severalyears. In 2007 a pilot project was undertakenin seven counties. Over the next few yearsthe programme will gradually be extended toall counties, with the goal of ensuring that all180 000 upper secondary school pupils participatein the Cultural Rucksack during schoolhours. Together with the 620 000 pupils at primaryand lower secondary school, this bringsthe total number of pupils participating up toaround 800 000.5. A national institution will be appointed for eachfield of artistic and cultural expression. Theinstitution will be assigned a clearer role andwill be responsible for coordination, networkbuildingand quality enhancement of the culturalactivities offered under the programme. Inthe further development of the programmesteps will be taken to promote the establishmentof formal networks for the various bodiesinvolved.6. In the further development of the CulturalRucksack priority will be given to competence­

2007–2008 Report nr. 8 to the Storting 7A Cultural Rucsack for the Futuredevelopment among artists and schoolteachers.The requirement that Norsk Tippingfunds are not to be used for this purpose willcontinue to apply.7. The Ministry of Culture and the Ministry ofEducation and Research will draw up a strategyfor ensuring that research and evaluation havea permanent place in the work with the programme.8. Reporting will be made obligatory and reportingprocedures will be improved so as to enablethe two ministries to gain a satisfactoryoverview of how the funds for the CulturalRucksack are being used in the counties andmunicipalities. The aim is to publish statisticson the programme.9. The Golden Rucksack prize will be awardedannually to the best school and the best productionin the Cultural Rucksack.

8 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Future

Contents1 Background and summary of the content...................................... 111.1 The Cultural Initiative and the value of a cultural policy for children and youth............................................... 111.2 The Knowledge Promotion Reform and the school as a cultural arena ..... 121.3 Background for the Cultural Rucksack ............................... 131.3.1 Allocations to the Cultural Rucksack over the government budget............... 131.3.2 Introduction of a new allocation key in 2003 ............................................ 141.3.3 The White Paper on the Cultural Rucksack, and its implementation...... 141.4 Definition of culture, art and quality... 151.5 Content of the present White Paper ... 152 Evaluation of the Cultural Rucksack............................. 192.1 Introduction .......................................... 192.2 Evaluation ............................................. 192.2.1 Summary of the evaluation report ...... 202.2.2 Summary of the responses of the consultation bodies............................... 202.3 Investigation of the system of direct transfer of funds to municipalities ..... 222.4 Evaluation of the Cultural Rucksack in the counties..................... 232.5 The Ministry’s assessment of the evaluation and the responses of the consultation bodies............................... 233 Objectives and principles of the Cultural Rucksack................. 263.1 Objectives and principles..................... 263.2 Cooperation and division of work between the school and cultural sectors .............................. 273.3 Local and regional freedom of action ................................................. 283.4 Availability of the Cultural Rucksack ................................ 294 Content and quality of the Cultural Rucksack – status and further development................. 304.1 Introduction .......................................... 304.2 Extent of the county programmes ...... 314.3 Programmes in the various cultural fields......................................... 314.3.1 Music......................................................334.3.2 The visual arts .......................................344.3.3 The performing arts..............................364.3.4 Film.........................................................384.3.5 Literature................................................394.3.6 The cultural heritage ............................404.4 Quality and professionalism.................434.5 Presentation methods...........................444.6 Cultural diversity...................................454.7 Presentation of Sami culture................464.8 National minorities................................484.9 Presentation of art and culture in nynorsk .................................484.10 Gender equality .....................................485 Organisation of the Cultural Rucksack – status and further development .................505.1 The ministries and the steering group .......................................505.1.1 The Secretariat for the Cultural Rucksack ................................505.1.2 The reference group for the Cultural Rucksack ................................515.2 The education sector ............................525.2.1 The Directorate for Education and Training...........................................525.2.2 Norwegian Centre for Arts and Culture in Education.............................525.2.3 The county governor’s office ...............535.3 The counties ..........................................535.3.1 The counties of Nordland and Akershus – examples of two different models for implementing the Cultural Rucksack .........................555.4 The municipalities.................................565.5 Schools and municipal schools of music and the arts.............................586 Particular priority areas in the further development of the Cultural Rucksack .................606.1 Expansion of the Cultural Rucksack to upper secondary school ..................606.1.1 Pilot projects in seven counties ...........616.2 Better networks and meeting places...616.3 Competence development....................636.4 Research and evaluation strategy........646.5 Better Internet-based tools...................656.6 Work contracts and transport arrangements.........................................66

6.7 The Golden Rucksack – best school and best production ................. 677 Economic and administrative consequences ..................................... 687.1 Current allocation model ..................... 687.2 New allocation model for financing the introduction of the Cultural Rucksack in upper secondary schools................................................... 687.3 Economic and administrative consequences for the state and the local government sector.................697.4 Introduction of a new allocation key for Norsk Tipping funds in 2009...71References and background literature.........72

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future111 Background and summary of the content1.1 The Cultural Initiative and the valueof a cultural policy for children andyouthThe Government’s goal is that Norway should bea leading cultural nation in which culture and thearts form an important part of every sector ofsociety. The policy objective is that 1% of thenational budget should be allocated to culturalpurposes by 2014. By increasing support for culturalactivities the Government wishes to placeculture and the arts at the centre of Norwegiansocial development.One of the Government’s main objectives is toprovide favourable conditions for artistic creativityand cultural expression. The goal is that everyoneshould have the opportunity to appreciate cultureand the arts and to express themselvesthrough different forms of art and culture irrespectiveof gender, place of residence, and socialor economic background. Culture and the arts areresources that should be available to all.Art challenges established thinking and providealternative ways of looking at the world.Appreciating art and culture plays a significantpart in the development of the individual’s personalityand quality of life. Art, culture and the culturalheritage help to form our sense of identity –who we are and where we come from. This is notonly valuable for the individual, it also plays adecisive role in the development of a society.Art, design, entertainment and appreciation ofcultural activities are also important for economicgrowth, innovation and value creation. There is anincreasing demand in the business sector for culture-relatedvalues, such as creativity, new ideas, asense of curiosity and flexibility.Children and youth should have access to culturalactivities in the same way as adults. Contactwith culture and the arts throughout childhoodcan give children knowledge and experience thatwill stimulate their own creativity and increasetheir ability to evaluate the various forms of culturalexpression. Understanding artistic expressionsis often a learning process, and childrenmust be given the opportunity to develop anappreciation of a broad range of cultural expressions,so that they are equipped to meet the challengesof the knowledge-based society.The Government’s cultural policy for childrenand youth has a number of tools, such as Frifond(the allocation from Norsk Tipping, the stateownedgaming company, to voluntary work targetedat children and youth), the musical workshopsscheme for jazz, rock, folk music and worldmusic activities, the youth and student card givingdiscounts for cultural events, and grants for thepurchase of musical instruments for schoolbands. The main policy instruments are themunicipal schools of music and the arts, the NorwegianYouth Festivals of Art, and the CulturalRucksack.These three instruments have different objectives.The municipal schools of music and the artsare intended to give children an opportunity tolearn about creative and performance music andother art forms as a supplement to the school syllabusfor aesthetic subjects. The Youth Festivalsof Art is a nation-wide cultural programme aimedat stimulating creativity and cultural activityamong children and youth. Through regional andlocal festivals children and young people can takepart in cultural activities and meet others in theirage group with the same interests. The CulturalRucksack is a national programme for culture andthe arts for schools that is at the core of the Government’spolicy for making culture and the artsavailable to all children and youth. It is intendedto allow school pupils to become familiar with,understand and appreciate different forms ofartistic and cultural expression at the professionallevel.Thus in the municipal music and arts schoolsthe emphasis is on learning, in the festivals it is onactivity and in the Cultural Rucksack it is onappreciation. This means that the three programmesare able to supplement and reinforceeach other. Close cooperation and a clear divisionof roles simplify the organisation of these programmesand support the role of culture and thearts in children’s and young people’s lives.

12 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Future1.2 The Knowledge Promotion Reformand the school as a cultural arenaThe purpose of the school is to learn and developcoping skills. The teaching is intended to equipchildren for working life and social participation,and give them the necessary knowledge to beable to cope with changing circumstances and anunpredictable future. Schooling is based on theacquisition of knowledge in a broad sense, with anemphasis on creativity and originality.The Knowledge Promotion Reform for allschool levels (see the White Paper A Culture forLearning, Report No. 30 (2003–2004) to the Storting,and the Curriculum for the Knowledge PromotionReform, 2006) was introduced in 2006.The goal is that all pupils should develop the necessarybasic capability and competence for activeparticipation in society. The Norwegian school isinclusive, and is intended to give all children theopportunity to develop their abilities. The reformemphasises the principle of differentiated teachingand attaches more importance to learning.Culture and the arts are a means to this end.The reform laid down a new national curriculumfor primary and lower secondary school,which consists of three parts: a general part, apart dealing with the principles on which theteaching should be based, and a specific part, outliningthe new curriculum for each subject, whichincludes the learning goals for that subject.Part 1 sets out the overall objectives of theteaching, and the values, basic knowledge andunderstanding of the country’s culture that thepupils should learn. A whole section is devoted to“The human being’s natural creativity”. Theemphasis is on creativity, intellectual curiosity anda scientific working method. The pupils should begiven the opportunity to experience and appreciatedifferent forms of artistic expression and toexplore and express their own creativity. Theteaching should show how human imagination,originality and inventiveness have shaped the conditionsunder which we live and the content of ourlives.Part 2 sets out the principles on which theteaching is based. It states that:In order for the pupils to develop the culturalcompetence necessary for participation in a multiculturalsociety, the teaching should aim to givethem knowledge of different cultures and allowthem to experience a broad range of culturalexpressions. The teaching should promote culturalunderstanding and encourage the developmentof self-insight, a sense of identity, and thequalities of respect and tolerance. The pupilsshould become acquainted with forms of art andculture that have an original perspective but alsothose that show community between peoples, andthat stimulate the children’s imagination and creativity.They should also be given the opportunityto use their own powers of inventiveness, imaginationand originality in different activities and in differentforms. This will form a basis for reflection,spontaneity and the expression of feeling.The reform has resulted in a number ofchanges in school structure, organisation, contentand educational philosophy. It makes greatdemands on the pupils in terms of capabilities andknowledge, but at the same time it frees theschools to differentiate their teaching so as to enableall pupils to attain the school’s goals. This hasresulted in more varied ways of working, whichalso make good use of culture and the arts.The Norwegian Centre for Art and Culture inEducation was established in January 2007, aspart of Bodø University College. Its main objectiveis to strengthen the position of culture andthe arts in teaching and to build competence inthis field in schools and day-care institutions. Thetarget groups are preschool teachers, teachers inaesthetic subjects at schools and teacher’s trainingcolleges, school owners, students, researchersand developers of teaching aids. The work ofthe Centre is based on research and developmentprojects carried out in close contact with studentsand teachers. This is described in more detail inChapter 5.2.2.In spring 2007 the Ministry of Education andResearch published the strategic plan CreativeLearning – Art and Culture in Education 2007–2010. The plan’s main objective is to develop creativity,competence in culture and the arts, and theaesthetic sense among children, pupils, students,and staff in day-care institutions, schools, andinstitutions of higher education. The plan sets out27 measures. Many of them are targeted at cooperationbetween the education and cultural sectorsin general, and the development of the CulturalRucksack in particular. The Directorate for Educationand Training has the main responsibilityfor implementing the plan and the Centre for Artand Culture in Education will play a central role inthese efforts.

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future13Box 1.1 The UNESCO report on art andculture in educationIn 2004 UNESCO, the United Nations Education,Scientific and Cultural Organisation,commissioned an international analysis of artseducation research. The analysis was conductedby Professor Anne Bamford and examineddata and case studies from more than60 countries. The report, entitled The WowFactor. Global research compendium on theimpact of the arts in education, was publishedin February 2007.The report addresses the questions of howthe teaching of arts-rich programmes is organisedand how the arts are taught from aneducational, cultural and social perspective.The authors identified a difference betweeneducation in the arts and educationthrough the arts. Quality arts education wasfound to be beneficial to the children’s learningin other subjects and to their self-confidence,and to improve the children’s readingand writing skills. This again results in a morepositive attitude to schoolwork and reducesabsenteeism. Another finding was that poorarts education may have a negative effect onchildren’s creativity, self-confidence, wellbeingand learning.1.3 Background for the CulturalRucksackIn accordance with cultural and school policy overthe last few decades, increasing efforts have beenmade to bring children and youth in contact withart and culture provided by professionals. TheWhite Paper on Culture for Our Time (Report No.61 (1991–1992) to the Storting) emphasised thatchildren and youth should be able to experienceprofessional art and culture and make use of theirown cultural resources. An action plan drawn upby the Ministry of Education and Research andthe Ministry of Culture in 1996, on aesthetic subjectsand the cultural dimension of the school,advocated closer cooperation between the schooland the cultural sector. The National Curriculumfor Primary and Lower Secondary Schools of 1997(L97) emphasised the importance of school as aplace where children and youth could encounterart and culture of high quality provided by professionals,and where their own activities in this fieldwould be encouraged.Over the last 15 years a number of countiesand municipalities have developed coordinatedcultural programmes for primary and lower-secondaryschool pupils. Most of the state-financedcultural institutions also offer cultural activitiesfor this group on a systematic basis.1.3.1 Allocations to the Cultural Rucksackover the government budgetIn 2001 the Cultural Rucksack received a separateallocation for the first time over the budget of theMinistry of Culture, which was mainly inspired byexisting local and regional programmes in thisfield. The allocation amounted to NOK 17 millionand was a supplement to the ordinary allocationsto institutions with cultural promotion activitiesfor children and youth. The Ministry of LocalGovernment and Regional Development allocateda further NOK 1.6 million to Kulturskatten i Telemark,which is responsible for the Cultural Rucksackin Telemark County, and the Ministry ofEducation and Research allocated NOK 5 millionto competence-building for teachers in connectionwith the programme. Thus a total of NOK 23.6million was allocated to the Cultural Rucksackover the 2001 government budget.A steering group and a working group wereappointed for the Cultural Rucksack, and theworking group drew up a plan for the developmentof the programme based on the national curriculumL97. Large-scale development projectswere initiated in nine counties and smallerprojects in a further nine. Some of the funds werealso used for developing productions and culturalpresentations for primary and lower secondaryschools.In 2002 NOK 12.3 million was allocated to theCultural Rucksack over the government budget.The funds were mainly administered at theregional level and used for introducing orstrengthening productions and cultural presentationsin primary and lower secondary schools.In the government budget for 2003, NOK 12.8million was allocated to the working group so thatit could continue its coordination, administrationand information efforts. The major part of theallocation, NOK 10 million, was used for developingand supporting programmes of activities for

14 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Futurechildren at 20 museums of various kinds in differentparts of the country.In the 2004 government budget no funds wereallocated to the Cultural Rucksack; instead allocationswere made directly to the 20 museumsinvolved in the programme in the form of permanentgrants. The letters of allotment stipulatedthat the museums should organise activity weeksin connection with the Cultural Rucksack.1.3.2 Introduction of a new allocation key in2003Since 2003 the Cultural Rucksack has received aconsiderable amount of funding from the surplusearned by Norsk Tipping. This was made possibleby a recommendation from the Standing Committeeon Family and Cultural Affairs proposing anamendment to the Act of 28 August 1992, No. 103,relating to gaming.In accordance with the amendment, the shareof the surplus allocated for sport and cultural purposeswas increased over three years, so that asfrom 2005 half went to sport and half to culture,instead of one-third to each. Two-thirds of thefunds for cultural purposes were to be distributedby the Storting and one-third by a Royal Decreeevery year. Of the funds distributed by RoyalDecree, 40% were to be allocated the CulturalRucksack, 30% to cultural buildings and 30% to theFrifond scheme.The new allocation key meant that the CulturalRucksack could be enlarged and expanded. Since2005 the Norsk Tipping allocation for the programmehas remained at about NOK 160 million.The implementation and expansion phases werecompleted in 2006, when the programme wasestablished on a permanent basis. It is a principleof the programme that the funds allocated fromNorsk Tipping may not be used for administrationor competence-building, but only for culturalactivities that will benefit the individual pupils.Table 1.1 Allocation of Norsk Tipping funds to theCultural Rucksack 2003–2007(NOK million)2003 2004 2005 2006 200760 120 160 161 167Source: Ministry of Culture and Church AffairsDistribution of Norsk Tipping funds in 2007In 2007 80% of these funds, or NOK 134 million,went to local and regional activities. NOK 122 millionwas distributed via the counties to the CulturalRucksack in primary and lower secondaryschools, NOK 6 million to a pilot project in uppersecondary schools and NOK 6 million to the sixNorwegian science centres. The funds to thecounties are distributed according to a key basedon pupil numbers, geographical distances and thecultural infrastructure in the county.Twenty per cent of the funds are allocated tonational measures for promoting art forms thatface special challenges. In 2007 this amounted toNOK 33 million, which was distributed betweenmusic, film, theatre and the visual arts. This isdealt with in more detail in chapter 7.1 below.1.3.3 The White Paper on the CulturalRucksack, and its implementationIn spring 2003 the Government presented itsWhite Paper on the Cultural Rucksack (ReportNo. 38 (2002–2003) to the Storting). The WhitePaper described the background for the introductionof the programme, the programme objectivesand the values on which it is based. It identifiedthe challenges facing the schools and the culturalsector when introducing and developing the programmeunder the new system established whenthey received the Norsk Tipping allocation for thefirst time. The White Paper was one of the basicdocuments during the expansion phase of the programmeup to 2006. The Cultural Rucksack wasalso discussed in the White Paper on art and culturein schools ((Report No. 39 (2002–2003) to theStorting)).In its deliberations on the White Paper, theStorting requested the Government to conduct anevaluation of the Cultural Rucksack during spring2006 and lay the evaluation report before theStorting.The Storting also decided that the larger partof the funds should be used for providing opportunitiesfor children to appreciate culture, andrequested the Government to evaluate how thiscould best be achieved and submit the results tothe Storting. The Storting also requested the Governmentto allocate funds to Rikskonsertene – theNorwegian Concert Institute, for the purpose ofexpanding the school concerts programme.In the budget proposal for 2005 the Governmentallocated 80% of the allocation to the Cul­

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future17– Local and regional room for action is one of theprinciples of the Cultural Rucksack. Thisensures local enthusiasm, activity and involvement.– It is important to ensure that pupils with disabilitiesare also able to take part in the CulturalRucksack. The school is responsible for makingthis possible. The county or municipalityalso has a responsibility in its capacity asschool owner.– It is important to conduct a dialogue withschools before the Cultural Rucksack is introduced,in which the individual school isinformed of the programme content and whataction it needs to take in order to facilitateimplementation of the programme.Chapter 4: Content and quality of the CulturalRucksack – status and further development– The Cultural Rucksack is intended to ensurethat school pupils are able to enjoy art and cultureprovided by professionals.– Artists and cultural workers in and outsideinstitutions who are involved in the CulturalRucksack should provide cultural productionsof a professional standard.– The quality of art and cultural productionsshould be assessed within a qualified professionalframework.– Counties, and municipalities to which responsibilityhas been delegated, should ensure thatproductions under their auspices are subject tosuch quality assurance.– The Cultural Rucksack should encompass allforms of artistic expression. Counties, andmunicipalities to which responsibility has beendelegated, should ensure this.– Culture and the arts should be presented in differentforms. The cultural sector should continuallyrevise forms of cultural production anddevelop new ones.– For each field of culture there should be anational coordinator who is responsible for theactivities of a cultural network, facilitate competence-buildingand provide advice and guidancein the field. These coordinators may alsoinitiate activities and productions for the CulturalRucksack.– It is difficult to establish fixed criteria forassessing quality. It is therefore important tohave a running discussion of quality in both theeducation and the cultural sector.– The educational sector, including the individualschools and their principals, must beinformed of the content of the programme at anearly stage. A close dialogue between the culturaland school sectors is important for soundplanning.– The school sector, including the individualschools and their principals, is responsible forensuring that cultural activities are integratedwith the school day, the general curriculumand the various subject curriculums. Theschool should ensure that preparation and follow-upare carried out in connection with culturalactivities.– The school and pupils should have the opportunityto give systematic feedback on eachactivity or project. The county authorities areresponsible for reporting feedback to the Secretariatfor the Cultural Rucksack.– Cultural diversity should be a permanentdimension of the Cultural Rucksack.– Sami culture should also be a permanentdimension. The Cultural Rucksack should beused actively to promote knowledge of Samiculture in southern Norway.– Counties and municipalities should bear inmind the language policy aspect when planningactivities for the Cultural Rucksack.Pupils speaking bokmål should also be giventhe opportunity to experience productions innynorsk.Chapter 5: Organisation of the Cultural Rucksack –status and further development– The steering group, with members from thepolitical leadership of the Ministry of Cultureand the Ministry of Education and Research,will be continued.– The Secretariat will be moved to the Ministryof Culture. The Ministry will ensure that thework of the Secretariat is linked with the Ministry’sother administrative tasks, give priorityto culture for children and youth, andstrengthen the link between the Cultural Rucksackand the cultural sector in general.– The Ministry of Culture and the Ministry ofEducation and Research will continue theeffort to improve coordination between the culturalsector and the education sector at thenational and local levels. As part of this effort itwill assess the role that the Norwegian Centrefor Art and Culture in Education should play inthe Cultural Rucksack.

18 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Future– The reference group for the Cultural Rucksackwill be discontinued. Instead the Ministry ofCulture will facilitate the establishment of aflexible system of discussion forums for particularissues, for example dialogue conferences,consultation meetings, brainstorming sessionsand ad-hoc groups.– The counties will continue to have a specialresponsibility for administering and allocatingfunds to the Cultural Rucksack.– An application from a municipality for its shareof the Norsk Tipping funds for the county to betransferred directly will be granted if it satisfiesthe requirements for implementation, qualityassurance and reporting.Chapter 6: Special priorities for the furtherdevelopment of the Cultural Rucksack– Expansion to upper secondary school: the CulturalRucksack is to be expanded to includeupper secondary school, and will therefore beavailable to a further 180 000 pupils. Since thecounties are responsible for schools at thislevel, the most practical course would be tomake the counties also responsible for introducingthe programme. This should be done inclose contact with the schools, whose wisheswill also be taken into account.– Better networks and meeting places: networksof national cultural institutions will be formalised.County networks will also be formalised,and efforts will be made to improve the functioningof networks within the various forms ofart and culture. To ensure that cultural heritageis included in the Cultural Rucksack, stepswill be taken to involve the cultural heritageauthorities.– Competence-building: competence-building isconducted in many different fields. Withregard to the Cultural Rucksack, there will bea focus on competence-building in the implementationof cultural projects and the productionof art and culture of a high quality. Theprinciple that Norsk Tipping funds are not tobe used for competence-building will beupheld.– A strategy for research and evaluation: a strategywill be drawn up for including researchand evaluation in the work of the CulturalRucksack on a permanent basis.– Better logistics and reporting systems: a set ofobligatory reporting procedures will be developedthat will provide more information on thequality, content and scope of the various programmeactivities. The logistics and reportingsystems will be coordinated by the Archive,Library and Museum Authority.– Employment contracts and transport: althoughthe central government authorities shouldobviously not become involved in the details ofemployment contracts or transport arrangements,these need to be harmonised. Thecounties and municipalities should work onthis.– Gullsekken (the Golden Rucksack): this prizewas awarded by the Cultural Rucksack for thefirst time in 2007. The award will be an annualevent.Chapter 7: Economic and administrativeconsequences– The inclusion of upper secondary schools inthe programme will require increasedresources. In the present White Paper a newallocation key is proposed for the Norsk Tippingfunds to the Cultural Rucksack.– During the expansion period, the funds thathave been earmarked for national activities,science centres and the upper secondaryschool pilot project (NOK 45 million) will bediverted to the efforts to include upper secondaryschools.– During the expansion period a sum correspondingto the amount currently allocated tonational activities and science centres (NOK 39million) will no longer be taken from NorskTipping funds but distributed over the budgetfor the Ministry of Culture.– Institutions that currently receive state fundingwill continue to produce activities for the CulturalRucksack even though they will no longerreceive funds from Norsk Tipping. Thisrequirement will be clearly stated in the allotmentletter.– A new allocation key will be introduced in 2009.The Government assumes that Norsk Tippingfunds for the Cultural Rucksack will continueto be approximately the same as the 2008 allocationof NOK 167 million. If the amount turnsout to be smaller with the new key, the effortsto include upper secondary school in the programmemust be adapted accordingly.

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future192 Evaluation of the Cultural Rucksack2.1 IntroductionThis chapter deals primarily with the evaluation ofthe Cultural Rucksack that was begun in autumn2005, and with the evaluation report submitted tothe Ministry of Culture in 2006. The evaluationwas conducted in response to the decision of theStorting (Norwegian parliament) after considerationof the White Paper The Cultural Rucksack(Report No. 38 (2002–2003) to the Storting). Theevaluation and the responses from the public consultationare presented, followed by the Ministry’sdiscussion of the points raised in these processes.No major investigations of the Cultural Rucksackother than this evaluation have been initiatedby the central government authorities. The Secretariatfor the Cultural Rucksack has implementedtwo small studies of organisation models in SandefjordMunicipality and Møre og Romsdal County(Lidén, 2001 and 2004), and also an evaluation ofthe new system of direct transfer of funds tomunicipalities with more than 30 000 inhabitants(see Chapter 3.1) .In 2007 NOK 0.5 million was allocated for anevaluation of the pilot project for the introductionof the Cultural Rucksack in upper secondaryschool.There has been considerable interest at theregional level in discovering more about how thevarious parties have experienced the CulturalRucksack. A number of counties have thereforecommissioned external evaluations of theirefforts to implement the programme (see section2.4). Graduate and PhD theses have also beenwritten on related subjects.2.2 EvaluationThe task of evaluating the Cultural Rucksack wasput out to competitive tender in autumn 2005. Theterms of reference were as follows:“The evaluation should provide an overview ofhow well the objectives of the Cultural Rucksackare being met and provide a sound basisfor decisions on how the programme can befurther developed. The evaluation should besuitable for use in developing and strengtheningthe quality and effectiveness of the programme.The evaluation should reveal anyweaknesses in content, organisation, structureor other features, and identify the potential forimprovement.”In December 2005 the Ministry of Culture assignedthe project to NIFU STEP, which conductsstudies on education, research and innovation.NIFU STEP was given a mandate to investigatethe following questions:– What forms of organisation have been chosenfor the Cultural Rucksack by the various parties?– What do the various parties do to evaluate theusefulness of the organisational solution theyhave chosen?– How does the way in which the productions areacquired influence the quality of the contentfrom the cultural and educational perspectives?– What are the strengths and weakness of thevarious organisational forms, and what is thepotential for improvement?The methods used in the evaluation were Internetquestionnaires, document studies, group interviewswith teachers and pupils, and interviewswith artists, presenters of cultural activities andother actors.The Ministry of Culture and NIFU STEP thendiscussed the goals of the evaluation in more specificterms. The Ministry specified the terms ofreference in more detail and added a question onthe adaptation of the programme to pupils withspecial needs.The report, Ekstraordinært eller selvfølgelig –Evaluering av Den kulturelle skolesekken igrunnskolen (“Extra-ordinary or self-evident –evaluation of the Cultural Rucksack in primaryand lower secondary schools”), was submitted tothe Ministry in September 2006. The Ministryconducted a public consultation in which thereport was circulated to 123 bodies in the culturaland education sectors and to all municipalities,

20 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Futurecounties and county governors – a total of almost600 bodies. The final date for responses was 1February 2007.The Ministry received responses from about160 bodies: 41 municipalities, 16 counties, fivecounty governors, 29 museums, Norges Museumsforbund(the confederation of Norwegianmuseums), 39 cultural institutions and organisations,seven universities and university colleges,four church organisations and two ministries.Responses were also received from individuals,organisations and societies involved in the CulturalRucksack in various ways.2.2.1 Summary of the evaluation reportThe main conclusions and recommendations ofthe report indicate that the relationship betweenthe cultural and the school sector with regard tothe programme is complicated and marked bytension, and that this affects implementation ofthe programme. According to the report the tensionsare related to the terms of reference, objectives,financing, organisation and structure of theprogramme, and to the content and concept ofquality. The report also points out that the tensionsare most marked at central governmentlevel, and decrease with each level in the system.According to the report, the division ofresponsibility between the two sectors is the programme’sAchilles’ heel. Thus the Ministry ofCulture is responsible for the allocation of NorskTipping funds and the development of the programme,while the Ministry of Education andResearch is responsible for the arena in which theCultural Rucksack is implemented.The report stated that the authorities at centralgovernment level must clarify what the CulturalRucksack is intended to be, what roles thevarious actors should play and what tasks theyshould be performing. More specifically, it mustbe decided whether the programme is a culturalpolicy instrument that is being offered to schoolsor whether the schools are to take part in thedevelopment of the programme, with the responsibilitiesand authority this implies. The reportrecommends that measures are taken to promotegenuine cooperation between the two sectors andthat the perspectives and wishes of the school sectorshould be given more weight. The reportclaims that the organisation of the programme istoo complicated and that the system is poorlyunderstood at every level.The report contains a lengthy discussion onthe differences between a monologue and a dialogueas a form of communication. In the case ofthe Cultural Rucksack, the two forms of communicationlargely reflect different opinions on thequality of the programme content. The reportcites the definition of quality given in the previousWhite Paper on the Cultural Rucksack, whichstates that the quality of the programme can bejudged on the quality of the pupils’ experience ofthe encounter with the artist or presenter of theactivity. According to the report the parties disagreeabout what this means in practice.The conditions for the financing of the CulturalRucksack are also evaluated in the report. Itconcludes that since the reporting system is notstandardised it is difficult to follow the flow offunds. It recommends that a simpler and clearerreporting system is established, but that this mustnot involve more bureaucracy.2.2.2 Summary of the responses of theconsultation bodiesTo a large extent the consultation bodies commentedon their own experience of the CulturalRucksack and that of actors at the local level. Theresponses can be classified into the categoriesorganisation and structure, cooperation, content,financing, and competence-building.Organisation and structureThere was broad agreement that the currentorganisation of the programme facilitated constructivecooperation between the cultural andeducational sectors. A majority of the consultationbodies expressed satisfaction with the currentstructure on the grounds that it facilitated localactivity, ownership and influence, while at thesame time ensuring that the activities were of ahigh quality. A large majority of the bodiesadvised that no major organisational changesshould be made.Like the evaluator, the consultation bodiesconsidered that measures should be taken tomake the actors more familiar with the system. Itis important to ensure that all actors understandthe objectives of the programme and the divisionof roles. The objectives outlined in the steeringdocuments (particularly in the White Paper on theCultural Rucksack and the White Paper on art andculture in schools ((Report No. 39 (2002–2003) tothe Storting)) need to be specified more clearly.

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future21Rikskonsertene stated that:“The ministries should be more specific aboutthe nature of the Cultural Rucksack, so thatthere is a common understanding of what theprogramme is intended to include. The potentialvalue of the programme for the individualpupil must be the subject of continual discussion,and the conclusions used as a basis forfuture overall guidelines from the ministries.This would guarantee that the programme isnot static but continually evolving in pace withnew developments and the increase in generalcompetence in the cultural and school sectors”.CooperationWith a few exceptions the consultation bodiesagreed that cooperation between all administrativelevels, and between the school and culturalsectors, was essential for the success of the programme.Many of the counties and municipalities haveformalised their cooperation, and they claimedthat this functioned well in most cases. However,clearer terms of reference and division of workare definitely needed. It was pointed out that thiswould contribute to a common understanding ofthe intentions behind the Cultural Rucksack,which in turn would ensure continuity, high qualityand diversity. Most of the consultation bodiesagreed that the Cultural Rucksack should not bean ordinary cultural or school project. It is aunique, innovative programme that incorporatesthe perspectives, experience and competence ofboth the school and the cultural sector.Sogn og Fjordane County wrote that:“The Cultural Rucksack is one of the best culturalprogrammes for children and youth thathas ever been established. Cooperation betweenthe school and the cultural sector mustbe based on mutual respect and a clear divisionof roles. The parties have a joint interest increating well-functioning models and developingthe content of the Cultural Rucksack incooperation. Both parties are equally importantin their own way. It is in the everydayschool arena that culture and the arts mustflourish”.ContentThere was broad agreement on most aspects ofthe content and quality of the programme, eventhough special interests were also mentioned inmany cases. Most of the consultation bodiesstated that practical cooperation between the variousactors was a fundamental condition for ensuringsatisfactory content. The evaluation stressedthat cooperation must not be based on conflictand that if the content is to benefit the pupils, it isimportant that both cultural and educationalobjectives are maintained.The consultation bodies considered it constructivethat professionals with difference experience,competence and interests worked together.However, they pointed out the importance of givingthe individual professionals a share in the programme,which will foster a sense of ownershipand thereby increase their motivation. Thisapplies at all levels and to both sectors.A number of consultation bodies pointed tothe fact that the Cultural Rucksack is intended tobe implemented by external professionals and tosupplement the ordinary teaching of aestheticsubjects in the school. The concept of qualityshould, however, be discussed regularly. This is inaccordance with the conclusions of the evaluationreport, which states that the criteria for artisticand cultural quality cannot be either standardisedor objective.Nordnorsk kunstnersenter (North Norwayartists’ centre) commented:“In our experience the encounter between theartist and the children and their joint creativityresults in genuine engagement. The aim is notprimarily to be good at something, but to growas a person and in relationships with other people”.FinancingThe responses indicated that most of the consultationbodies approved of the allocation key for theNorsk Tipping funds. However, several of thempointed out the need for a simpler reporting system,contractual standards, and a standardisedsystem of remuneration, per diem allowances andtransport. Several of them considered that theNorsk Tipping funds should also be used to coveradministrative costs and competence-building,and some pointed out that the system of annualallotment of these funds made it difficult to planfor more than a year at a time.Tromsø Municipality also wrote:“Central government control of funds to theCultural Rucksack should be kept to a minimumin order to maintain local ownership”.

22 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureCompetence-buildingA broad majority of the consultation bodiespointed to the need for a higher level of competenceamong those involved with the CulturalRucksack. Thus a number of bodies stated thatthe schools needed to acquire greater knowledgeof cultural matters and that the artists needed toknow more about how to tailor their productionsto a school audience. Many of the consultationbodies advocated using Norsk Tipping funds tocover competence-building measures, since lackof knowledge could compromise the quality of theprogramme. A number of bodies pointed to theneed for more knowledge about forms of cooperationbetween the cultural and school sectors andthe various county organisational models. It waspointed out that competence was spread among alarge number of professional groups, and that noone institution or sector possessed the key to success.Thus there was a need for organised cooperationand an ongoing dialogue.Volda University College stated that:“Since the goal is that all pupils, whatever theirabilities, should be able to appreciate and takepart in cultural activities, it is important to facilitatecompetence-building, cooperation andguidance in connection with artistic productionand the choice of presentation methods. Dialogue,cooperation and the exchange of knowledgeand experience between key institutionsin the Cultural Rucksack are in themselves away of building competence, and add to thequality of the programme. Efforts to promotecontact of this kind should definitely be intensified.”2.3 Investigation of the system of directtransfer of funds to municipalitiesIn 2004 individual municipalities and cooperativegroups of municipalities with more than 30 000inhabitants were invited to take part in a trialscheme whereby Norsk Tipping funds were transferredto them directly. This meant that thesemunicipalities would each receive their share ofthe Norsk Tipping funds and that they themselveswould be responsible for designing a CulturalRucksack programme for their schools (see alsoChapter 5.4).The municipalities of Bergen, Bodø, Karmøyand Lørenskog accepted the invitation and wereallotted their share of the funds for the schoolyears 2005–2006, 2006–2007 and 2007–2008. Intheir applications the municipalities had topresent their plans for including the various formsof art and culture in their programmes. These hadto include evidence of political involvement, use ofresources, participation in networks and establishedcooperation between the cultural andschool sectors. The main condition was that, likethe counties, the individual municipality couldshow that it was in a position to offer its schools arange of art forms and cultural expressions of ahigh quality provided by professionals.In April 2007 a questionnaire was sent to thefour municipalities and the relevant counties. Thequestions concerned objectives, content, scope,organisation, financing and cooperation with othermunicipalities and with the county. The four municipalitiesvary considerably in size, and the surveyshowed that there were considerable differences inthe way they had organised their programmes.Bergen is the largest of the four. It has produceda catalogue of the activities available, withits own website. The schools have to take the initiativeto sign up for each activity, but there are nominimum requirements regarding the number orthe content of the activities offered to each pupil.Bergen reported that in the school year 2006–2007 all schools had signed up for one or moreactivities. The individual schools were followedup, but whether all the pupils at the school hadparticipated was not investigated.The other three municipalities have introduceda system whereby participation in the programmeis obligatory for all pupils in the municipality.In Bodø all pupils in the same grade areoffered the same activity, while in the other twomunicipalities the school may apply for otheractivities in addition to the obligatory programme.All four municipalities were satisfied with themethod of organisation they had chosen, and hadnot registered any, or very few weaknesses in it.However, the direct transfer system has certaindisadvantages that should be noted.Since Bergen is a city, it has a great manyresources to draw on in the form of art and culturalinstitutions, and the municipality has a goodquality assurance system. Great emphasis isplaced on contemporary art and cultural diversity.On the other hand, it was found that the culturalinstitutions often drew on their own resources intheir cultural presentations to the children, eventhough many of them are also responsible fortheir region as a whole. The county stressed thatthis was a problem.

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future23From the interviews and feedback given bythe various bodies, the Ministry gained theimpression that in smaller municipalities responsibilityfor the day-to-day administration of theprogramme often devolved on a few enthusiasticindividuals. Enthusiasm and zeal are strengths,but relying only on these individuals makes theprogramme vulnerable. It was also found to be difficultto quality assure the content of the programmein these municipalities, and an alternativesolution would be to introduce inter-municipalcooperation on the Cultural Rucksack.2.4 Evaluation of the Cultural Rucksackin the countiesSeveral counties have commissioned researchbasedevaluations of the Cultural Rucksack.In 2002 the Telemark Research Institute conductedan evaluation of the establishment andexpansion of the Cultural Rucksack in BuskerudCounty (Åsne Widskjold Haugsevje, 2002). Theevaluation showed that the programme offeredpupils a greater number and a better quality ofartistic and cultural activities than they would otherwisehave had, and that the professional standardof the productions had improved the schools’own efforts to provide cultural activities for theirpupils. The evaluation emphasised that the countyconsidered it important to integrate art and culturalappreciation into the teaching, and stressedthat good teaching materials, preparation and follow-upwere essential in achieving this. The evaluationrevealed that the system of appointing culturalcoordinators at the schools had functionedwell, and pointed to the importance of settingaside time and resources for this work.In 2002-2003 the Telemark Research Institutealso evaluated Turnéorganisasjonen for Hedmark(Hedmark Touring Organisation) (SigridRøyseng and Ellen Aslaksen, 2003). The reportconcluded that it was important to strengthen thecontact between the organisation and the schools.It recommended establishing more arenas andcommunication channels for dialogue, includinghow and how far to integrate the Cultural Rucksackinto the ordinary school day. This means thatschools will have to set aside resources for thiswork, for example through the cultural coordinators,and the organisation will have to approachthe schools more often and devote more time todialogue. The report also pointed to the need toclarify roles and expectations between the variousactors in the cultural field.In 2003 the research foundation Østfoldforskningconducted an evaluation of Turnéorganisasjoneni Østfold, which is responsible for the CulturalRucksack in Østfold County (Anne Rønning,2003). It was concluded that the main objectivesof the programme had been fulfilled, but that incertain fields more focused efforts were needed.Information to the schools needed to be improvedand the efforts to involve the school sectorneeded to be intensified. Roles, responsibilitiesand the issue of resources should be clarified.In autumn 2006 a user survey of the CulturalRucksack in Akershus County was conducted bythe Faculty of Art, Design and Drama of Oslo UniversityCollege (Line Prøis Kristiansen, 2007).The conclusion was that the cultural institution“kultur.akershus” has fulfilled the objectives ofthe Cultural Rucksack to a large extent. However,the implementation of the programme dependedon whether the individual municipality set asideresources for a municipal cultural coordinator andcultural coordinators at the schools. Furthermore,the benefits to the pupils of the professionalproductions depended on the attitudes and interestsof the school and the teachers. It was pointedout that schools and teachers should be mademore aware of the kinds of roles they can play inthe Cultural Rucksack.2.5 The Ministry’s assessment of theevaluation and the responses of theconsultation bodiesThe primary aim of the evaluation performed byNIFU STEP was to provide a sound basis onwhich the Ministry could further develop the CulturalRucksack. There was considerable variationbetween the consultation bodies on the accuracyof the report on certain points. The experiences ofthe various actors involved seemed to depend ontheir place in the system and their geographicallocation. This underlines the complexity anddiversity of the programme, which is a complicatingfactor in the Ministry’s assessment.Several of the consultation bodies emphasisedthe importance of the programme. For example,Rikskonsertene wrote that:“The Cultural Rucksack is a unique programme,and nothing like it exists in any othercountry. This is something we can all be proudof, especially the politicians in the Storting!”

24 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureSome of the museums commented that the CulturalRucksack had inspired them to think in newways (the Museum of Science and Technology,the Eidsvoll 1814 museum and Aust-Agder kulturhistorisksenter), and others that they had beeninspired to intensify their cooperation on puttingtogether a cultural programme. Many of the municipalitieswere very pleased with the programmeorganised by the county.The Cultural Rucksack is an ambitious culturaland school policy project. Its implementationdepends on cooperation between many differentbodies in the cultural and school sectors at thenational, regional and local levels. Its implementationrequires a continual process of finding newsolutions and arenas for cooperation across culturalfields and between the various administrativelevels.One of the main principles on which the programmeis based is that local and regional bodiesare free to develop their own “rucksacks” adaptedto local conditions. The intention was that thereshould be as little centralised control as possible.As indicated by the evaluation and the responsesof the consultation bodies, this principle hasresulted in a situation where there is not one singlecultural rucksack, but many different ones.On the one hand this is a positive development,since it gives local and regional actors freedom ofaction and provides opportunities for localengagement and creativity. On the other it makesit more difficult to establish a centralised tool formaintaining an overview of how the programmefunctions in all parts of the country.All in all, the Ministry considers that the evaluationreport has paid more attention to tensionsand differences than on finding out how the programmefunctions in practice. The Ministry considersthat the empirical data given in the reportare too weak, and that the conclusions alone donot provide a sound enough basis for decisions onBox 2.1 Seljord Municipality commented:“The school sector in Seljord is in general verypleased with the activities provided throughthe Cultural Rucksack. This applies to boththe content of the cultural presentations andthe organisation. The programme has considerablyraised the level of the cultural activitiesavailable to children, who are now able toenjoy theatre, literature and exhibitions, whereasbefore there were only concerts.”the further development of the programme. Furthermore,in some cases the conclusions differfrom the responses of the consultation bodies.The consultation responses and the regionalevaluations have given the Ministry a more positiveimpression of the functioning of the CulturalRucksack. The programme has resulted in a moresystematic and carefully planned presentation ofculture to schoolchildren. A larger number of culturalactivities are available and the quality ishigher, and in general more attention is paid toquality and methods of presentation. The schoolsnow have a resource for making childrenacquainted with different art forms and thusdeveloping their appreciation of a broad range ofcultural expressions. The programme also has ademocratic aspect and promotes social cohesion,both of which are cultural and educational policyobjectives.The years up to 2006 were a period of expansionand development. The Ministry considersthat the implementation of the programme hasproved to be successful in most municipalities,and that working with the Cultural Rucksack isexperienced as meaningful and instructive for theparties involved. The programme now has a significantplace in children’s education, in schoolsand in cultural life. In many places it has stimulatedthe professional presentation of art and culture,and revitalised the role of culture as a factorin regional development. The Ministry regardsthis as a very positive result.On the basis of theconsultation responses the Ministry does not considerthat the evaluation report has provided sufficientgrounds for making any major or comprehensivechanges in the organisation of the CulturalRucksack. Major changes at this stage wouldprobably do more harm than good.The Ministry realises that cooperationbetween the two sectors can be challenging, butconsiders that the position of the programme inthe interface between education and culture isalso a strength. With a clear division of roles, andclose dialogue and cooperation, the programmeBox 2.2 Fredrikstad Municipalitycommented:“The Cultural Rucksack has markedly improvedthe range and quality of the cultural activitiesavailable to the children. The programmeshould be continued and further developed.”

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future25Box 2.3 Saltdal Municipality commented:“Saltdal wishes to express great satisfactionwith the way the Cultural Rucksack Nordlandis run. The schools report that in their experiencethe programme is inspiring, that the qualityis high, and that the county cultural coordinatordoes a very good job. All experienceso far has been good.”Box 2.4 Lyngen Municipality commented:“All the schools in the municipality havereported that the Cultural Rucksack hasimproved the cultural activities available to thechildren, since rural districts often have littleto offer in this respect. The programme inspiresthe children and gives them the opportunityto appreciate a variety of art forms.”should prove to be a resource for the various parties.In this way the Cultural Rucksack will be anout-of-the-ordinary, but at the same time self-evident,supplement to other school activities. Thecultural sector should ensure that the programmeoffers high-quality, professional productions. Theschool sector should facilitate the incorporation ofthese activities into the school day, set aside timefor preparation and follow-up, and adapt the teachingto the programme content. The school and thepupils should have the opportunity to give systematicfeedback after each presentation or project.It will of course be necessary to address manyof the problems highlighted in the evaluationreport and the consultation responses. The Ministryrealises that the objectives, principles and divisionof roles must be clarified. A more coordinatedreporting system is needed. The furtherdevelopment of the programme should includecompetence-building on a more systematic basisand a continuous research process. The schoolsector should be more closely involved in theplanning, development and implementation of theprogramme at the local and regional levels.

26 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Future3 Objectives and principles of the Cultural Rucksack3.1 Objectives and principlesThe Cultural Rucksack is a national effort inwhich the school and cultural sectors cooperateon a programme that enables school pupils tobecome acquainted with and develop an understandingof artistic and cultural expressions of aprofessional standard.Today the term “Cultural Rucksack” is used tocover all activities that comply with the objectivesof the Cultural Rucksack programme, whether ornot they are financed by allocations from the surplusearned by Norsk Tipping, which is currentlythe main source of funding. An example of this isRikskonsertene, which has existed ever since thelate 1960s, and is mainly financed through theordinary budget allocations to culture.The Cultural Rucksack has the followingobjectives:– To enable schoolchildren to enjoy artistic andcultural productions provided by professionals.– To facilitate pupils’ access to a wide range ofcultural expressions so that they can becomeacquainted with and develop an understandingof culture in all its forms.– To assist schools in integrating different formsof cultural expression with their own efforts toattain learning goals.A few changes have been made in the wording ofthe objectives set out in the White Paper The CulturalRucksack (Report No. 38 (2002–2003) to theStorting). One of the original objectives statedthat pupils should gain “a positive attitude to thevarious forms of artistic and cultural expression”.Art does not always arouse positive feelings. Oneof its aims is to provoke and shock, and the newwording takes this into account. Another changeis that since the upper secondary school is beingincluded in the Cultural Rucksack, the words “primaryand lower secondary school” are beingreplaced by “school”.The Cultural Rucksack will be developed andcontinually evaluated on the basis of the followingprinciples:A permanent programme: the Cultural Rucksackshould be a permanent programme forschool pupils.For all pupils: the Cultural Rucksack isintended for all pupils, regardless of their social,economic, ethnic or religious backgrounds or theparticular school they attend.Achievement of the goals of the national curriculum:the content of the Cultural Rucksack shouldbe in line with the goals of the general part of thenational curriculum and of the specific subjectcurriculums.High quality: the artistic and cultural programmeoffered to the pupils should be of a highartistic quality and provided by professionals.Diversity: the Cultural Rucksack shouldinclude forms of artistic and cultural expressionfrom a diversity of cultures and historical periods.A wide range: music, theatre, the visual arts,film, literature and the cultural heritage should allbe represented in the Cultural Rucksack, andshould be presented in a variety of forms.Regular access: the pupils should have regularaccess to art and cultural activities in every schoolgrade.Cultural–school cooperation: the school andcultural sectors should cooperate closely on theCultural Rucksack at every level. The schoolsshould be involved in the programme and giventime to plan for the various activities.Division of roles between the school and culturalsectors: the school should be responsible forensuring educationally sound preparation and follow-upof the cultural activities, and the culturalsector for the content of the production and forinforming the school of the content in advance, toallow sufficient time for preparation.Local responsibility and ownership: the individualschool, the municipality and the county shouldall be involved in the Cultural Rucksack. This willensure enthusiasm and a sense of ownershipamong all parties and provide room for local variation.

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future27Figure 3.1 “Frie Fraspark”“Frie Fraspark” is a creative school project inwhich the pupils have dance lessons with professionaldancers from the Panta Rei dance theatreand present a dance production to the rest of theschool.Photo: Jeanette Landfald3.2 Cooperation and division of workbetween the school and culturalsectorsThe evaluation report on the Cultural Rucksackrecommends that the two sectors should agree onthe interpretation of the programme objectives.The report pointed out that the present objectivesand principles can be interpreted in many differentways, and that this has meant that the linesalong which the programme is organised arepoorly understood at all levels. In its conclusionthe report advises that the two sectors shoulddecide whether the Cultural Rucksack is a culturalpolicy instrument that is being offered to theschool or whether the school is to take part in thedevelopment of the programme, with the responsibilitiesand authority this implies.The Ministry considers that it is fully possiblefor the school and cultural sectors to agree on theinterpretation of the programme objectives and toestablish a practical division of work.The Cultural Rucksack is a major cultural andeducation policy instrument. The programme isbased on close cooperation between two socialsectors with different objectives, traditions andways of thinking. The school sector operateswithin a well-defined administrative frameworkand according to politically determined curriculumsthat apply to everyone. The cultural sectorhas a looser, more informal structure, in whichthe various bodies have greater freedom tochoose their own objectives.The Ministry considers that the two sectorscan supplement and inspire each other. The CulturalRucksack is based on both cultural and educationpolicy objectives. Thus the objectives andprinciples of the programme have to take accountof, and be adapted to, the national curriculum setout in the Knowledge Promotion Reform.However, there is a need to clarify the positionof the Cultural Rucksack in relation to otherschool activities in the cultural field.The purpose of the Cultural Rucksack is tooffer pupils up to and including lower secondaryschool, and with time in upper secondary schoolas well, the opportunity to become acquaintedwith all forms of artistic and cultural expression ofa professional standard. Quality and professionalismare fundamental criteria. The cultural sectoris responsible for the activities offered under theprogramme.The Cultural Rucksack is part of the school’swork with art and culture, but is not intended tocover all cultural activities offered by the school.Thus it is not meant to serve as a replacement foraesthetic or other school subjects, but as a supplement.The artists and cultural workers in the programmemay not replace the teachers, they mustfunction in a purely artistic capacity. Visits to theschool by artists and cultural workers, and visitsto cultural institutions by the school, strengthenthe school’s expertise in cultural matters. Theyalso provide an opportunity for the school to useart and culture in new ways. Increasing theschool’s cultural expertise requires close cooperationbetween the school and cultural sectors.Although the Cultural Rucksack must takeaccount of the school curriculum, it is meant to

28 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureBox 3.1 “Transparent realism”“Transparent realism” is an art project run bythe artists’ centre Nordnorsk kunstnersenter.The pupils visit the workshop of the glassartist Kari Malmberg, where they learn howglass is made, discuss the works of art on displayand practise engraving glass with thehelp of the artist. The school was invited toparticipate and the details were agreed beforehand.The artist finds working with the pupilsinspiring, and the teacher accompanying theclass realises how important it is for the childrento meet artists and see how they work.The benefits to the pupils are knowledge,understanding and enjoyment.provide experiences that are special or out of theordinary, and not part of the ordinary school day.At the same time it is important that pupils feelthat the programme activities are a natural part oftheir education, and that they are able to perceivethat the content is related to the curriculum andthe subjects they are being taught. The schooland the teachers have a responsibility to ensurethat the school curriculum takes account of theactivities offered by the Cultural Rucksack.A work of art can be interpreted in differentways, and it is not always possible to predict howthe pupils will respond to it or what they will learnfrom it. Becoming acquainted with art and cultureat this level stimulates their general development.In the further development of the programme,both sectors should be aware that direct experienceof art and culture will be an important supplementto ordinary teaching throughout thepupils’ school lives.In its work on the programme the cultural sectormust take account of the special nature of theschool as an institution. The cultural sector has aresponsibility to inform the school of the contentof the activities being offered. For its part theschool sector must give priority to the programmeand make plans for the necessary schoolwork tobe done prior to and following the activity in question.In this process cooperation between theschool leadership and the teachers is extremelyimportant if the objectives of the Cultural Rucksackare to be realised, and it is essential that theschool should be enthusiastic about the programmeand take active steps to implement it.Figure 3.2 Sculpture project at Slidre schoolThe large sculpture made by the pupils with thehelp of the sculptor Rolf Starup now stands in theschool playground.Photo: Marit Brænd/Oppland County3.3 Local and regional freedom ofactionFrom the beginning a key principle of the CulturalRucksack has been that the individual countiesand municipalities should be free to develop theirown cultural programmes, in line with local andregional conditions and without too much centralgovernment control. Thus in practice there is notjust one Cultural Rucksack: there are 19 countyrucksacks, 431 municipal rucksacks, a rucksackfor Svalbard and many thousand individual schoolrucksacks. All of them employ different proceduresand practices, and all have different experienceof and ideas about the programme. The Ministryconsiders local engagement and freedom ofaction to be one of the most important features ofthe programme.All the actors involved should be able to influencethe content and implementation of the programmeand thus feel that they have a stake in it.

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future29Cooperation across the school and cultural sectorsensures quality of content and presentation,knowledge transfer and competence-building.The administration of the programme is based onthe assumption that the regional and municipalauthorities, together and separately, are willingand able to adopt a coherent approach and takeadvantage of the resources available in culturalinstitutions in their region. It is also important toencourage independent groups and artists todevelop their own productions, since these willcontribute to the quality of the programme.3.4 Availability of the Cultural RucksackIt is an objective of Norwegian educational policythat all pupils should receive education appropriateto their aptitudes and abilities. In its evaluationNIFU STEP was asked to examine how the CulturalRucksack was adapted to pupils with specialneeds or disabilities.The evaluator found that apart from practicalarrangements, there was little systematic thinkingwith regard to the programme’s suitability forthese pupils. Some counties considered that thiswas a matter for the individual municipality andschool, others that the responsibility lay with theeducation department at the county governor’soffice.It is a cultural policy objective that everyoneshould be given the opportunity to enjoy a diversityof art forms and cultural activities, and anoverall policy objective that people with specialneeds and disabilities should have the sameopportunity to participate in cultural life as otherpeople, both as part of the general public and asactive participants. For this objective to beachieved, all levels – county, municipal and school– must take account of the fact that pupils havedifferent capacities and needs, and take appropriatesteps when planning, designing, making decisionsand implementing the programme.In this connection the Ministry refers to section1-2 of the Education Act, which states that the“teaching shall be adapted to the abilities and aptitudesof individual pupils, apprentices and trainees.”All school activities have to be based on differentiatedteaching. Furthermore, section 9-1 ofthe Education Act states that all school pupilshave the right to a favourable physical and psychosocialenvironment that promotes health, wellbeingand learning.The responsibility for fulfilling these objectiveslies with the individual school and the municipalityor county that owns it. The municipalitymust safeguard the pupils’ right to primary andlower secondary education and special needsteaching. However, generally speaking all thoseinvolved in the Cultural Rucksack should examinehow the programme can be adapted to thesepupils, taking account of the fact that these pupilsdo not constitute a homogeneous group. Art andcultural activities can provide insight into manydifferent forms of expression and thereby givethese pupils the opportunity to learn new ways ofcoping.

30 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Future4 Content and quality of the Cultural Rucksack – status and further development4.1 IntroductionThe Cultural Rucksack is intended to allow schoolpupils to become familiar with, understand andappreciate all forms of artistic and cultural expression– music, theatre, the visual arts, literature,film, cultural heritage and crossover art, bothclassical and contemporary. These should be providedby professionals, represent cultural diversityand promote local ownership.The programme should offer a wide range ofactivities, and include the innovative and the traditional,the familiar and the unexpected, the deeplymeaningful and the entertaining, the complex andthe challenging. They should appeal to the emotions,provide enjoyment, give food for thoughtand provide a basis for discussion.The artistic and cultural activities offered bythe programme should be based on quality interms of both content and presentation. Productionsby artists and cultural workers in and outsideinstitutions should be of a professional standard.Each programme should offer a variety ofactivities and forms of presentation. Adequateinformation and material for preparation and follow-upby schools in connection with each activityshould be provided.The cultural sector is responsible for the qualityand standard of the programme’s cultural content,and the quality of the productions should beassessed by qualified professionals. The countyand municipal authorities are responsible forensuring that productions under their auspicesmeet such standards.Planning must be done in good time and in adialogue with the school sector. Involving theschool in the planning of preparation and followupensures that the programme activities are relevantto and implemented in line with the school’sactivities and work plan. The school and the individualteachers are responsible for setting asidetime for preparation and follow-up, and decidehow much time should be spent on these activities.It is essential that the school has thoughtseriously about the significance of culture and thearts for the pupils’ education.The content of the Cultural Rucksack shouldbe in line with the goals of the national and specificsubject curriculums.Table 4.1 Content of the programmes offered by the counties during the school year 2006–2007 by art form,production and individual event (preliminary figures)Art form Productions Individual eventsFilm 131 1433Literature 155 3229Cultural heritage 132 4017Visual arts 173 7847Theatre 168 3583Music 278 7079Crossover art 41 760Not specified 32 406Total 1 110 28 354Source: Secretariat for the Cultural Rucksack

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future31Table 4.2 Participation in county programmesduring the school year 2006–2007 by art form (preliminaryfigures)Art formNo. of pupilsFilm 74 560Literature 312 450Cultural heritage 310 659Visual arts 251 543Theatre 344 624Music 1 026 168Crossover art 51 547Not specified 212 838Total 2 584 389Source: Secretariat for the Cultural Rucksack4.2 Extent of the county programmesIn 2007 the Secretariat for the Cultural Rucksackin cooperation with the counties developed a newreport form for Cultural Rucksack activities. Theresults for the school year 2006–2007 provide anoverview of the extent and content of the countyorganisedprogrammes, although figures for themunicipalities are not yet available. Furtherimprovements will be made to the report formand procedures (see Chapter 6.5).The preliminary figures show that in theschool year 2006–2007 the counties organised atotal of 1 100 productions in the fields of film, literature,the cultural heritage, the visual arts, theatreand music, and various combinations of these artforms. The counties organised 28 354 events,including concerts produced by Rikskonsertene.Of these events, 7 847 were in the visual arts and7 079 in the music field. If crossover art andunspecified art forms are excluded, the smallestnumber of events, 1 433, was in the field of film.On the other hand, the figure for film productionsis relatively high.The figures show that the coverage for theCultural Rucksack was almost 100%, in otherwords almost all primary and lower secondarypupils had participated in programmes offered bythe county. In 2006, the participation figure wasabout 2.6 million. Given the total number of640 000 pupils, this means that on average eachpupil has attended four county-organised events.In addition, many pupils have attended eventsorganised by the individual municipalities.4.3 Programmes in the various culturalfieldsA large number of national, regional and localinstitutions, individual artists and other professionalsin the cultural sector contribute to the CulturalRucksack.In most art forms there are national resourceinstitutions whose work includes developmentand network-building in the field. Examples ofsuch institutions are Rikskonsertene; NorskScenekunstbruk (The National Touring Networkfor Performing Arts); Norsk Form; the NationalMuseum of Art, Architecture and Design; theArchive, Library and Museum Authority; the NorwegianFilm Institute; Arts Council Norway; andthe Directorate for Cultural Heritage.Local and regional cultural institutions are alsoimportant resources for the Cultural Rucksack.Examples of these are regional art and culturalinstitutions, libraries, museums, local archives,artists’ centres, independent groups and artists,voluntary bodies working with culture, andchurches and other religious communities. Manyof these cooperate with the county and municipalauthorities on the public presentation of cultureand the arts, professional development, networkbuildingand quality assurance. In cooperationand across different fields of culture, many ofthese bodies should be able to develop a largernumber of interesting cultural productions thatwill reach more schools and thus more pupils.The Cultural Rucksack is an important area ofwork for artists and institutions, and has raisedthe status of cultural productions for children andyouth. However, there is a long way to go beforeall the institutions that receive governmentgrants, and are thereby responsible for makingculture and the arts available to children andyouth, do in fact contribute to a satisfactory extentto productions suitable for use in the programme.Institutions with national outreach may have moreresources at their disposal that can be used todevelop cultural productions for the CulturalRucksack.Norsk Tipping funds for nation-wide activitiesToday 20% of the Norsk tipping funds to cultureare allocated to national measures for promotingforms of art and culture that face special challenges.In 2007 this amounted to NOK 33 million,which was distributed between music, film, thea­

32 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureTable 4.3 Allocations of Norsk Tipping funds to national measures by field of culture in 2007 (NOK million)Music Rikskonsertene 19Performing arts Arts Council Norway 3Scenekunstbruket 3Visual arts The National Museum of Art, Architecture and Design 2Nordnorsk kunstnersenter 0.5Norsk Form 0.5Trondheim kunstmuseum 0.5Lillehammer Art Museum 0.5Sørlandet Art Museum 0.5Rogaland Museum of Fine Arts 0.5Film Norwegian Film Institute 3Total 33Source: Ministry of Culture and Church Affairstre and the visual arts. None of these centrally distributedfunds are used to promote literature orthe cultural heritage, but the six science centreshave received a total of NOK 6 million of theregional funds.Scenekunstbruket (The National Touring Networkfor Performing Arts), Rikskonsertene andthe National Museum of Art, Architecture andDesign use Norsk Tipping funds for activities thatare part of their normal programme. The FilmInstitute and Arts Council Norway award grantsfor development projects.Scenekunstbruket, Rikskonsertene, theNational Museum of Art, Architecture and Designand the Film Institute have national outreach andcooperate with regional and local bodies. Theseinstitutions use a substantial part of their ownfunds in such efforts, and the Norsk Tippingfunds provide an opportunity to take greaterresponsibility for the Cultural Rucksack.The four regional art museums and NorskForm have used Norsk Tipping funds to supportdevelopment projects. Nordnorsk kunstnersenterhas used these funds for an extensive programmeof touring art projects for school pupils in thethree northernmost counties.The six science centres, Bergen Science Centre,the Science Centre of North Norway, Innlandetsvitensenter, Vitensenteret i Trondheim, Jærmuseetand the Norwegian Museum of Scienceand Technology, together cover the whole country,and receive funding from both the Ministry ofEducation and Research and the Ministry of Culture.Their Norsk Tipping funds are used foractivities under the Cultural Rucksack.Figure 4.1 Theatre in a truck!In 2003 the Norwegian writer Erlend Loe wroteone of his wonderful stories about Kurt the truckdriverfor Trøndelag Teater. The play was producedin cooperation with Cirka Teater under thetitle Knut boils his head and was a huge success.The Cultural Rucksack in Sør-Trøndelag Countyhas enabled two thousand pupils to enjoy thestory of Kurt and his truck.Photo: Trøndelag Teater

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future33Table 4.4 School concerts by county for the calendaryear 2006Østfold 355Akershus 808Oslo 554Hedmark 208Oppland 350Buskerud 468Vestfold 384Telemark 330Aust-Agder 253Vest-Agder 345Rogaland 484Hordaland 1083Sogn og Fjordane 268Møre og Romsdal 605Sør-Trøndelag 464Nord-Trøndelag 316Nordland 659Troms 463Finnmark 212Svalbard 5Totalt 2006 8614Source: Rikskonsertene’s annual report for 2006The central government funds and the shareof regional funds that have until now been allocatedto the science centres will for a certainperiod be diverted to the expansion of the CulturalRucksack to upper secondary school (seeChapter 7). In future national cultural activitieswill no longer receive Norsk Tipping funds.Instead funds over the government budget will beearmarked for the Cultural Rucksack, and the culturalsector will work with the Cultural Rucksackas part of its ordinary activity.4.3.1 MusicThe national body responsible for the music fieldin the Cultural Rucksack is Rikskonsertene. Inthe course of almost 40 years the institution hasbuilt up a nation-wide programme of school concerts,which are arranged in cooperation with thecounties. Agreements have been made betweenRikskonsertene on the one hand and the countyauthorities on the other that define the division ofresponsibility for producing these concerts. Thetour organisers at Rikskonsertene and those inFigure 4.2 “Sokora”, a production byRikskonserteneKossa Diomande presents traditional West Africanmusic.Photo: Mimsy Møller/Rikskonsertenethe counties cooperate on planning concert tours.School concerts are the most important singleitem in the work of Rikskonsertene, which offersa broad programme to schools and pupilsthroughout the country.The allocation to Rikskonsertene over the governmentbudget was about NOK 135 million in2007, of which about NOK 74 million was used tofund school concerts. Since 2004 these funds havebeen supplemented by annual grants of NOK 19million from the government allocations to theCultural Rucksack. This means that today Rikskonsertene’sactivities cover all Norwegianmunicipalities, and pupils normally have theopportunity to attend two concerts a year. Allmusical genres are represented. In the calendaryear 2006, 8 614 concerts were given, attended bya total of 1 238 303 school pupils. About 700 musiciansa year are engaged to tour municipalities.Rikskonsertene has an advisory programmecommittee with members from all parts of thecountry for quality assurance of productions, andin 2006 the institution established a resource anddevelopment centre under the department dealingwith children and youth. One of the purposesof the centre is to strengthen cooperationbetween Rikskonsertene and counties, municipalities,schools, national institutions and organisations,the Cultural Rucksack and other institutions.The centre’s tasks also include evaluationand commissioned research on music presentationefforts aimed at children and youth, andinternational cooperation. In the last few yearsRikskonsertene has emphasised the importance

34 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Futureof involving the schools themselves in the organisationof concerts, for example by using pupils asevent organisers (see Box 4.1).In addition to the concerts offered by Rikskonsertene,some municipalities draw on theresources of the municipal schools of music andthe arts for concerts by local performers. Somefestivals offer concerts for schoolchildren in thearea where the festival is taking place, and someorchestras have given performances for the CulturalRucksack in cooperation with either Rikskonserteneor a county or municipality.Further developmentThe national role played by Rikskonsertene in themusic field will be further developed. The institutionis interested in cooperating with other institutionsand artists for the purpose of providing amore differentiated programme. The aim is tocontinue with projects and arrangements forschools that involve workshops, one-day visits,and process learning as part of the teaching ofmusic under the Cultural Rucksack.Rikskonsertene considers it very important toemphasise quality in terms of artistic performance,form of presentation, and standard of productionthroughout the value chain. It is importantto continue the cooperation with local artists.An evaluation of the advisory programme committeehas been commissioned for the purpose ofstrengthening its role, terms of reference andworking methods.Rikskonsertene’s resource and developmentcentre is seeking to coordinate its work with thatof the Norwegian Centre for Arts and Culture inBox 4.1 Pupils as event organisersThere is increasing awareness of pupils as apotential resource when artists visit theschool. Rikskonsertene and Musikk i Skolen(Music for Schools) have developed an Internet-basedinstruction programme for pupilswho are put in charge of the preparations forschool concerts. The benefits are twofold: thepupils learn what organising a concert involves,and the musicians encounter a school thatis well prepared and pupils who expect toenjoy the performance.http://docs.rikskonsertene.no/eleversomarrangorer/(site in Norwegian)Education and to supplement the work of the Centrewhere appropriate.It is important that schoolchildren are able toattend professional music performances, not onlyat their schools but also in more public arenas,where larger groups like orchestras perform. Thenational music institutions and cultural nodesshould cater for schoolchildren outside theirregion to a greater extent than they do at present.4.3.2 The visual artsThe visual arts include painting, decorative arts,architecture and design, and combinations ofthese art forms. The field covers both the visualarts heritage to be found in art museums andencounters with contemporary art and artists.The National Museum of Art, Architectureand Design makes an important contribution tothe Cultural Rucksack. It administers a large partof the country’s visual arts heritage and producestouring exhibitions and presentations, particularlyof innovative contemporary art. On 1 July 2005Riksutstillinger, the National Touring ExhibitionsNorway, was incorporated into the NationalMuseum, which assumed responsibility for makingart available to the whole country. Thisnational effort is carried out through the schoolnetwork, the art gallery network and the museumnetwork. The Museum promotes cooperationbetween the networks, produces exhibitions, andorganises tours, public presentations and transfersof expertise.In 2007 the Museum received approximatelyNOK 198.8 million over the government budget,of which about NOK 5.1 million was used for theschool network. Since 2004 the Museum has alsoreceived annual grants of about NOK 2 millionfrom the Norsk Tipping funds to the CulturalRucksack, which are used for the production andorganisation of activities under the programme.In addition to its efforts in the school network,the Museum organises a considerable number ofexhibitions for schoolchildren outside the schoolarena. These include exhibitions in the fourmuseum buildings in Oslo and through the networkof galleries in all parts of the country. Theseactivities accounted for around NOK 5 million in2007.In the school network, the Museum has agreementswith 12 counties and one municipality. Thecooperation is regulated by letters of intent forfour-year periods, and covers productions andcompetence-building in connection with the Cul­

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future35tural Rucksack. The current period runs from2005 to 2008. In 2006 the Museum arranged 16different touring exhibitions that were seen byalmost 43 000 schoolchildren. To prepare teachersfor helping the children to appreciate the exhibitions28 seminars were held for a total of 241participants.Like Rikskonsertene, the Museum has anadvisory programme committee consisting ofinternal and external experts, who quality assurestouring exhibitions. The Museum cooperates withfor example counties, independent artists andregional art museums on the production and exhibitionof the visual arts.In addition to the National Museum, there area number of other institutions in the visual artsinvolved in the Cultural Rucksack. Norsk Form,the regional art museums, and other presentersof the visual arts offer schools a large number ofactivities and events, often in cooperation with thecounty authorities. It will be useful to exploreother ways in which the regional art museumscan provide even more opportunities for schoolchildrento appreciate the visual arts.Other actors in this field are county art galleries,artists’ centres, art associations and independentartists engaged by counties or municipalities.So far, four regional art museums, together withNorsk Form and Nordnorsk kunstnersenter havereceived funding from the Norsk Tipping funds tothe Cultural Rucksack. In 2006–2007 these fourmuseums arranged activities for schoolchildrenin their own regions and Nordnorsk kunstnersenterarranged activities for 4 500 pupils inthe three northernmost counties. Norsk Formhas cooperated with individual schools in somecounties on presentations of art to schoolchildren.In 2005 the National Museum was commissionedby the Ministry of Culture to draw up aplan of action for a country-wide effort to presentthe visual arts, the decorative arts, architectureand design to the public. Under the plan theMuseum will serve as a national resource centre,and a number of measures are proposed to ensurethat people throughout the country have anopportunity to appreciate art of a high quality,including crossover art, from a variety of differentperiods.Figure 4.3 “Illusion”Pupils in Øknes Municipality meet the textile artist Kari Vevle, whose work is being exhibited.Photo: Øksnes Art Association

36 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureFurther developmentIt is a policy objective that every child in the countryshould have an opportunity to becomeacquainted with different forms visual art providedby professionals during their school career,and this includes visiting art exhibitions held insuitable premises outside the school buildings.As a national institution, the National Museumof Art, Architecture and Design should promotethe production of activities and the further developmentand coordination of efforts to bring thevisual arts to schoolchildren as part of the CulturalRucksack. This involves both presenting thevisual arts heritage and providing opportunitiesfor them to see contemporary art and meet artists.Technological advances are providing newways of making the visual arts available to schoolchildrenin every part of the country, and it is oneof the tasks of a national institution to be a drivingforce in the development of such methods. TheNational Museum should also ensure that the CulturalRucksack has access to a well-functioningnetwork in the visual arts and promote developmentsin the field. The facilitation of a network forthe Cultural Rucksack is a natural part of theMuseum’s responsibility for the national artmuseum network.The best way of developing methods of bringingthe visual arts to schools is to strengthen therole of the regional art museums as producersand presenters of professional art, and promotedialogue and cooperation between these institutionsand centres of national expertise. In thisprocess the National Museum’s 2005 plan ofaction will be revised and made more specific soas to clarify the division of roles and responsibilitieswith regard to the regional art museums andthe other institutions involved.4.3.3 The performing artsTheatre, opera and dance institutions and independentgroups all put together productions forthe Cultural Rucksack.Scenekunstbruket is a national promotion systemfor completed productions by independenttheatre groups run by the Norwegian Associationfor Performing Arts. The network facilitates toursof stage productions, with an emphasis on childrenand young people. The network has becomethe most important facilitator of stage productionsfor the Cultural Rucksack; for example in the calendaryear 2006 it was responsible for 2 350 performancesof 57 productions, which wereattended by 230 000 people, all in connection withthis programme.In 2007 the Norwegian Association for PerformingArts was allocated NOK 2.974 millionfrom the Ministry of Culture’s budget for use byScenekunstbruket, and since 2004 Scenekunstbrukethas received an additional NOK 3 million ayear from Norsk Tipping funds.Scenekunstbruket has a network of eventorganisers and promoters that includes a numberof counties and municipalities. Currently 16 countiesand 369 of their municipalities are members.Scenekunstbruket has an overview of noninstitutionaltheatre throughout the country. Thenetwork attends performances and monitors thequality in cooperation with an expert referencegroup and in a dialogue with the county network.Artistic quality is emphasised, but the diversity ofthe total repertory, including a diversity of theatreforms and production formats, is also consideredimportant.Event organisers that are part of the networkcan choose freely from the entire repertory. Theythen contact the group or performer and draw upa contract for a particular performance or tour.With regard to the Cultural Rucksack the eventorganisers are usually at county level and cooperatewith the municipalities on booking tours thatfit in with the county programme.Scenekunstbruket has a scheme for financialsupport for event organisers, under which a shareof the total costs of the performances selectedfrom its repertory is refunded. The size of therefund is calculated on the basis of the figurespresented in the county’s annual report, and theamount varies from year to year according to thefunds available to Scenekunstbruket and the totalnumber of activities receiving support. Thegreater the number of productions from the repertoryorganised by a county, the larger therefund it receives.Scenekunstbruket also arranges competencebuildingactivities for event organisers and performingartists, with particular emphasis on theCultural Rucksack. It arranges the performingarts festival Showbox, which serves as a meetingplace for artists and organisers.The major theatre institutions and regionaltheatres have contributed in varying degrees tothe Cultural Rucksack. The larger institutionshave a longer planning horizon than the independentgroups and smaller institutions, and they

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future37should be able to put on productions for schoolsto a greater extent than is being done at present.Some of the smaller institutional theatres, on theother hand, have put on a considerable number ofproductions for the Cultural Rucksack. However,the most important aspect of such productions ishigh artistic quality, regardless of which produceris responsible. The theatre programme shouldprovide diversity in terms of both content and producers.The quality of the productions must bemonitored and no particular institution shouldhave a monopoly.Support for new stage productionsSome counties award grants from their CulturalRucksack budget to stage productions, but manydo not. Since 2004 Arts Council Norway hasreceived NOK 3 million a year of Norsk Tippingfunds to be used for new stage productions for theprogramme, targeted at independent theatregroups. In 2007 the Council received 82 applications,16 of which received project grants. Most ofthe 2007 applications were from groups in OsloCounty (41), followed by those in Akershus (7),Sør-Trøndelag (5) and Tromsø (4). There were noapplications from the counties of Østfold, Oppland,Nord-Trøndelag, Finnmark, Aust-Agder orVest-Agder.One of the conditions stipulated by the Ministryof Culture for such support is that Arts CouncilNorway and Scenekunstbruket cooperate onuse of the funds. In practice this means that theCouncil informs Scenekunstbruket which productionsit intends to support. However, not all applicationsfor support are submitted throughScenekunstbruket’s county network.The scheme has been in operation for threeyears and it has become obvious that there is adiscrepancy between the size of the grants toprojects and the amount spent on stage performances.The Ministry will therefore examine howthe funds can best be used for new stage productionsand performances for the Cultural Rucksack.Further developmentLike other fields, theatre needs a national institutionthat will encourage new productions, buildnetworks, facilitate competence-building and provideexpert advice. The most appropriate institutionfor this seems to be Scenekunstbruket, oncondition that all the counties can be included.Figure 4.4 “Så tag nu mine händer” (Take MyHands)A dance production by Hege Haagenrud performedby Vilde Viktoria Madsen and MarianneHaugli.Photo: Siren LauvdalThere is a great need for high-quality, innovativenew productions, especially those that challengepupils’ assumptions about theatre, fromboth institutions and independent groups.In order to ensure a better correspondencebetween productions and performances of freetheatre, the Ministry of Culture will considerwhether the funds for new theatre productionsshould go to Scenekunstbruket rather than ArtsCouncil Norway. This will be considered in relationto the plans for reorganising the distributionof Norsk Tipping funds to the Cultural Rucksack(see Chapter 7).It is important that institutions that possesssubstantial funds for new theatre productions contributeactively to the Cultural Rucksack. Pupilsshould also be able to see professional theatreoutside the school arena. Cooperation betweenScenekunstbruket and Riksteatret would be agood way of ensuring that a greater number oftheatre productions from the large theatre institutionsare included in the programme.

38 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureThe Ministry of Culture is preparing a WhitePaper on the performing arts that will containinformation on the current status of publiclyfinanced theatre in Norway, including professionaltheatre performed under the Cultural Rucksackprogramme. An overview will be given of thegeographical distribution of permanent and touringtheatre productions, and will take up particularissues, such as theatre for children and youth.Establishing cooperation between Scenekunstbruketand Riksteatret will be considered in moredetail in the White Paper.4.3.4 FilmThe White Paper on film (Report No. 22 (2006–2007) to the Storting) stated that film projects forchildren and youth should be given priority andform an integral part of film policy. It also statedthat responsibility for central government-administeredfilm projects for children and youththroughout the country should be strengthenedand coordination between the various institutionsshould be improved. The White Paper proposedreorganising central government activity in thisfield by establishing a new film institute to takeover the functions of the Norwegian Film Fund,Norwegian Film Development and the existingNorwegian Film Institute.The Storting approved the main lines of theproposals in the White Paper and the new NorwegianFilm Institute will become operative in April2008. The establishment of this new institutionwill also have consequences for the organisationof film projects for children and youth.Currently national film projects for children andyouth are supported by the existing Film Instituteand FILM&KINO. FILM&KINO is a memberorganisation for municipalities and a trade organisationfor the cinema and film industry. It alsoadministers the Norwegian Cinema and FilmFoundation. The organisation’s tasks include initiatingand supporting school cinema projects, forwhich it receives substantial annual support fromthe Cultural Rucksack among others, and developingeducational material for the use of film in teaching.FILM&KINO cooperates with the countyauthorities and arranges regional school cinematours as part of the Cultural Rucksack.The existing Film Institute is currently responsiblefor other activities in film aimed at childrenand youth, such as acquiring, producing and distributingshort films and documentaries. It is alsoresponsible for providing information to youngBox 4.2 “JAMSÍIS”“JAMSÍIS” is an innovative, light-hearted theatreproject that uses animation and new videotechnology. The pupils participate in a storyby Hallgrim Hansegård from DansekompanietFRIKAR. Hansegård plays the head of a shadowtheatre where the shadows go on strikebecause his dancing is too acrobatic.The audience (10- to 15-year-olds) haveattended a workshop where they learned tomake Hallgrim’s shadows for parts of theshow. Otherwise the shadows are created bylive video improvisations. “JAMSÍIS” was producedwith funding from the Norwegian FilmInstitute and Arts Council Norway, and featuresthe artists Bruna Caverna, with a backgroundin capoeira, and Hallgrim Hansegård,with a background in traditional Norwegianmusic and a particularly lively folk dance called“hallingdans”. The music was composedby Maja Ratkje.Norwegian film-makers, for example throughprojects like the Nordic website www.dvoted.se.NOK 3 million is allocated from the nationalshare of Norsk Tipping funds to film projects forthe Cultural Rucksack, and these are currentlyadministered by the existing Film Institute. In 2006the Institute received 41 applications for funding,and 24 film projects received support. A further sixcrossover projects received funding through thecooperation between the Film Institute and ArtsCouncil Norway. The Institute has also providedconsiderable support for regional and local filmactivity under the Cultural Rucksack.Films for children and youth are also producedby regional film centres, municipal cinemas, mediaFigure 4.5 From the project “JAMSÍIS”Photo: FRIKAR dance company

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future39workshops and freelance film-makers, often incooperation with counties and municipalities.Further developmentThe White Paper on film confirmed thatFILM&KINO has the main responsibility for filmactivities for children and youth. The institution isin close contact with municipalities and local cinemasand has experience of promoting school cinema.The Ministry of Culture is conducting a dialoguewith FILM&KINO on the future division ofwork between the various bodies in the film sector,including the work on the Cultural Rucksack.The new Film Institute, FILM&KINO and theMinistry of Culture in cooperation will draw up aplan of action for work with children and youthwhen the Film Institute is operative.4.3.5 LiteratureThere are a large number of actors that fosterchildren’s acquaintance with literature. The mainnational institutions are the Norwegian Institutefor Children’s Books, Foreningen !les and theNorwegian Writers’ Centre. The Cultural Rucksackis mentioned explicitly in the national actionplan “Make Space for Reading!” County, local andschool libraries are important in the literaturefield; they are repositories of knowledge and possessa broad and varied range of literature. In theevaluation of the action plan many schools emphasisedthe importance of county and local librariesas external cooperation partners in the work ofeducating pupils about literature.Besides public libraries the other main actorin the literature programme under the CulturalRucksack is the Norwegian Writers’ Centre,which has been arranging visits by writers toschools all over the country since 1968, some ofwhom hold writing courses for schoolchildren. In2006 the Centre arranged visits to over 7 000classes. The Writers’ Centre has offices in Oslo,Bergen, Trondheim and Tromsø, and cooperateswith counties on arranging tours for schools.Another important resource for the CulturalRucksack is Litteraturbruket, a resource centrefor encouraging cooperation and providing qualifiedsupport for the promotion of published literature.The centre was established by the Writers’Centre with support from the Freedom of ExpressionFoundation and Arts Council Norway. It isintended as a national arena for establishing, coordinatingand promoting literary works.Box 4.3 Poetry festival in HamarThe annual poetry festival in Hamar is organisedby Hamar Municipality, Hamar library, themunicipality’s three lower secondary schoolsand the Cultural Rucksack in HedmarkCounty. The aim is to give pupils a sense ofownership of poetry as a form of expression,and the festival gives them an arena wherethey are encouraged to play around withwords and forms of expression.In 2007 the theme of the festival was poetryin relation to music. Workshops and otheractivities were arranged at the schools andelsewhere. The activities included writingcourses, a guitar workshop, a Prøysen evening(Alf Prøysen was a well-known Norwegianpoet) and a poetry market. There wasalso a crossover project entitled “Haikutroniks”,in which old Japanese haikus translatedinto Norwegian were set to electronic music.At the end of the festival the various workshopproductions were presented to the public.The poetry festival was very popular withthe pupils, especially the boys, many of whomrevised their views on poetry quite considerably.They learnt to overcome some of the barrierssurrounding this form of literature, anddiscovered that there are no wrongs or rightsin poetry.Further developmentThe establishment of the Cultural Rucksack as anational programme has resulted in a growingdemand for literature presentations. Acquaintingall schoolchildren with literature as an art formrequires new measures.There is a need in this field for a national bodyto form networks, coordinate activities and beresponsible for competence-building and qualitydevelopment. Concentrating responsibility in asingle institution will improve the management ofresources and build expertise on the promotion ofliterature. The work of such a body should cover abroad field, and it should strengthen networks,promote cooperation between the various actorsand build expertise in the development of crossoverprojects, in cooperation with other art forms.The Ministry of Culture is currently preparinga White Paper on the library sector, based on thereport “Bibliotekreform 2014” (Library Reform

40 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Future2014), which was submitted by the Archive,Library and Museum Authority. The report proposesa number of activities for children andyouth that relate to the Cultural Rucksack, but it istoo early to say how far these proposals will beadopted. In the White Paper the Ministry will discusswhich body should be given responsibilityfor coordinating the efforts to promote literatureunder the Cultural Rucksack.4.3.6 The cultural heritageKnowledge and insight regarding Norwegian traditionsand the cultural heritage are an importantpart of the Cultural Rucksack throughout thecountry. The field of cultural heritage includesmuseums, science centres, archives and the culturalheritage authorities, which should be moreclosely involved with the programme. Religiousinstitutions are also important resources, andthere are a number of voluntary organisationsconcerned with history and the cultural heritagethat would make interesting partners, especiallyin the fields of local history and knowledge oflocal handed-down skills.The Norwegian museum sector is large andvaried, and ranges from small local collections touniversity museums and the major art, culturaland natural history museums. Visits to largermuseums, including university museums, havelong been part of the school curriculum and havegiven pupils an opportunity to become acquaintedwith and reflect on various forms of art and culture.Most of the museums arrange activities aspart of the Cultural Rucksack, and museum statisticsshow that in 2006, 358 711 pupils took part inactivities offered by museums.One of the tasks of the Archive, Library andMuseum Authority is to encourage innovation inthe museum sector through project funding. TheAuthority also deals with the improvement of educationalpresentations by museums, and in cooperationwith Oslo University College has developedan educational programme in this field.Since 2003, 20 museums have received earmarkedgrants over the budget of the Ministry ofCulture. These funds are no longer earmarked,but all museum allocations from the Ministry’sbudget are linked to the requirement that themuseums give priority to educational presentationsto schoolchildren.The Ministry of Culture will present a WhitePaper dealing with university museums in spring2008. One of the subjects to be addressed will beBox 4.4 “The hunt for pests” – pupils asa resource for a regional museumDalane folk museum in Egersund has starteda cooperation project with the fifth grade atone of the local schools. The children weretaught about the various pests that can attackmuseums, and were given equipment fordetecting harmful beetles, insects and otherpests. The experience taught them about theirlocal museum and about museum pests, andgave them an opportunity to make their owncontribution by helping to care for the exhibits.The result was greater interest amongthe children in the museum, its exhibits andits buildings. A win–win situation!Source: Anne Tove Austbø (ed.) L97 and the museums,Norsk Museumsutvikling 3:2000.the museums’ potential to contribute to the CulturalRucksack.The science centres provide educational presentationsthrough interactive exhibitions that allowvisitors, particularly schoolchildren, to explore natural,cultural, environmental, health and technologicalphenomena through experiment and activity.The centres serve as arenas for interactive learningand link science with local knowledge, creativityand originality. Several of the centres presentscience in the context of cultural history, particularlythe two science centres that are also nationalmuseums, the Norwegian Museum of Science andTechnology, and Jærmuseet.Figure 4.6 “The hunt for pests”Pupils hunt for pests in Dalane Folk Museum inEgersund.Photo: Egil Mong

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future41Box 4.5 Cultural Heritage Year 2009The Government has decided that 2009 is tobe a cultural heritage year, during whichefforts will be made to show the inherentpotential of the cultural heritage. The aim is toreduce the destruction of cultural monumentsand sites and safeguard them so that futuregenerations can also enjoy them. It is importantto make people aware of the value of adiverse cultural heritage, especially as asource of knowledge and enjoyment.All six science centres, Bergen Science Centre,the Science Centre of North Norway, Innlandetsvitensenter, Vitensenteret i Trondheim, Jærmuseetand the Norwegian Museum of Scienceand Technology, have in recent years receivedfunds from the Cultural Rucksack to enable themto provide activities for pupils throughout theirrespective regions, so that together they cover thewhole country. The Ministry of Education andResearch also supports the centres through theResearch Council of Norway.In the archive sector the Archive, Library andMuseum Authority has developed a presentationproject for schools with the aim of promotingcooperation between archives and schools.Eleven archives have participated in the project,enabling several hundred pupils to becomeacquainted with this field.It is important for pupils to become aware ofthe value of the cultural heritage. It is an irreplaceablesource of information about the historicaldevelopment of our environment and about people’srelationships with one another and withnature, promoting knowledge and enabling us toappreciate the past. The Ministry of the Environmentis responsible for management of the tangible,or physical, cultural heritage.The Ministry of the Environment wishes toencourage the Cultural Rucksack programme toput greater emphasis on the cultural heritage atboth regional and local levels. This could be doneby creating regional meeting places whereschools, authorities, museums, cultural workersand others can exchange ideas and experienceand develop projects. Another important stepwould be to coordinate the activities of the programmein this field with those of sustain.no,which is an educational tool for sustainable development.The Directorate for Cultural Heritage is theadvisory and executive body for the Ministry ofthe Environment. It is responsible for implementingthe Government’s cultural heritage policy andhas the overriding technical responsibility for theBox 4.6 “The Bomb Shelter”, a cooperation project involving writers and archivesdren meet a professional writer and participatein workshops. They also write down their inter­pretations and ideas.The first part of the presentation takes placein the bomb shelter. The shelter is the lastpublic bomb shelter in Kristiansand that datesfrom the last world war, and the pupils experi­ence what it was like to live in constant fear ofbombs. The writer encourages the children towrite about incidents in their own lives that theyassociate with the feeling of being shut in.The pupils then visit the Archive, where theyare shown round and do further work on theirtexts together with the writer.The texts are published on the website http://www.stiftelsen-arkivet.no/tilfluktsrommet,which can also be visited by other pupils andused as a basis for assignments and discussions.The project is a very popular activity underthe Cultural Rucksack in Vest-Agder County.The bomb shelter project was developed by StiftelsenArkivet (a foundation working with information,documentation, education, research andculture) in Kristiansand in cooperation with,first, the writer Gaute Heivoll and later the writerand teacher Eystein Ellingsen.The purpose of Stiftelsen Arkivet is to ownand administer the State Archive of Kristiansand,which from 1942 to 1945 was the headquartersof the Gestapo in Southern Norway.The Archive is now an information centre onNorway and the region during the SecondWorld War, and an education centre for forwardlookingwork on peace and conflict resolution.Its aim is to promote knowledge and awarenessof democratic values and human rights.The bomb shelter project gives the pupilsknowledge and awareness of their cultural heritagein authentic surroundings, and in the contextof both the past and the present. The chil-

42 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Futurework of the regional cultural heritage authorities.The Directorate has long experience of cooperationwith the education sector through its workwith sustain.no.Religious belief has an aesthetic dimensionthat over the centuries has been expressed interms of art and culture. The Church of Norwaymanages a considerable part of the cultural heritagein the form of Norway’s approximately 1 600churches. The rich cultural material in many ofthese churches is a source of knowledge andunderstanding of the past, and a builder of localidentity. Church life, the liturgy, and religiousmusic and texts can also be utilised in professionalpresentations of art and culture in the CulturalRucksack. Diversity is an important elementin the programme and children need to be madeaware of the religious diversity in Norway and thecultural legacy this represents.Further developmentThe field of cultural heritage has always been animportant part of the school’s teaching. Work withthe Cultural Rucksack has in many ways servedas a stimulus for professionals in this field todevelop new methods of presentation and crossoverprojects.In a field that involves so many different professionalswith different backgrounds, therequirement of a professional standard of presentation,in which information has to be given interms appropriate for schoolchildren, can be aproblem. It will be important to coordinate theavailable resources, especially at the local level, soas to ensure that pupils become acquainted with avariety of different aspects of the local, national,and international cultural heritage. The requirementof professionalism is the same as in the arts.Cooperation between the different actors inthe cultural heritage field needs to be improved. Itwould be useful to examine how presentations ofthe cultural heritage can be combined with otherforms of art and culture in ways that arouse thepupils’ interest and curiosity.The Cultural Rucksack should also give pupilsthe opportunity to become aware of the diversity ofart forms and approaches represented in religiousart, and steps should be taken to include a varietyof cultural expressions from different religions.Figure 4.7 The bomb shelter projectA project set up by Stiftelsen Arkivet.Photo: Sol Nodeland/Stiftelsen Arkivet

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future43The Archive, Library and Museum Authorityis the national body responsible for enhancing thequality of cultural heritage presentations in theprogramme. The Authority will contribute to furtherdevelopment in this field through networks,information campaigns and competence-building.It is important to involve the Directorate for CulturalHeritage in the development efforts.4.4 Quality and professionalismThere is often a thin line between the professionaland the non-professional. Generally speaking aprofessional is a person whose occupationinvolves artistic or other cultural activity. However,there are bodies and individuals that are notprofessional but that have local knowledge orknowledge of handed-down skills, especially inthe cultural field, and these can be a valuableresource for the Cultural Rucksack. Their activitiesor productions must be evaluated by qualifiedprofessionals in the same way as other activitiesand productions in the programme.The cultural sector is responsible for providingart and culture of a professional standard anda high quality, while the school is responsible forintegrating the events and activities into theschool day and linking the projects with the curriculumsfor the various subjects. This ofteninvolves preparation and follow-up activities, andrequires advance planning. This makes learningmore interesting for the pupils, and ensures thatthey do not feel that the programme is an outsideactivity unrelated to their schoolwork.Maintaining a high level of quality and creativityin the programme requires an ongoing discussionbetween the actors involved, especially asregards the concept of art and how it should beinterpreted. An evaluation of the quality of thepupils’ encounter with examples of art and culturemust take account of the following factors:– what is being presented,– how well it is being presented,– the pupils’ response and assessment of theactivity,– the teachers’ knowledge of art, cultural subjectsand the cultural heritage,– how well the school caters for cultural activities,– how well the school leadership and teachersintegrate the activities with the subjects beingtaught, including the preparation and follow-upactivities,Box 4.7 Feedback systemA number of counties have procedures for systematicfeedback from both schools andartists. The body responsible for arrangingtours in Hedmark County sends out a form toall the artists and some of the schools that participatein the programme. Such feedback mayalso be given digitally, through the county’splanning tool.– communication and the information flowbetween those involved.Because the cultural and school sectors complementeach other, both must be involved in theseefforts. Each has its own role: the cultural sectorhas the expertise necessary for assessing thequality of the artistic and cultural content, presentationmethod and the event itself, and the schoolsector has the expertise necessary for assessinghow far the content is appropriate to the curriculum,the level of the target group and how to facilitatelearning and appreciation among the pupils.It is neither possible nor desirable to applyfixed criteria for the quality of the programmecontent. This should be the subject of an ongoingdialogue between the two sectors, in meetingplaces and networks and through systematic feedback.The activities must be quality assured byexperts.The counties and municipalities have a specialresponsibility to facilitate systematic feedbackfrom schools and pupils on the presentation, andthe artists must be given an opportunity to reporton the schools’ response to the event. A strategywill be drawn up for incorporating research andevaluation in the Cultural Rucksack on a permanentbasis (see Chapter 6.4).Further developmentThe national bodies responsible for the CulturalRucksack have an important role to play instrengthening and promoting the efforts toensure the quality of the programme. Qualityassurance is the responsibility of the county andmunicipal authorities, while the schools areresponsible for preparation and follow-up in connectionwith the various activities.

44 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureBox 4.8 “Kunstfyret”“Kunstfyret” (the Art Lighthouse) is a cooperationproject between the Cultural Rucksackin Akershus County, the artist Tony J. Larssonand the composer Bjarne Kvinnsland. Itmakes use of art, music and cultural historypresentations, with active participation by thepupils.The event takes place on Steilene, anisland in the Oslofjord that has a lighthouseand accommodation for the lighthousekeeper.The pupils spend a whole school daythere, learning all about the island and its history.An important part of the project is to enablethe pupils to become aware of how natureinfluences art. They draw and paint under theguidance of Tony Larsson, and record soundsand use them to make music with BjarneKvinnsland. They also take and edit digitalphotographs, and there is a course for pupilswith a special interest in art.One way of ensuring quality is by promotingnew productions, since experience so far hasrevealed a chronic shortage of high-quality productions.There are too few innovative productions,productions that reflect today’s society, andproductions that challenge received ideas aboutart. Unless it is dealt with, the situation will beworse when the programme is expanded to uppersecondary schools.As part of its efforts on behalf of children andyouth, Arts Council Norway has launched the ArtInitiative (Kunstløftet), a project to enable all Norwegianchildren and youth to enjoy innovative artand culture of a high quality. The project is beingdeveloped over a number of years and the aim isto facilitate productions for children and youth.Professionals in the arts fields will be encouragedto take advantage of the available expertise on artand childhood. The project is also part of theefforts to enhance quality in the activities underthe Cultural Rucksack.4.5 Presentation methodsThere are many different ways of presenting artand culture, and the Cultural Rucksack reflectsFigure 4.8 “Kunstfyret” (the Art Lighthouse)From the Art Lighthouse project on the island ofSteilene in the Oslofjord.Photo: Tony L. Larssonthis. The various cultural expressions are presentedindividually or as crossover projects.The terms “monologue” and “dialogue” areused in the evaluation report to describe differentforms of cultural presentation, but the Ministry ofCulture does not consider these terms to be applicableto art and culture. Even in a performance,where it is the performers who seem to beresponsible for most of the action, there is alwaysa large element of dialogue with the audience.Viewing and listening are also active processes,and even when an audience is sitting still, they areusually actively learning and appreciating the performance.The line between being an active member ofan audience and being an active part of a processis also blurred. For example, many performancesunder the programme have an element of participationsince some of the pupils are on stage. Furthermore,performances by pupils alone that areimportant for schoolwork may be part of the follow-upfor which the school is responsible. In Cul­

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future45The Cultural Rucksack has a special responsibilityhere, but both counties and municipalities have toensure that the choice of activities includes a varietyof presentation methods and arenas, fromschools to cultural buildings. Preparation and follow-upof the cultural activities should continue tobe the responsibility of the school.4.6 Cultural diversityFigure 4.9 Tone Toft’s studioPupils from Herøy Municipality in Møre og RomsdalCounty visit the artist in her studio.Photo: Tone Tofttural Rucksack activities, however, the artistic andprofessional aspects must always predominate.The Cultural Rucksack allows schoolchildrento participate in a creative process together with aprofessional artist or other professional and, inthe case of the performing arts, as the audience.Many performing artists conduct workshops thatinvolve pupils in the creative process.In the performing arts, some presentationschallenge and experiment with the borderbetween stage and hall, performer and audience.In other cultural activities, like literature or culturalheritage presentations, acting is used tobroaden and intensify the experience. Thus theprogramme includes a number of activities wherethe borders between different forms of expressionare crossed or blurred.There is increasing awareness, both nationallyand globally, of the importance of cultural diversityin the development of a society. It is an internationalperception that in societies where culturalpolicy promotes and facilitates the positiveaspects of pluralism, cultural diversity serves as asource of creativity and development. It is thereforenot necessary to choose between a singlenational culture and a diversity of cultures.This awareness was reinforced at theUNESCO General Conference in 2005, when anoverwhelming majority of states adopted the Conventionon the Protection and Promotion of theDiversity of Cultural Expressions. The conventionwas ratified by the Norwegian parliament inDecember 2006.Norway has always been a multicultural country,where cultural expressions are constantlychanging and new ones being formed in contactwith other cultures. This cultural diversity alsoinfluences the cultural heritage, and it is importantto raise awareness of the culture of the Sami,national minorities and new minority groups (seesections 4.7 and 4.8).It is important that children and youth learnabout the different cultures in Norway, and this isFurther developmentIt is important to develop different presentationforms within the various cultural expressions thatengage the pupils and arouse their enthusiasm.Figure 4.10 “Friends”A performance by Solo Cissokho and Olav Torget.Photo: Rikskonsertene

46 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Futuretherefore a permanent dimension of the CulturalRucksack. The programme should reflect thesame diversity of cultures as the children themselves.Thus art and cultural expressions thatreflect religious traditions and practices, bothChristian and others, are an important part of theprogramme.The actors involved in the Cultural Rucksackshould ensure that the programme as a wholereflects this cultural diversity. This will not onlybenefit the individual pupil, it will also reducesocial, cultural and economic barriers. Culturehas a significant influence on the conditions thatqualify individuals to participate fully in society atlarge, and therefore plays a significant role in integration.It is important that all pupils are able to derivethe same benefit from culture and the arts irrespectiveof ability or background. Pupils thatspeak minority languages may need help with language,and practical adaptations of the physicalenvironment will be necessary for pupils with disabilities.Strategies and measures for meetingthese pupils’ needs will differ from school toschool and municipality to municipality, but theplanning of programme activities must take thisinto account.When planning for cultural diversity under theprogramme, the various cultural groups in theregion or municipality represent an importantresource. Art and culture can build bridgesbetween different cultures and ethnic groups andBox 4.9 The Norwegian Year of Cultural Diversity 2008The Storting approved the Government’s proposalto make 2008 a year to celebrate culturaldiversity in Norway. The aim is to make peopleaware of the multicultural perspective inevery field of art and culture and to establishmeeting places between the majority andminority cultures. Institutions and projectsthat receive public grants for cultural activitiesare expected to ensure that these reflect thisdiversity and increase knowledge in the field.The Year of Cultural Diversity will not be limitedto this period of time, but marks the startof a process in which cultural diversity is aprominent and cross-sectoral feature of Norwegiancultural policy.See www.kultureltmangfold.no.promote democratic values, tolerance and socialjustice. The understanding of different culturesprovided by the Cultural Rucksack is valuable forthe children; it helps pupils with a minority backgroundto feel proud of their culture and putsthem on an equal footing with the majority.4.7 Presentation of Sami cultureIn its comments on the evaluation report theSámidiggi (Sami parliament) stated that the Samidimension was not given sufficient attention ineither the steering documents for the CulturalRucksack or the report itself. The Sámidiggireferred to Article 110 a of the Constitution,which states that: “It is the responsibility of theauthorities of the State to create conditions enablingthe Sami people to preserve and develop itslanguage, culture and way of life.” The Sámidiggistated that it considers that Sami art and culturalexpressions should be a natural and importantpart of the Cultural Rucksack, and that it shouldbe given allocations for this purpose on the samebasis as the allocations to the counties. It also proposedthat Sami cultural institutions shouldreceive government project funds.The Norwegian authorities have a specialresponsibility to safeguard and strengthen Samiculture. The Government is aware of this responsibility,and will therefore follow the developmentof Sami culture closely and provide favourableconditions for Sami culture and the Sami community.If Sami culture is to continue to exist, it isimportant that Sami children and youth feelsecure about their language and culture, and donot feel that there is a conflict between these andthe majority culture. The Cultural Rucksack willcontribute to such identity-building.Sami art, culture and cultural heritage shouldbe an integral part of the Cultural Rucksack. Thiswill help to preserve and strengthen Sami cultureand enable other children and youth to becomeacquainted with it.The counties have a particular responsibilityfor administering and coordinating the CulturalRucksack programme (see Chapter 5.3). Theyadminister the largest share of the Norsk Tippingfunds allocated to the programme and distributethese to the municipalities. They also spend considerablesums from their own budgets on theprogramme, including administrative costs.The counties and municipalities are responsiblefor ensuring that all pupils up to and including

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future47lower secondary school, and gradually in uppersecondary school as well, have an opportunity tobecome acquainted with professional art and culturein a variety of forms. This also applies to Samipupils and pupils of Sami origin. The authoritiesalso have a responsibility to ensure that Sami art,culture and cultural heritage are presented toother pupils and in other schools. The Ministry ofCulture will ensure that this requirement isclearly expressed in the guidelines for allocationsto the counties. Under the new reporting systemthe county authorities will also be asked to reportspecifically on the presentation of Sami culture.The Ministry of Culture considers that thebest way of achieving the objective of increasingthe Sami dimension in the Cultural Rucksack isthrough cooperation between the Sámidiggi andthe counties, with clear guidelines from the Ministryon the allocation of Norsk Tipping funds. TheMinistry points to the fact that cooperation agreementshave already been concluded between theSámidiggi and the counties of Finnmark, Troms,Nordland, Nor-Trøndelag, Sør-Trøndelag andHedmark, which emphasise the responsibility ofthese parties to ensure that Sami art and cultureare part of the Cultural Rucksack. The Ministrywill raise this matter with the Sámidiggi after thedebate on the present White Paper.For a period of time the government allocationsto the Cultural Rucksack will be diverted tothe efforts to introduce the programme in uppersecondary schools (see Chapter 7). This meansthat the programme content will have to befinanced from the Norsk Tipping funds at the disposalof the counties and municipalities and theordinary budgets of the institutions concerned.This also applies to the Sami cultural programme.The Ministry of Culture will ensure that the ordinaryallocations to cultural institutions will beaccompanied by clear guidelines stating theresponsibility of these institutions to promoteSami culture as part of their contribution to theCultural Rucksack.In the last few years the Sámidiggi hasreceived a general increase in the ordinary allocationsfrom the Ministry of Culture’s budget. TheGovernment wishes to earmark these funds as littleas possible and to attach the fewest possibleconditions. The Sámidiggi is free to allocate partof these funds to Cultural Rucksack activities, forexample by imposing conditions on the institutionsthat receive grants.Although the Cultural Rucksack offers manyproductions with a Sami content, more areBox 4.10 Examples of Sami-relatedactivities in the Cultural RucksackThe following are some of the many activitiesin the Cultural Rucksack related to Sami artand culture:– Rikskonsertene has arranged a school concerttour of a performance entitled “Startingwith yoik” (a traditional form of musicalexpression exclusive to the Sami).– Nordland County library and the SouthSami book bus cooperate with the CulturalRucksack on presentations of Sami literatureand theatre.– Sverresborg Trøndelag Folkemuseum hasa permanent programme for schoolchildrendealing with Sami culture.– In autumn 2007 Arts Council Norway gavea grant to a dance project for children andyouth involving a combination of traditionalyoik and contemporary dance.– In autumn 2007 the Cultural Rucksack inFinnmark County arranged a workshop oncreative writing headed by the young Samiwriter Sigbjørn Skåden. Skåden was nominatedfor the Nordic Council’s LiteraturePrize in 2007 for his first collection ofpoems, Skuovvadeddjiid gonagas.– For the school year 2007–2008 TromsCounty set up nine Sami projects in thefields of music, the visual arts, theatre, literatureand film. The museums of culturalhistory also provide activities relating toSami art and culture.needed. It is important that Sami artists, culturalworkers and cultural institutions cooperateclosely with county and municipal authorities ondeveloping productions for the programme.Those involved with the programme should alsoally themselves with regional and national institutionslike Rikskonsertene and Scenekunstbruketin order to cooperate on developing and presentingSami cultural productions. This will enableideas to be discussed, translated into projects andconsidered for inclusion in the Cultural Rucksack.It is particularly necessary to improve knowledgeabout Sami culture among those responsiblefor the Cultural Rucksack in southern Norway. Agood way of doing this would be if the Sami culturalinstitutions took the initiative in networks

48 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Futureand arenas established for the programme, sincethese are meeting places for organisers and producersof activities for the programme.The Sámidiggi and the Ministry of Cultureshould conduct a close dialogue on the presentationof Sami art and culture in the programme, forexample in connection with the existing consultationagreement between the Sámidiggi and theGovernment. The Ministry of Culture intends tofollow the efforts to develop the presentation ofSami culture closely in the years ahead.4.8 National minoritiesIn 1999 Norway ratified the Council of Europe’sFramework Convention on the Protection ofNational Minorities. The groups recognised asnational minorities in Norway are the Jews, Kvens(people of Finnish descent living in the HighNorth), Roma (Gypsies), the Romani People andSkogfins (people of Finnish descent living in thesouth-eastern part of the country). Knowledgeabout national minorities is one of the teachingobjectives in the national curriculum for primaryand secondary school, and by the seventh gradepupils should be able to name the national minoritiesin Norway and give a summary of their historyand living conditions. The national minoritieshave not occupied a very visible place in eitherthe school or the public arena, and it is thereforeimportant to present their culture in the CulturalRucksack.Thus the Cultural Rucksack can strengthenthe linguistic identity of these pupils through agreater emphasis on nynorsk in the presentationof art and culture. This will support the teachingobjectives and strengthen the school’s role asbearer of nynorsk culture and builder of linguisticand cultural identity.It is important that the county and municipalauthorities bear this linguistic perspective in mindin their efforts to develop the programme andwhen planning specific productions. Pupils taughtin bokmål should also be presented with a certainnumber of productions in nynorsk.4.10 Gender equalityWomen and men differ in their use of culture. Forexample, we know that girls read more literaturethan boys. The basis for an interest in art and cul-4.9 Presentation of art and culture innynorskThe Ministry of Culture is currently preparing aWhite Paper on a cross-sectoral language policy.This means that a language policy perspectiveshould be included in all other policy formationwhere appropriate. The aim is to strengthen theposition of the Norwegian language in generaland of nynorsk in particular.Nynorsk is the least used of the two versionsof Norwegian. If its position is to be strengthened,a larger number of cultural expressions and activitiesshould be presented to schoolchildren innynorsk. It is particularly important that pupilswho are taught in nynorsk should encounter awide range of cultural presentations in nynorsk atschool, in order to counteract the strong influenceof bokmål outside the school arena.Figure 4.11 “House Gymnastics”Prosjektet «House Gymnastics» handlar om å ta ibruk kropp og rom på ein ny måte. «House Gymnastics»er eit spanande prosjekt med dansekunstnarenGitte Bastiansen og fotografen IdaHjerkinn. Biletet viser elevar ved Dokka ungdomsskole.Foto: Ida Hjerkinn

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future49ture is usually laid at a young age, and influencesboth leisure activities and choice of career. Thusnot only are girls more active consumers of culturein their leisure time, they also tend to choosean education in cultural subjects more often thanboys.One of the strengths of the Cultural Rucksackis that it reaches all pupils, regardless of gender,social background or other traditional divisionsthat affect access to and interest in the differentforms of cultural expression. The programmeshould therefore reduce gender-based differencesin the use of culture.Since 2006 the Ministry of Culture has madechanges in the reporting system so as to gain abetter overview of the gender equality dimensionin the activities of cultural institutions. Thereseem to be considerable differences between thevarious cultural fields. Thus while men andwomen are fairly equally represented in somefields, in others there is a clear imbalancebetween the sexes. This is especially noticeable infilm, where the ratio of men to women is 80:20.Currently very few key positions in Norwegianfilm, such as director, producer or script writer,are occupied by women. The tendency is thesame for art museums, where reports reveal thatwomen artists are under-represented (about30:70); this applies to both the number of workspurchased and the number of works exhibited.If the goal of gender equality is to be achieved,it is important to be aware of the structural differencesin the cultural field. All those involved in theCultural Rucksack, whether they are artists,administrators or teachers, should therefore bearthe gender perspective in mind when choosingthe productions and art forms to be presented toschoolchildren.

50 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Future5 Organisation of the Cultural Rucksack – status and further developmentIn its evaluation, NIFU STEP stated that there wasa need to review the organisation of the CulturalRucksack with a view to simplifying it. More specifically,the report recommended clarifying thedivision of work between the school and culturalsectors, strengthening the cooperation arenas andfurther developing the bridge-building functionsof the various parties.As pointed out in Chapter 2, there is no needfor comprehensive changes to be made in theorganisation of the Cultural Rucksack. The consultationbodies pointed out that there seems tobe broad agreement that the present organisation,with its three levels and two sectors, helps toensure programme quality, cooperation acrossthe school and cultural sectors, and local ownershipand influence. Experience has shown that theorganisation should continue to be adapted toregional and local conditions, and that both sectorsat national level should facilitate and supportthe efforts at regional and local levels.Both the evaluation report and the consultationcomments showed that the line of administrationand division of responsibility need to be specifiedmore clearly. Good communication betweenall the administrative levels and the two sectors isrequired. The two sectors must have clearlydefined roles and responsibilities, but they mustalso cooperate on planning and implementing theprogramme. Steps should be taken to involve theDirectorate for Cultural Heritage more closely inthe cooperation.The Ministry of Culture cooperates closely withthe Ministry of Education and Research on thedevelopment of the programme, and the two ministriesare responsible for ensuring that their respectivesectors receive the same messages. The Ministryof Culture follows up the allocations andensures that they are being used as intended andthat the quality of the programme remains high.The cooperation between the ministries isorganised by a steering group headed by the Ministryof Culture. The steering group consists of astate secretary from each of the two ministries,and advises the Minister of Culture on the objectivesand activities of the programme and theblock grants allocated to the programme fromNorsk Tipping funds. The group evaluates mattersof policy and frames the priority areas of theprogramme.The evaluation report concluded that thecooperation between the two ministries on theCultural Rucksack has developed over time andthat there is greater agreement on the division ofroles and work.Further developmentThe steering group arrangement will be continued.It ensures cooperation between the schooland cultural sectors at ministry level and servesas an important meeting place between the twosectors. The Cultural Rucksack will continue to begiven priority in both ministries.5.1 The ministries and the steeringgroupThe Cultural Rucksack is organised as a cooperationbetween the school and cultural sectors atthree administrative levels. The Ministry of Cultureis responsible for the programme at national level.The Minister of Culture is responsible for the allocationof Norsk Tipping funds for cultural purposes,including the allocations to the Cultural Rucksack.5.1.1 The Secretariat for the Cultural RucksackA secretariat has the day-to-day responsibility forthe work on the Cultural Rucksack, and answersto the Archive, Library and Museum Authority inadministrative matters. The Secretariat follows upthe allocations from the Ministry of Culture to thenational and regional bodies, deals with reports,compiles statistics, provides information, operateswebsites, and establishes meeting places fornational and regional bodies.

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future51The Secretariat maintains contact with the variousbodies involved in the programme and facilitatesprofessional development, for examplethrough conferences, network meetings andbrainstorming sessions. It also advises the governmenton the programme on the basis of qualifiedevaluations. The Secretariat cooperates withthe Directorate for Education and Training onproviding information, developing networks andfacilitating professional development.The evaluation report and several of the consultationcomments claimed that the Secretariat’swork was inconspicuous and that there was someuncertainty and disagreement about its role andfunction. Several consultation bodies questionedthe Secretariat’s position in the organisation.When the Cultural Rucksack was established,the Secretariat was placed in the Archive, Libraryand Museum Authority. It was felt that placing itunder a subordinate agency to the Ministry ofCulture would ensure close cooperation with allthe bodies responsible for allocating Norsk Tippingfunds and strengthen the efforts to facilitateprofessional development. It was also felt that theexpertise and networks of the Archive, Libraryand Museum Authority would be important in thedevelopment phase of the programme. It wasunderstood from the beginning that the programmewould be developed with the minimumof government control and bureaucracy. The Secretariathas consisted of two employees duringthis period.Further developmentDuring the development phase there was a needfor an operative secretariat to take initiatives andserve as a prime mover in the developmentefforts. However, the Cultural Rucksack is nowmore firmly established; the structures are inplace and it is possible to concentrate on improvements.This means that networks of experts (seeChapter 6.2) should be given a more prominentrole as prime movers in the further developmentof the programme, and the Secretariat shouldhave a more general role. Thus its capacity fordealing with reports, statistics and analysesshould be strengthened.The Secretariat will therefore be moved fromthe Archive, Library and Museum Authority tothe Ministry of Culture. This will provide a linkwith the overall administration carried out by theMinistry, give more prominence to culture forchildren and youth in general and strengthencooperation between the Cultural Rucksack andthe rest of the cultural sector. The condition forthis move is that reporting should continue to behandled in cooperation with the Archive, Libraryand Museum Authority (see Chapter 6.5).The Secretariat will now be responsible for theoverall coordination of Cultural Rucksack activities.It will develop infrastructure, networks andmeeting places, carry out information activities,deal with reports and compile statistics. It willwork closely with the school sector, the culturalsector and executive personnel at all levels.Finally, it will prepare the meetings of the steeringgroup.5.1.2 The reference group for the CulturalRucksackA reference group of experts for the CulturalRucksack was active during the period 1 March2003 to 31 December 2007. The members werepersonally appointed from the cultural and educationsectors.A programme like the Cultural Rucksackrequires continuous discussions on content andform, and the decision-makers need to be able todraw on a broad range of contacts. It was particularlyimportant at first to gather many differentviews, and the reference group also helped to givethe programme the necessary legitimacy.In the evaluation of the Cultural Rucksack itwas pointed out that the reference group waslarge, represented many different interests andplayed a number of different roles. The terms ofreference were vague and the links with the steeringgroup were weak. The evaluator recommendedthat the members of such a group shouldhave greater cultural and educational expertiseand greater insight into systems thinking at alllevels, and that parents and teachers should berepresented.The Ministry considers that given the complexityof the programme and the many actorsinvolved, a permanent reference group for the furtherdevelopment of the Cultural Rucksack wouldnot be an optimal solution. When the referencegroup was appointed in 2003, the intention wasthat the members should represent most of thegroups of actors involved in the programme,while at the same time not being too large. However,the Ministry considers that this has beenonly partly successful. On the other hand duringthe development phase the group functioned asan arena for the exchange of views, and the mem­

52 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Futurebers have provided a good deal of important inputto the efforts to shape the policy for the programme.Further developmentIn order to promote a continuous and constructivediscussion on central issues, the Ministryintends to replace the reference group with amore flexible arrangement consisting of differentforums adapted to the issues at hand and in whichthe two sectors are represented. Examples ofsuch forums are dialogue conferences, consultationmeetings, brainstorming sessions and ad-hocgroups appointed to provide expert advice. Thisworking method will ensure that the necessaryinput for the further development of the programmeis provided and that the parties involvedare able to have their views heard.5.2 The education sector5.2.1 The Directorate for Education andTrainingThe Directorate for Education and Training isresponsible for the development of primary andsecondary education, and is the executive agencyof the Ministry of Education and Research. It wasestablished in 2004 as a replacement for theformer Læringssenteret. The Directorate has theoverall responsibility for supervising educationand the administration of the education sector,and for implementing legislation. It also compilesstatistics for primary and lower secondary education.Until now the Ministry of Education andResearch has delegated all responsibility foradministering the Cultural Rucksack to the Directorate.According to the new strategic plan for 2007–2010, Creative Learning – Art and Culture in Education,the Directorate will seek to ensure that theprogramme is integrated with the school’s educationalprogramme and is used to promote thelearning goals.5.2.2 Norwegian Centre for Arts and Culturein EducationThe Norwegian Centre for Arts and Culture inEducation was established on 1 January 2007 forthe purpose of implementing the government’seducational policy platform, as set out in theWhite Paper on art and culture in schools (ReportNo. 39 (2002–2003) to the Storting). The Centre,which is located at Bodø University College,received a grant of NOK 6 million from the budgetof the Ministry of Culture in 2007.The Centre is a national resource centre in thefield for pre-school, primary and secondaryschools and for the municipal schools of musicand the arts. One of its main tasks is to implementthe government’s strategic plan for art and culturein education.The main target groups are preschool teachers,art teachers at schools and teacher’s trainingcolleges, school principals, students, researchersand developers of learning materials. The Centrealso cooperates with other institutions in the fieldin Norway and the counties.Several of the consultation bodies felt that theCultural Rucksack should be integrated moreclosely with the education sector at the nationallevel, and the Centre will be able to play an importantrole in such efforts.Further developmentThe Ministry of Culture and the Ministry of Educationand Research will continue their efforts tocoordinate the activities of the cultural and educationsectors at the national and local levels, andBox 5.1 Fellesrådet for kunstfagene i skolen (the joint council for arts subjects in schools)The members of Fellesrådet are the followinginterest groups for dance, theatre, media subjectsand Norwegian as school subjects: Dansi Skolen, Landslaget for Drama i Skolen, Landslagetfor medieundervisning i skolen andLandslaget for norskundervisning. The twointerest groups for music and for art anddesign are no longer members, but continueto receive government grants that are channelledthrough Fellesrådet.The aim of Fellesrådet is to strengthen theteaching of aesthetic subjects in schools andpromote competence-building and cooperationbetween the various arts subjects in theeducation and training programmes. Thecouncil receives funding from the budget ofthe Ministry of Culture. In 2007 the allocationwas NOK 3.654 million, and for 2008 it is NOK3.991 million.

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future53will consider the role the Centre should play inrelation to the Cultural Rucksack.The Centre will be an important resource inthe further development of the programme and inthe efforts to involve the education sector moreclosely with the Cultural Rucksack. It will alsobuild competence in implementing the programmeand presenting art and culture, andtogether with the Secretariat for the CulturalRucksack it will be able to strengthen networksand other forms of competence-building.5.2.3 The county governor’s officeThe education department at the county governor’soffice (the county governor represents centralgovernment in the county) is an importantcooperation partner for the county. The mainresponsibility of the department is assuring thequality of primary and lower secondary schoolsthrough reports, evaluations and guidelines. Thedepartment also supervises the implementation oflegislation at all school levels and decides appealsin accordance with the detailed provisions of theEducation Act.Part of the department’s quality assuranceeffort is to seek to ensure that all levels of the educationsector are involved in the Cultural Rucksack.In accordance with the strategy for competencedevelopment in primary and lower secondaryeducation 2005–2008 (Ministry of Educationand Research 2004), the education department atthe county governor’s office also provides guidelinesfor the municipalities concerning competencedevelopment and cooperation betweenschool owners, universities, university collegesand other bodies involved in education.The education department has been responsiblefor the concert tours arranged by Rikskonsertenefor many years, but as from the schoolyear 2007–2008 the counties are taking over thistask.Further developmentIn the further development of the Cultural Rucksack,arrangements should be made for systematic,binding cooperation between the county culturaldepartment and the education department atthe county governor’s office. Ideally, this shouldbe included in the county’s plans for the CulturalRucksack.Box 5.2 Close cooperationIn 2002 the County Governor of Sør-Trøndelaginitiated a network project entitled “Creatingopportunities with the Cultural Rucksack”.The aim was to build competence in thefield of culture in schools. Seventeen of thecounty’s schools participated.In this project the schools drew up theirown plans for teaching art and culture, inwhich the Cultural Rucksack was one of severalelements. The teachers were aware of theprogramme and its potential to contribute tothe school’s educational efforts.As a result of the project, the participatingschools and the counties now cooperate closelyon the Cultural Rucksack; roles havebeen clearly defined and networks have beenstrengthened.5.3 The countiesThe county authorities have a special responsibilityfor the Cultural Rucksack. They distribute thelargest share of the Norsk Tipping funds andensure that cultural productions of a high qualityare available to the municipalities. They alsoassist municipalities in developing the programmein their areas, and coordinate programmeactivities at regional level.Today 80% of Norsk Tipping funds are allocatedto local and regional activities. In 2007 thisamounted to NOK 134 million. The counties allocatedNOK 122 million of this to activities forschools up and including to lower secondarylevel, NOK 6 million to seven counties for a pilotproject to introduce the programme in upper secondaryschools, and NOK 6 million to the sciencecentres. The funds to the counties were allocatedaccording to a distribution formula based on pupilnumbers, geographical distances and culturalinfrastructure in the county.The county authorities are responsible forensuring that cultural productions of a high qualityare made available to the municipalities. Atleast a third of the allocation must be spent on thepurchase and presentation of productions or onarranging tours. A more detailed overview ofthese activities is given in Chapter 4.2.

54 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureTable 5.1 Distribution of Norsk Tipping funds to theCultural Rucksack in primary and lower secondaryschools in 2007, by county (NOK)Østfold 6 290 729Akershus 10 808 543Oslo 7 933 998Hedmark 5 441 008Oppland 5 315 776Buskerud 6 242 535Vestfold 5 686 312Telemark 4 844 611Aust-Agder 3 712 832Vest-Agder 4 915 443Rogaland 9 762 535Hordaland 10 134 180Sogn og Fjordane 4 434 496Møre og Romsdal 6 924 971Sør-Trøndelag 7 021 312Nord-Trøndelag 4 558 477Nordland 7 693 991Troms* 5 501 404Finnmark 4 776 848* The allocation to Troms County included NOK 100 000 toSvalbard.Source: Ministry of Culture and Church AffairsAnother third of the allocation must be distributedto the municipalities, and the last third maybe allocated at the discretion of the individualcounty.The accounts for 2006 showed that half thecounties allocated one-third of the funds to municipalities,and that the remainder allocatedbetween half and two-thirds of the funds to municipalities.The counties play a major role in regionaldevelopment, and thus in administering regionalpolicy instruments. Most of them spend fundsfrom their own cultural budgets on the CulturalRucksack in addition to the funds from Norsk Tipping.Chapter 7 gives an overview of the incomeand expenses of the counties in connection withthe Cultural Rucksack in 2006–2007.The county authorities are responsible for cooperatingwith the education department at thecounty governor’s office and the municipalities, asschool owners, to ensure that the schools areinvolved in the Cultural Rucksack. Written agreementswith the municipalities ensure that allpupils are regularly able to participate in programmeactivities. The agreements also facilitateplanning and division of roles at these two levels.The county authorities are required to drawon regional and local cultural resources when drawingup their programmes, and cooperate withnational institutions that present art and culture toschoolchildren. Representatives of the appropriateuniversity colleges and the cultural and educationsectors in the region should also be involvedin the cooperation.The implementation of the Cultural Rucksackby the county is decided at the political level.When planning the programme, the county authoritiesmust consult municipalities, schools and thelocal cultural sector. The annual reports of thecounties must show how the county authoritiescoordinate, administer and contribute to the programme,as well as their networking and otherefforts to cooperate with municipalities. Thereports must also describe the cooperation withthe cultural and education sectors at county leveland with regional and national cultural institutions.Setting up networks involving municipalitiesand cultural actors in the region is an importantpart of the work of the county administration. Allcounties have a cultural coordinator for the programme,and about twice a year these attend meetingsarranged by the Secretariat to discusstechnical and practical questions.The evaluation report recommended that thelines of administration and bodies at county levelshould be reviewed in order to slim down theorganisation of the programme. It also recommendedthat the county authorities should take particularcare to ensure that target groups are consultedduring this process.Further developmentThe existing model, in which the counties andmunicipalities are responsible for administeringmost of the funds for the Cultural Rucksack, willbe continued. The arrangement has the advantagethat regional and local expertise is utilisedthrough cooperation and networks, which helpsto ensure the quality of the programme. The systemof regional touring productions also ensuresthat large numbers of pupils are able to benefitfrom them, since tours can be organised morerationally under this arrangement.Each county is responsible for organising aprogramme of high-quality productions adaptedto local conditions and provided by qualified pro­

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future55fessionals for the pupils in its schools. Regionaland local freedom of action will continue to be akey principle.It is also important for the county to ensurethat every municipality and school is involved inthe programme, that all pupils are reached andthat the quality is high at every level. TheMinistry considers that the best way of achievingthese aims is through close cooperation betweenthe regional and municipal authorities and acrossthe school and cultural sectors. In the furtherdevelopment of the programme, the county andmunicipal authorities should enter into cooperationagreements specifying, for example, the divisionof work and competence-building.Close cooperation between the countygovernor’s office and the municipalities in theircapacity as school owners is required if the schoolsector is to be involved in the Cultural Rucksack.The introduction of the programme in uppersecondary schools will also require cooperationbetween the county education department andthe school principals in the county. The countyauthorities should establish procedures that promotedialogue with the users. Since the county isalso the regional cultural heritage authority, thiswill ensure the quality of the cultural heritage activitiesin the programme.Good digital tools for logistics and reportingare an important condition for the work of thecounty authorities (see Chapter 6.5).5.3.1 The counties of Nordland and Akershus– examples of two different models forimplementing the Cultural RucksackThe counties of Nordland and Akershus haveboth succeeded in fulfilling the objectives of theCultural Rucksack, but by means of differentmethods. The counties are very dissimilar; Nordlandhas a scattered population and wide geographicaldistances, while Akershus is denselypopulated, has a great number of schools, many ofthem large, and is close to the major cultural institutionsin the capital.The strengths of the model adopted in Nordlandare that there is strong local enthusiasm andengagement in the Cultural Rucksack, and thatindividual schools and municipalities have beenclosely involved in decisions about programmecontent. This local engagement is the result ofintensive efforts by the county authorities.The strength of the Akershus model is thatconsiderable expertise with regard to productionsin all branches of art and culture for the CulturalRucksack has been developed at regional level.The county has set up an organisation called kultur.akershus(www.kulturakershus.no), whichorganises productions in all fields of culture. Theorganisation can draw on a network of producersfor each cultural expression, and has developedadvanced new presentation methods in the fieldsof for example the cultural heritage, film andcrossover art. Several of the productions by kultur.akershushave been used in other countiesand in national arenas.NordlandThe county of Nordland has about 33 500 schoolpupils at 252 schools in 44 municipalities. Thecounty’s share of Norsk Tipping funds for the CulturalRucksack amounts to around NOK 7.7 million,and the county also allocates NOK 2.6 millionfrom its own cultural budget to the programme.The latter funds are used for administration,including the arrangement of school concerts.The county re-allocates 50% of the Norsk Tippingfunds to municipalities that have an approvedplan for a programme of activities under the CulturalRucksack. These funds are used for projectsinitiated by the municipality and for the purchaseof cultural productions. Bodø Municipality haschosen to receive a direct transfer of Norsk Tippingfunds, and therefore receives its share of thecounty’s funds in addition (see Chapter 2.3 andsection 5.4 for details).Nordland has four priority areas for its strategyfor the Cultural Rucksack: competence-building,local development projects, art productionsand regional priority areas. The regional priorityareas cover productions that the individual municipalitylacks the capacity or the expertise todevelop.Nordland started its efforts to develop the programmeby concentrating on local developmentprojects, thus ensuring local engagement fromthe beginning. Currently 41 of Nordland’s 44municipalities have drawn up their own plans forthe Cultural Rucksack in their schools. Theseplans have been decided at the political level, andall the municipalities consider the Cultural Rucksackto be an important contribution to the community.There is good contact between the municipalitiesand the county, and the latter serves as primemover, adviser and quality assurer of programmecontent. Contact between the county and the

56 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Futureschools takes place primarily through the municipalcultural coordinator.During the school year 2006–2007 the countyarranged for at least two theatre productions andtwo school concerts in all 44 municipalities. Thecounty programme also included activities in thefields of the visual arts, cultural heritage, film, literatureand crossover art.In this model the county authorities have chosento give priority to activities that provide practicalexperience of art forms and cultural expressionsand involve direct meetings with artists.This has met with a positive response, and visitsto artists’ workshops have become a very popularactivity.The county authorities themselves considerthat the greatest challenge is to persuade peopleto think of the Cultural Rucksack not just as anenjoyable intervention in the school day, but as animportant and active part of the children’s education.AkershusAkershus has about 73 000 pupils at 262 schoolsin 22 municipalities. In 2007 the Norsk Tippingfunds allocation to the Cultural Rucksack in thecounty amounted to NOK 10.8 million, and thecounty used NOK 7 million from its own budget.The county allocates 58% of the Norsk Tippingfunds to the municipalities. Lørenskog Municipalityhas chosen a direct transfer, and thereforereceives 100% of its share of the funds.When the Cultural Rucksack was introducedas a nation-wide programme in 2003, Akershushad already established a number of cultural presentationprogrammes of its own. In addition toconcerts through Rikskonsertene, the county hadset up Pilotgalleriet, a network for presenting thevisual arts, and Mediefabrikken, a resource centrefor film-making. Since 1993 Pilotgalleriet hasbeen a well-established network for presentingthe visual arts to all the schools in 19 municipalities,and Mediefabrikken provides professionalguidance in the field of film to all schoolchildrenin the county.When the Cultural Rucksack was established,Akershus decided to use the programme to coordinateall cultural activities for schools in thecounty. The authorities have made intensiveefforts to offer a wide range of cultural productionsand activities, and arrange tours so that allpupils are able to encounter professional artistsand cultural workers in all fields of culture.Box 5.3 “Spacestation Nordland”Spacestation Nordland is a touring exhibitionthat shows life at the International Space Station(ISS). Astronauts from all over the worldwork and live at the real ISS, and at the exhibitionthe pupils are able to experience whatliving there involves in practice. What is it likeworking in a weightless environment? Whatdo the astronauts eat? How do they go to thelavatory? The pupils design and build theirown space station under the guidance ofartists in theatre and the visual arts.In Nordland the project was extremelysuccessful in terms of both content and presentation.It was both a cultural experienceand a lesson in physics, astronomy and philosophy.The project was funded by NordlandCounty in cooperation with the NorwegianAviation Museum. The latter provided personneland the exhibition hall, while the countypaid the artists and financed the pupils’ travelcosts.In response to the evaluation by NIFU STEP,the county authorities conducted a user survey onthe Cultural Rucksack (Line Prøis Kristiansen,2007). Pupils and school and municipal culturalcoordinators in four municipalities were interviewedabout the way the programme was integratedwith the school day and how the schoolsorganised it. The pupils were also asked abouttheir response to the individual activities (seeChapter 2.4).5.4 The municipalitiesIn cooperation with the counties, the municipalitiesare responsible for developing a coordinatedprogramme under the Cultural Rucksack for allthe schools in their area. As school owner, themunicipality is also responsible for ensuring thatthe programme is integrated with the school’sother activities and viewed in relation to the goalsof the strategic plan for art and culture in education.The counties allocate between one- and twothirdsof the Norsk Tipping funds for the CulturalRucksack to the municipalities in their region.The allocation key is decided by the counties and

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future57municipalities in cooperation, but the municipalitieshave to be allocated at least one third. Theallocation key for the individual municipalities isthe same as that used for the allocations for qualitydevelopment in primary and lower secondaryschools. The funds are to be used for qualitydevelopment only and may not be used to pay thecost of a permanent or visiting teacher. Reportsfor the school year 2006–2007 show that the countiesallocated a total of NOK 53 million of theNorsk Tipping funds to the municipalities, whichis above the required one-third (see Chapter 7.1).The municipalities of Bergen, Bodø, Lørenskogand Karmøy have received their share of thefunds at the county’s disposal directly, at theirown request. This means that they do not participatein the county programmes but organise alltheir own activities under the Cultural Rucksack.Until now the Ministry has made it a conditionthat only municipalities with 30 000 or moreinhabitants may participate in this arrangement(see also Chapter 2.3).There are great differences between municipalitiesin the amount of effort they put into theCultural Rucksack. Many of them have done agreat deal, drawing on local resources, takingadvantage of the best programmes offered by thecounty and creating their own innovative projects.Others have not made much progress with theirprogrammes.The municipalities report to the county, not toa national body. Thus the Ministry does not atpresent have reliable figures on which to base acomplete overview of the content and scope of themunicipal programmes. The reporting system isbeing further developed with a view to providingthe Ministry with better information about theactivities in the different municipalities (see Chapter6.5).Reports for the school year 2006–2007 showthat 203 municipalities have formalised their cooperationwith the county in the form of a writtenagreement between the individual municipalityand the county, setting out the parties’ duties andresponsibilities.The reports also show that all the municipalitiesin the country, apart from the four thatreceive direct transfers, cooperate with the countyauthorities. This means that each municipalitysubmits a plan to the county with a summary ofhow it intends to implement the programme in itsarea, on the basis of which the county disbursesthe municipality’s share of Norsk Tipping funds.In many municipalities the Cultural Rucksack programmeis incorporated in the municipal plans forthe school and cultural sectors and in the individualschools’ annual plans.The counties play an important role in providingsupport for the efforts of the municipalities.For example, a number of counties and municipalitieshave a well-functioning system of culturalcoordinators that ensures cross-sectoral cooperation.In many cases the county has a coordinatorin each municipality, and many municipalitiesreport good experience of cooperation with culturalcoordinators at the schools. The figures forthe school year 2006–2007 show that 243 municipalitieshave a system of cultural coordinators.Sixteen counties have supported competencebuildingmeasures in the school sector and 14counties have supported competence-buildingmeasures in the cultural sector.Figure 5.1 “Spacestation Nordland”Pupils in the district of Salten make their ownmodel of outer space.Photo: Norwegian Aviation MuseumFurther developmentQuality assurance is a challenge for all the municipalities,and in many cases too little attention hasbeen paid to quality in terms of the pupils’ responses.It is also important to encourage the municipalitiesto be more courageous and innovativewhen selecting and developing productions. Themunicipalities should consider cooperating withother municipalities as a way of ensuring that alarger number of pupils are able to participate inactivities of a high quality.A distribution formula by which a larger shareof the funds is distributed to the municipalitieswould ensure greater engagement among schoolowners and the schools themselves, but this

58 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureBox 5.4 The art of arriving and the art ofpreparing for an eventSogn og Fjordane County has published abrochure with advice and guidelines for culturalcoordinators at schools, and a similar onefor artists on tour under the auspices of theCultural Rucksack. This enables both partiesto make thorough preparations for the event.(See for example http://sff.ksys.copyleft.no/home/, site in Norwegian.)would make it more difficult to conduct qualityassurance, organise tours, and maintain networksand other forms of cooperation at regional level. Itwould also mean that the municipalities wouldhave to finance the administration of the programmeover their own budgets.The evaluation report and several of the consultationcomments stated that schools and teachersshould participate more often in the forumswhere decisions concerning the Cultural Rucksackare made, which would promote cross-culturalcooperation. Thus the municipalities shouldensure that schools are given the opportunity togive input to the content and organisation of theprogramme.The Ministry considers that it should be up tothe individual county and municipality to decide incases where a municipality, or a group of municipalitiesin cooperation, wishes not to avail itself of thecounty programme but to receive its total share ofthe Norsk Tipping funds as a direct transfer. Therequirement that a municipality has to have over 30000 inhabitants in order to qualify for a direct transferwill be abandoned. However, the municipality orgroup of municipalities must be able to ensure thatits programme is based on the principles of the CulturalRucksack, and that the parties agree on howthe programme should be implemented.Municipalities that wish to participate in thisarrangement must submit plans setting out howthey intend to ensure that their programme includesall forms of cultural expression. The plansmust show evidence of political involvement, useof municipal resources, participation in networksand established cooperation between the schooland cultural sectors. The same requirements ofinnovation and quality assurance as those thatapply to county programmes apply to such municipalprogrammes.5.5 Schools and municipal schools ofmusic and the artsThe school leadership and teachers are thebridge-builders between the pupils and the CulturalRucksack. The teacher is an important rolemodel for the children with regard to art and culture,and must make use of the Cultural Rucksackin the pupils’ education. This should be facilitatedby preparatory and follow-up work with the classin the case of each activity or event. The activitiesshould be used in the efforts to achieve the learninggoals and should be organised to fit in withthe school’s activities in general.It is important that schools link the content ofthe programme and the pupils’ appreciation of thevarious cultural expressions with the ordinaryschoolwork. It is also important that the artistsand cultural workers present their productions ina way that takes account of what the pupils arecurrently learning at school.The Cultural Rucksack must be a wellplanned,attractive part of the school day. Thecounty or municipality must plan the programmewell in advance so that the schools can be notifiedin time to include the activities in the semi-annualplan. This will enable teachers to ensure that thepupils’ participation and response extends beyondthe actual visit.Several of the consultation bodies pointed outthe importance of involving the school leadershipin the Cultural Rucksack. An enthusiastic schoolprincipal is in most cases a condition for the successof the programme. The system of school culturalcoordinators ensures that the school isbought into the process and simplifies communicationbetween the parties involved. These coordinatorsalso serve as a link with the municipal and/or county administration.As school owner, the municipality should beresponsible for establishing such arrangements.Some municipalities set aside resources for remunerationand cultural and educational input forschool cultural coordinators, and a number ofcounties do the same for municipal cultural coordinators.Many schools have good experience of involvingpupils in the planning and preparation of theartists’ visits (see Box 4.1).The municipal schools of music and the artshave replaced the former music schools. TheMinistry of Culture’s strategic plan for art and cul­

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future59Box 5.5 The Cultural Rucksack in Vestre Slidre MunicipalityTwo of the schools (Røn and Slidre) in VestreSlidre, Oppland County, have adopted thesame objectives and cooperate closely witheach other and the local school for music andthe arts. The two schools have a total ofaround 230 pupils. They make great efforts tointegrate culture in general and the CulturalRucksack in particular with school activities,and since 1996 have established links withprofessional artists and cultural workers forthe development and presentation of projects.The schools have also made good use of thevarious tours arranged by the county.In 2006–2007 the schools organised a projectentitled “Culture for everyone. Music andthe arts take over the school”. The aim was toallow more pupils to follow lessons in themusic and arts school during ordinary schoolhours, and twice a week the school day isextended to incorporate a half-hour lesson forall the pupils.What is interesting about this effort is thatthe schools are aware of the fruitfulness ofusing professional artists, local cultural lifeand cultural history in the pupils’ education.The schools’ goals for the programme areenjoyment, inspiration, participation, creativityand inclusion. Their motto is: culture hasa use for everyone!ture in education points out that these schools canserve as resource centres that cooperate withschools, voluntary workers in the education andculture field, and local cultural life. Given educationalguidelines, the arts and music schools canalso involve schools and teachers more actively inthe programme. The municipalities are responsiblefor facilitating such processes.Figure 5.2 A doll-making workshop in SvolværPupils at Svolvær school visit the doll-makerUlrike Quade. The initiative is the result of cooperationbetween the Cultural Rucksack in NordlandCounty, the school and Nordland Visual Theatre.Photo: Geir-Ove Andersen/Nordland Visual TheatreIn recent years the council for the municipalschools of music and the arts has initiated anumber of large projects that aim to develop competencein this field among teachers and pupils inthe ordinary school. One of these projects, KOM(which stands for “a creative childhood”), providesschool principals and teachers with networksand meeting places and guides them indeveloping and presenting educational culturalproductions. KOM gives schools an opportunityto work in depth on larger projects with smallergroups than is possible with the Cultural Rucksackalone, which is aimed at all pupils.Professional artists and cultural workers whoalso work for the music and arts schools areinvolved in the same way as other local artists andcultural professionals in developing and presentinglocal productions as part of the Cultural Rucksack.However, it is important to separate the roleof music or arts teacher from that of professionalpresenter of a cultural production.

60 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Future6 Particular priority areas in the further development of the Cultural Rucksack6.1 Expansion of the Cultural Rucksackto upper secondary schoolIn its report to the Ministry of Culture in 2006, theArchive, Library and Museum Authority concludedthat the Cultural Rucksack should beexpanded to include day-care institutions andupper secondary school as well. The Governmentnow intends to introduce the programme in uppersecondary school.Pupils in upper secondary school are 16 to 18years of age, a phase in their lives when they arefacing important choices. They are having todecide on issues such as who they are, what kindof further education they should choose andwhere they are going to live. Art and culture cangive these young people valuable space in whichto reflect on these questions, and provide sharedexperiences that may be lacking in the ordinaryschool day.One of the principles of the Knowledge PromotionReform is that school pupils should bepresented with forms of art and culture that havean original perspective or express a sense ofcommunity, and that stimulate the pupils’ imaginationand creativity. The expansion of the CulturalRucksack will help to ensure that theseprinciples are followed in the teaching at all levels.The reform covers both primary and secondaryschool, and the general part of the nationalcurriculum and the principles on which theteaching is based apply to all school levels.Upper secondary school is the first step towardsfurther education and working life, and thepupils have to choose between a greater range ofsubjects, taught by more specialised teachers,than in lower secondary school.Young people who have completed lower secondaryschool or the equivalent have, on application,the right to three years of full-time upper secondaryeducation (section 3-1 of the EducationAct). The county is responsible for ensuring thatthis right is fulfilled. There are about 500 uppersecondary schools in Norway, which are mostlylocated in cities or urban areas, and around180 000 pupils in upper secondary school (excludingapprentices) were registered for the schoolyear 2005–2006.Many counties have offered cultural programmesdesigned for upper secondary pupils formany years. Thus there already exist a largenumber of cultural initiatives and programmes forthis age group that take account of the structureand content of upper secondary education.As in primary and lower secondary school, itwill be important to involve the school owners andthe schools themselves in the Cultural Rucksackprogramme at upper secondary level. Since thecounty is both the upper secondary school ownerand the authority responsible for administeringthe programme at county level, this should be asimple task, which means that a smaller amountof resources per pupil will be needed. At the sametime it is important that the school principals andteachers play an active role in incorporating art,culture and the cultural heritage into the ordinaryschool day.As in primary and lower secondary school, thesuccess of the programme requires cooperationbetween the school and cultural sectors. Theschools must play an active role in these efforts,and the county authorities must actively involvethe schools, for example by establishing networks.The division of responsibility between thesectors must be clearly defined and planning mustbe carried out as a cooperative activity.In addition to these efforts, the county authoritiesshould organise competence-building activitiesin the field of art and culture that are financedover their own budgets. Furthermore it will beimportant to involve the municipalities as well,since in many cases it will be an advantage tocoordinate the county programme with those ofthe individual municipalities. This will requirecooperation at the local level.Care must be taken to ensure that the principleof differentiated teaching and the requirementthat the Cultural Rucksack must be part of the

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future61Figure 6.1 “Mobile Art – Min verden” (MobilArt – My World)The photographer Jørn Hagen shows pupils at Gjøvik upper secondary school how they can use mobilecameras for creative photography. The figure shows an example of the pupils’ work.Photo: Pupil at Gjøvik upper secondary schoolschool’s academic programme also apply to pupilsin upper secondary school.The programme for upper secondary schoolshould ensure that all pupils are equally able toenjoy cultural activities of a high quality providedby professionals. Multicultural activities shouldalso be offered.Since the Cultural Rucksack was introduced,the parties involved – artists, cultural workers,county and municipal authorities and schools –have acquired a great deal of experience and expertisein the field, and this should be utilised in theefforts to introduce the programme at upper secondaryschool. It important to foster a commonawareness among all those involved that appreciatingart and culture is an important supplement tothe ordinary teaching at every school level.6.1.1 Pilot projects in seven countiesIn 2007 pilot projects were started in the countiesof Vest-Agder, Hordaland, Sogn og Fjordane, Møreog Romsdal, Hedmark, Oppland and Troms, all ofTable 6.1 Distribution of Norsk Tipping funds topilot projects in upper secondary school, 2007(NOK)Vest-Agder 1 000 000Hordaland 685 000Sogn og Fjordane 500 000Møre og Romsdal 1 000 000Hedmark/Oppland 1 500 000Troms 800 000Evaluering 500 000Source: Ministry of Culture and Church Affairswhich applied to participate. The Ministry of Cultureimposed the following conditions:– The project must ensure that all pupils areequally able to enjoy cultural activities of highquality provided by professionals.– Multicultural activities should also be offered.– The project must be planned and implementedin cooperation with the education sector, andthe division of responsibility between the sectorsmust be clearly defined.– Plans must be made for competence-buildingactivities in connection with the project that arefinanced over a different budget.The counties of Hedmark and Oppland are planninga joint programme for the schools in theirregions, so as to take advantage of the best availablecompetence in both counties. Several countiesintend to begin with a few schools and graduallyexpand the scope of the programme, and somecounties already have a programme but intend toexpand it.NOK 0.5 million has been set aside for evaluatingthe pilot project.6.2 Better networks and meetingplacesCounty networksThose who work with the Cultural Rucksack on adaily basis need to meet and exchange experiences.The network of county cultural coordinatorsmeets twice a year, and the meetings are sometimesattended by representatives from the educationdepartment at the county governor’s office.

62 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureA wide range of matters, including practicalproblems, are discussed at the meetings, whichmay also feature some form of cultural production.The county cultural coordinator decideswhen a meeting is to be held, and the Secretariatfor the Cultural Rucksack now plays a greater rolein the planning and organisation.There are also other networks such as the citynetwork, which comprises the cities of Oslo, Bergen,Trondheim, Stavanger, Drammen, Tromsø,Fredrikstad and Kristiansand.County meeting placesEach county also has cultural gatherings or similarmeeting places for schools, teachers, artists,cultural institutions and other cooperation partners.The organisation of such events varies fromcounty to county.Network meetings for the different forms of culturalexpressionAnnual meetings are held for each form of culturalexpression. The Norwegian Film Institutearranges an annual seminar on the Cultural Rucksackin connection with the Amandus Festival inLillehammer. Rikskonsertene arranges annualgatherings of producers and organisers of schoolconcerts. In recent years Scenekunstbruket hasarranged Showbox, with performances of newtheatre productions and a seminar. The NationalMuseum of Art, Architecture and Designarranges gatherings for those involved with visualarts productions, with excerpts from cultural productions.In recent years the Secretariat has cooperatedwith the Bergen International Festival on Nystemt,a two-day cultural festival for pupils andschools. Nystemt includes performances of productionsin different art forms and parallel withthe festival there is a seminar for adults from allover the country on the presentation of art andculture to schoolchildren. The performances areopen to pupils at schools in the Bergen area andto the seminar participants. The festival is thus animportant meeting place for the various parties inthe Cultural Rucksack.Network for national institutionsA number of national cultural institutions involvedin the Cultural Rucksack have formed a nationalnetwork called Riksforum, in which they canexchange experiences and discuss mattersrelated to the programme.The members of Riksforum are Rikskonsertene,the National Museum for Art, Architectureand Design, Scenekunstbruket, the NorwegianWriters’ Centre, the Norwegian Film Institute,Arts Council Norway and Norsk Form. Amember of the Secretariat attends the meetings.At present there are no representatives from thecultural heritage field.Riksforum is an important meeting place fordeveloping programme content and for qualityassurance of productions. It also has an importantcoordinating function. Representatives attendmeetings of the county cultural coordinators andhave regular contact with the Secretariat on mattersrelating to programme content.In its consultation response the NorwegianFilm Institute pointed to the importance of maintaininga national overview of each of the differentforms of cultural expression in order to ensure anequal distribution of professional, high-qualityproductions throughout the country. The NationalMuseum of Art, Architecture and Design emphasisedthat it was essential not to compromise onsubstance or the professional aspect, and Rikskonserteneproposed that all the institutionsinvolved should engage in a continual process ofevaluation and quality assurance. Scenekunstbruketwas also concerned about quality, and ArtsCouncil Norway stressed that both artistic andeducational principles must be followed.International networks and meeting placesInternational networks for presenters of cultureand the arts for schools provide an opportunityfor the exchange of experience and new perspectives,and cooperation across national bordersmakes it possible to arrange exchanges of productions,artists, cultural workers and others.The Ministry of Culture, the Ministry of Educationand Research, the Directorate of Educationand Training, and the Secretariat for the CulturalRucksack are all members of various internationalnetworks and forums.At present the Cultural Rucksack has few parallelsin other countries, and has aroused internationalinterest, especially in Sweden and Denmark.A Nordic network has now been established fornational institutions in the field of art and culturefor schools. The members are senior officials fromthe ministries of education and culture in the Nordiccountries, and representatives from key institu­

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future63Box 6.1 The Cultural Rucksack in Swedenand the Faeroe IslandsIn 2007 the Swedish Government launched aproject entitled “Creative Schools”, modelledon the Cultural Rucksack. At present the projectis designed for lower secondary school.In 2007 the Ministry of Culture in the FaeroeIslands, together with the Nordic Houseand the Faeroes association of local authorities,launched a pilot project for bringing liveart to folk schools all over the country. Theproject is also modelled on the Cultural Rucksack.ity in the existing networks established for theCultural Rucksack.Riksforum, the network of national culturalinstitutions, will be formalised, but it will be arequirement that all the cultural expressionsincluded in the programme are represented.The county network will also be formalised,and the Secretariat for the Cultural Rucksack willtake greater responsibility for organising meetings.The networks for the various culturalexpressions should also be stimulated to greateractivity, and the national institutions should bemade responsible for network activities in theirown sphere. Efforts will be made to involve thecultural heritage authorities more closely in thecooperation.tions in each country. The network is primarily anarena for the exchange of information.The Norwegian Centre for Art and Culture inEducation will promote the exchange of experiencewith other countries and foster cultural cooperationas part of the Government’s development efforts inthe High North. This will also raise awareness ofcultural diversity in the Cultural Rucksack.Further developmentIn order to ensure continued cooperation and theoptimal use of resources, it will be necessary tomaintain, strengthen and encourage greater activ-Box 6.2 The World Conference on Arts Education in Portugal in 2006There is increasing awareness among internationalorganisations of the importance of artand culture in education. In 1999 UNESCOlaunched an International Appeal for the Promotionof Arts Education and Creativity atSchool, and in March 2006 a world conferenceon arts education was held in Portugal.Among the main themes were quality of education,which included teacher training inartistic education and the importance of stimulatingcreativity, the impact of arts educationand the promotion of partnerships involvingschools, the commercial art sector andthe private sector. At the conference, whichwas attended by 1200 delegates from 97 counties,Norway’s Cultural Rucksack programmewas also presented.6.3 Competence developmentIt was stressed in the evaluation report, the consultationresponses and elsewhere that competencedevelopment is one of the greatest challengesin connection with the Cultural Rucksack.The field of competence required varies, andranges from the development and presentation ofproductions to educational competence.Work on the Cultural Rucksack is in itself aprocess in which the various parties are continuallygaining competence, but competence in presentingart and culture must also be built up systematically.Artists, presenters, museum curatorsand cultural workers need to know more aboutthe target groups and about how to develop productionsof a high standard for such groups.Many teachers need more knowledge about artand culture at the professional level and abouthow to organise preparation and follow-up in connectionwith the various activities.Today there are a large number of groups inthe school and cultural sectors working with competencedevelopment in connection with the programme,but their efforts are not always sufficientlycomprehensive or focused.Some of the major cultural institutions, likeRikskonsertene, the Norwegian Film Institute,Scenekunstbruket, the five university museums,the science centres, the National Museum of Art,Architecture and Design and the Archive, Libraryand Museum Authority, provide competencebuildingprogrammes in their fields for both thecultural and the school sectors. Seminars andmeetings for performers, teachers and othersworking with the programme are held regularly.

64 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureBox 6.3 Competence-building at the National Museum of Art, Architecture and DesignThe National Museum of Art, Architectureand Design offers a number of competencebuildingactivities for counties with which ithas framework agreements. One of these isKunsttorget. This is held every year for themembers of the Museum network, with talkson relevant subjects, a forum for presentersand working groups that present productionsthey have developed at the meeting. TheMuseum also arranges seminars for teachersand provides input to courses on presentationfor artists and cultural workers in the countiesbelonging to the network.The Centre for Art and Culture in Educationprovides higher and further education programmesfor employees in the school sectorwhose work includes the aesthetic subjects. Thenetwork Nettverk for estetiske fag and the interestgroups for the various aesthetic subjects alsoprovide and develop programmes and courses.Since the Norsk Tipping funds for the CulturalRucksack may not be used for competence-building,many counties, municipalities and culturalinstitutions have to set aside considerable fundsfrom their own budgets for competence-buildingactivities. Many counties arrange annual culturalgatherings and seminars for individuals workingwith the programme in their region; for exampleMøre og Romsdal County has been arrangingmeetings for school teachers, municipal culturalcoordinators, artists, and teachers at the municipalschools for music and the arts for many years.In some counties, for example Telemark, the educationdepartment at the county governor’s officeis included in the planning of such meetings.Other counties have similar arrangements, andsome municipalities hold courses for the culturalcoordinators in their areas.The county governor’s office is responsible forconducting surveys of the need for competencebuildingin the education sector as a guide formunicipalities, encouraging cooperation betweenschool owners and other cultural and educationalbodies, supervising competence developmentactivities among school owners and distributingthe available resources for these purposes.Further developmentThere is a need to strengthen and coordinatecompetence development in the field of art educationin the school and cultural sectors, and systematic,focused efforts will be made in this directionin the further development of the CulturalRucksack. Specialised competence must also bedeveloped in professional bodies in the variousspecialised fields.6.4 Research and evaluation strategySo far no overall plan or strategy for research andevaluation has been developed for the CulturalRucksack. Apart from the evaluation by NIFUSTEP in 2006, no research projects of any size havebeen commissioned at government level, althoughin 2007 NOK 0.5 million was set aside for evaluatingthe introduction of the programme in upper secondaryschools. In such a large programme there willalways be a need for research and development, asconfirmed by the report from the Research Councilof Norway, Kunnskapsbehov i kultursektoren(“Knowledge needs in the cultural sector”), and bya background document drawn up by NIFU.The background document proposes a type ofknowledge production for the Cultural Rucksackthat it considers will ensure research that is comprehensive,broad-based and of high quality. Itshould include systematic registration of the variousparties’ experience of the programme and thedevelopment of more theoretical insight. The documentoutlines a number of topics for researchand recommends making contact with theFigure 6.2 “Fargelys” (Coloured lights)Photo: Rune Sævig

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future65Research Council for an overall evaluation of theresearch being carried out.Research is needed on art education, forexample on how the presentation of art and culturecan promote the goals of the national curriculumand those of the various subjects. With moreknowledge in this field, new methods for integratingart and culture with other education activitiescould be developed.The work of the Centre for Art and Culture inEducation is based on research and developmentprojects that involve students and teachers. It alsocooperates with centres of expertise at thenational and international level.Further developmentThe Ministry of Culture and the Ministry of Educationand Research will draw up a strategy forincluding research and evaluation as a permanentelement in the future work on the Cultural Rucksack.The programme is in itself an excitingresearch topic, even outside the projects commissionedby the ministries.6.5 Better Internet-based toolsThere was broad agreement among the consultationbodies that good Internet-based tools wouldsimplify reporting, planning, information-sharingand logistics in the Cultural Rucksack. In addition,the various parties would like to see long-terminvestment in suitable digital tools for the programme.Reporting systemIn order to obtain a good overview of the CulturalRucksack throughout the country, reliable, quality-assuredinformation about the implementationof the programme in counties and municipalitiesis important. In cooperation with the Archive,Library and Museum Authority and the countiesthemselves, the Secretariat has developed anInternet-based reporting system for the counties,which includes figures from the municipalities.The reporting system is an element in the Authority’sefforts to compile statistics in the archive,library and museum sector.The Secretariat received the first reports fromthe counties in autumn 2007, and the preliminaryfigures for the content and scope of the counties’programmes for the school year 2006–2007 arediscussed in more detail in Chapter 4.2, whilethose for the counties’ revenues and expenditurein connection with the programme are discussedin Chapter 7.1. The reports have provided a certainoverview of how the counties use their allocationsfrom the Norsk Tipping funds, but atpresent the figures do not provide a good enoughbasis for evaluating the content and scope of theprogrammes offered by the municipalities.Information to schools, planning and logisticsA large programme like the Cultural Rucksackrequires an efficient system for tour planning andorganisation. If the schools are to benefit from thevarious activities it is important that they receiveinformation in advance so that they can prepareteachers and pupils. Since the responsibility foradministering and organising the programme lieswith the individual county and municipality, theymust choose their own information, planning andlogistics systems.Currently a number of different systems areused for information-sharing, tour planning andlogistics in connection with the Cultural Rucksack.Fourteen counties use the Internet-basedtool KSYS, which has been developed by the supplierin cooperation with a number of counties.The remaining five counties have developed theirown Internet-based tools. KSYS is also used bysome of the national institutions, such as theNational Museum of Art, Architecture andDesign, and the Norwegian Writers’ Centre.Internet-based tools like this can also be usedby other bodies involved in the programme.Schools can use them to keep up to date on theactivities available, and counties can use them topublish information about forthcoming tours,obtain information about the school schedule, andgenerate reports on the finances and content ofthe programme. The national institutions can alsouse them to publish information about activitiesand tours. Such systems make it easier for allthose involved to plan and document activities andshare information.The website for the Cultural RucksackThe programme’s website, http://www.denkulturelleskolesekken.no/,is an important source ofinformation and provides links to the most importantbodies involved: counties and municipalities,and to other relevant websites. It also publishespress cuttings and details of forthcoming confer­

66 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Futureences and meetings relating to the programme.The Secretariat is responsible for the content ofthe website and the Archive, Library andMuseum Authority for the technical operation.Further developmentThe efforts to obtain sound, reliable, qualityassuredinformation about the implementation ofthe Cultural Rucksack in counties and municipalities,and to improve report forms and procedureswill be continued. Special attention will be paid todeveloping a system that will provide clearerinformation about the activities of the municipalities.The county will be responsible for obtainingdata from the individual municipalities on thebasis of a standard report form sent to all municipalities.The intention is that the annual reportsfrom the counties and municipalities should providea reliable basis for published statistics on theprogramme.Information about the work being done by theschools in connection with the programme shouldalso be compiled, and the existing informationsystem for primary and lower secondary schools,GSI, will be a useful tool in this effort.In order to ensure the optimal use ofresources, a national institution should be maderesponsible for coordinating the different Internet-basedinformation, planning and logistics systemsused by the counties and national culturalinstitutions. A long-term strategy is also neededfor developing and maintaining the various systems.The possibility of linking the various information,planning and logistics systems with the officialgateway to culture in Norway, www.kulturnett.no(in English: www.culturenet.no), shouldalso be considered. Culturenet contains informationon events, institutions and individuals in thefields of art and culture, and shares many featureswith the information, planning and logistics systemsused in the Cultural Rucksack. Culturenetwas initiated by the Ministry of Culture, and isoperated by the Archive, Library and MuseumAuthority.The Ministry will therefore request theAuthority to coordinate the information, planningand logistics systems for the Cultural Rucksack.The systems should be coordinated with thereporting system for the programme, Culturenet,the Cultural Rucksack website and the websitebeing planned by the Centre for Art and Culturein Education. The Archive, Library and MuseumAuthority will also consider methods for operationalmaintenance and development of thesetools.6.6 Work contracts and transportarrangementsBoth the evaluation report and the consultationresponses pointed out that many bodies involvedin the programme were in favour of establishing anational standard regulating for example remunerationand contracts in order to ensure that artistsand performers in the different art formsworked under comparable conditions.Remuneration agreements are negotiated withthe individual artists’ organisations. Although it isnot always easy to compare agreements, the countiesand some of the national cultural institutionshave been cooperating for a long time on harmonisingpractices. These bodies are responsible forengaging artists and cultural workers, and thusfor the content of the programme.Transport for the pupils was another issueraised in the report and the responses. Transporthas to be arranged whenever the pupils are toengage in activities outside the school. In somecounties the schools themselves have to pay thecost of transport, while in others this is consideredpart of the programme and covered by thecounty or municipality.The details of work contracts or transportarrangements under the Cultural Rucksack cannotbe fine-tuned at government level, but theFigure 6.3 Svolvær primary and lower secondaryschoolSvolvær primary and lower secondary school wonthe Golden Rucksack for best school in the CulturalRucksack in 2007.Photo: Geir-Ove Andersen/Nordland Visual Theatre

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future67Ministry wishes to point to the need for harmonisationand standardisation, and encourages the Box 6.4 Best school in 2007counties and municipalities to take further stepsin this direction. The Ministry also wishes to pointout that the allocation key for Norsk Tippingfunds to the counties takes account of geographicaldistances in the county.6.7 The Golden Rucksack – best schooland best productionThe Cultural Rucksack has its own prize, theGolden Rucksack, which was awarded for the firsttime at the Bergen International Festival in May2007. The prize is awarded for the best school andthe best production, and the winners receivedNOK 100 000 each.The prize for best production goes to a productionthat as far as possible complies with the principlesand objectives of the Cultural Rucksack. Theproduction must show evidence of high quality atevery stage, including the artistic idea and/or thecultural project idea, content, technical and practicalimplementation, and adaptation to the age group.The prize for the best school goes to a schoolor group of schools whose programme compliesbest with the principles and objectives of the CulturalRucksack.Candidates for the prize are nominated bycounties, municipalities and various cultural institutions,and the jury contains representativesfrom both school and cultural sectors.The prize for 2007 went to Svolvær primary andlower secondary school and the project Jam!, pro-Svolvær primary and lower secondary schoolwon the Golden Rucksack for best school inrelation to the Cultural Rucksack in 2007. Thejury stated that the school had made systematicefforts for many years to establish permanentcooperation between visiting productionsand the school’s own cultural arena. Throughits planning and organisation of the programmeand competence-building activities,the school had made it possible for the pupilsto appreciate visiting productions from outsidethe school and integrate their experiencewith their ordinary schoolwork.duced by the group Adbusters in cooperation withthe National Museum of Art, Architecture andDesign. The jury emphasised that the school hadmade systematic efforts to integrate art and culturewith the school day, and that Jam! pushed backboundaries, challenged preconceived ideas and usedartistic media to make an impact on the participants.Further developmentThe Government’s intention is that the GoldenRucksack should be an annual event. The awardwill pay tribute to the schools and artists/culturalworkers who have made a special effort under theprogramme, promote the presentation of art andculture to schoolchildren and present good examplesof the programme.It will be important to find an arena for theaward of the Golden Rucksack that will attract alarge public, and the Secretariat is charged withthe task of making the award an important event.Box 6.5 Best production in 2007Figure 6.4 Jam!Pupils at Bjølsen lower secondary school takeaction against bullying and racism.Photo: Pupil at Bjølsen lower secondary school/JamThe project Jam! by Adbusters won the GoldenRucksack for best production under theCultural Rucksack in 2007. The aim of the projectwas to show children how to express theirviews through artistic media. The jury statedthat the project was impressive and thoughtprovoking,that it inspired reflection and madeuse of humour, and that it made the childrenaware of social attitudes and how culture canhelp them express their own opinions.

68 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the Future7 Economic and administrative consequences7.1 Current allocation modelThe Cultural Rucksack is a voluntary, non-statutoryarrangement financed by part of the surplusfrom Norsk Tipping, the state-owned gamingcompany. In 2007 the total allocation to the CulturalRucksack from the Norsk Tipping funds wasNOK 167 million. In accordance with the decisionby the Storting after consideration of the WhitePaper The Cultural Rucksack (Report No. 38(2002–2003) to the Storting), 80% of the allocationis earmarked for local and regional efforts and20% for national programmes.In 2007 the allocation to local and regional programmes,a total of NOK 134 million, was distributedas follows:– NOK 122 million to the counties for implementationof the Cultural Rucksack in primary andlower secondary schools in their regions. Theallocation key is based on the pupil numbers,geographical distances and cultural infrastructurein each county (Table 5.1). The countieshave to use one-third of the funds for providingprogrammes of cultural activities, artistic andcultural productions and presentations of artand culture in their regions. One-third must beallocated to the municipalities for use in providingmunicipal programmes. The allocation keyfor the municipalities is the same as that usedfor the allocations for quality development inprimary and lower secondary schools. Eachmunicipality must submit a summary of itsplans for implementing the programme in itsarea in order to receive its share of the NorskTipping funds. The counties may use theremaining third of the Norsk Tipping funds forprojects they consider of particular value intheir region. (See also Chapter 4.3.)– NOK 6 million was distributed between the sixscience centres: Bergen Science Centre, theScience Centre of North Norway, Innlandetsvitensenter, Vitensenteret i Trondheim, Jærmuseetand the Norwegian Museum of Scienceand Technology, to be used for developingand presenting cultural activities under theprogramme. (See also Chapter 4.3.6.)– NOK 6 million was earmarked for a pilotproject to introduce the Cultural Rucksack inupper secondary schools in the counties ofVest-Agder, Hordaland, Sogn og Fjordane,Møre og Romsdal, Hedmark, Oppland andTroms. NOK 500 000 has been set aside for anevaluation of the project. (See Chapter 6.1.)In 2007 the Norsk Tipping funds to national institutionswere allocated for measures to promote fieldsof art and culture that face special challenges. Thefunds, which amounted to a total of NOK 33 million,were distributed between music, film, theatreand the visual arts. Currently none of these fundsare being allocated to literature or the cultural heritage.The funds were distributed as follows:– NOK 19 million to Rikskonsertene for the productionand presentation of school concerts.– NOK 6 million to theatre production and performances.Of these funds, Arts Council Norwayreceived NOK 3 million for administeringa support scheme for new productions, andScenekunstbruket received NOK 3 million forthe support of productions by independent theatregroups.– NOK 5 million is allocated for productions andpresentations in the visual arts field. Of these,the National Museum of Art, Architecture andDesign received NOK 2 million, and Nordnorskkunstnersenter, Norsk Form, Trondheim kunstmuseum,Lillehammer Art Museum, SørlandetArt Museum and Rogaland Museum of FineArts received NOK 0.5 million each.– NOK 3 million was allocated to the NorwegianFilm Institute for administering a supportscheme for the production and presentation offilms for the Cultural Rucksack.7.2 New allocation model for financingthe introduction of the CulturalRucksack in upper secondaryschoolsThe cost of introducing the programme in uppersecondary schools depends on the level of ambi­

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future69tion – how many different forms of culturalexpression should be presented to the pupils, andhow resource-demanding the presentationsshould be. Another factor to be considered is howthe programmes should be planned and organised.The upper secondary schools are owned bythe county. These schools are fewer in numberand larger than the schools at lower levels. Thisshould mean that it will be simpler to implementthe Cultural Rucksack at this level and that thecost per pupil will be lower. It should also be possiblein some cases to coordinate the upper secondaryprogramme with that of other schools.However, the Ministry realises that the introductionof the Cultural Rucksack in upper secondaryschools will require a new allocation model for thedistribution of Norsk Tipping funds and a substantialincrease in the allocations to the programme.The Government has proposed that the NorskTipping funds that in 2007 were allocated tonational cultural institutions, the science centresand the pilot project for upper secondary schoolsshould for the next few years be used to financethe introduction of the programme at upper secondarylevel. This will be done in several stages:in spring 2008 the allocations to several nationalinstitutions and the science centres will be halved.These funds are intended to cover their programmesfor autumn 2008. The remainder of theNorsk Tipping funds allocated at national levelwill be used for the upper secondary schools.In 2009 and 2010 an increasing share of theallocations will be diverted to extending the programmeto upper secondary schools. At the sametime funds will be set aside in the ordinary budgetof the Ministry of Culture for strengthening theinstitutions whose allocations are being reduced,but that will be continuing their efforts under theCultural Rucksack. The planned increases areNOK 19.5 million in 2009 and a further NOK 19.5million in 2010 from the Ministry’s ordinarybudget. Whether or not the plans will be realisedwill depend on the budget situation in the nextfew years.A more detailed evaluation must be made ofthe distribution formula for scaling back theNorsk Tipping funds to the institutions andwhether there is a need to add funds in addition tothe redistribution outlined in Table 7.1. An assessmentwill also have to be made of whether theredistributed funds as shown in Table 7.1 will besufficient. Steps will have to be taken to ensurethat important cultural institutions and activitieshave sufficient funds for further development ofthe programme content.The most suitable institutions for the innovationand development of programme content willhave to be considered during the ordinary budgetprocess every year. Institutions and groups thathave already demonstrated creativity in thisrespect should be given special priority.7.3 Economic and administrativeconsequences for the state andthe local government sectorAll the counties have chosen to participate in theCultural Rucksack and have assumed responsibilityfor administering Norsk Tipping funds for thispurpose. All except four of the municipalities inthe country have established cooperation with theappropriate county on implementing the programme.These four have chosen not to becomepart of the county efforts but to implement theirown programmes, and thus have been directlyallocated their share of the funds from the county.Until now the condition for such direct allocationhas been that the municipality has over 30 000inhabitants, but the Ministry proposes to changethis system. In the future any municipality will beeligible to receive its entire share of funds directlyas long as it can show evidence that it will be ableTable 7.1 Projections for the redistribution of funds for the Cultural Rucksack in 2007–2010 (NOK million)2007 2008 2009 2009 2010 2010NT funds* NT funds NT funds Budget NT funds BudgetPrimary, lower secondary 122 000 122 000 122 000 122 000Upper secondary 6 000 25 500 25 500 45 000National institutions,science centres 39 000 19 500 19 500 19 500 39 000Total NT funds 167 000 167 000 167 000Budget funding 19 500 39 000*Norsk Tipping funds

70 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureTable 7.2 Summary of accounts for the counties2006–2007RevenuesNorsk Tipping funds 122 157 038Own funds 45 517 930Refunds from RK and NSKB* 27 353 322User fees from the municipalities 17 039 498Interest 1 878 730Other 915 993Total 214 862 511ExpenditureContent/production/presentation 106 833 239Transfers to municipalities 53 560 242Networks/competencebuilding– cultural gatherings 1 982 517Networks/competencebuilding– other 2 912 035Administration – labour costs 29 922 212Administration – other 5 761 040Other 1 245 582Total 202 216 867*RK – Rikskonsertene, NKSB – ScenekunstbruketSource: Secretariat for the Cultural Rucksackto comply with the goals and principles of the CulturalRucksack. The municipality and the countymust agree on how the arrangement should beimplemented. (See Chapters 2.3 and 5.4.)In accordance with the guidelines set by theStorting in connection with the White Paper onthe Cultural Rucksack, the Norsk Tipping fundsmust be used as far as possible to present moreart and culture to the individual pupils. They arenot to be used for administration or competencebuilding,which must be covered by the county ormunicipality itself. This means that municipalitiesthat choose to receive a direct share of Norsk Tippingfunds will also have to bear all the accompanyingadministrative costs. Competence-buildingmust be financed from the ordinary budget allocationsto competence-building in the school andcultural sectors.In cooperation with the counties, the Secretariatfor the Cultural Rucksack has developed areporting system for the programme. The systemprovides a good overview of the counties’ revenuesand expenses in connection with the programme,but at present the figures for the municipalitiesare not sufficiently reliable. The Secretariatwill continue its efforts to improve thereporting system, especially with regard to theuse of Norsk Tipping funds by the municipalities.The system should give the national authorities asufficient overview of how the Norsk Tippingfunds are being used without imposing too great aburden on the municipalities. (See Chapter 6.5.)It is reasonable to assume that the countieswill use more of their own funds for implementingthe Cultural Rucksack in upper secondaryschools. It can also be assumed that they willmake use of their experience of implementing theprogramme at lower school levels in these efforts.This means that the introduction of the programmein upper secondary schools will proceedrelatively smoothly.Table 7.2 shows the preliminary figures forcultural presentation from the accounts of thecounties for the school year 2006–2007. The category“own funds” includes remuneration andfunding for productions and presentations in thecounty or by institutions for which the county isresponsible. The counties’ expenses for the productionof school concerts are refunded by Rikskonsertene,and Scenekunstbruket refunds theexpenses incurred in connection with theatre performancesarranged through Scenekunstbruket.(See Chapter 4.3.3.)Many counties have a subscription arrangementunder which the subscribing municipalitiespay a user fee. Rikskonsertene also has a systemof user fees. Thus municipalities pay a user fee toRikskonsertene in the case of a concert subscriptionand to the county in the case of other artforms.The figures show that for the school year2006–2007 the counties transferred NOK 53 millionof the Norsk Tipping funds to the municipalities,which amounted to more than the obligatoryone-third. This means that the counties havefound it advantageous to transfer more funds tothe municipalities than they are formally obligedto. The counties’ administration costs also coverother cultural presentations that are not financedby Norsk Tipping funds.In accordance with the guidelines set by theStorting in connection with the White Paper onthe Cultural Rucksack, there is a relatively lowlevel of government control of the programme.During the period since the Cultural Rucksackwas established the Secretariat has only consistedof two employees (see Chapter 5.1.1).

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future71The principle of a minimum of governmentcontrol will continue to apply in the further developmentof the programme.In the present White Paper it is proposed tomove the Secretariat from the Archive, Libraryand Museum Authority to the Ministry of Culture.This will link the work on the Cultural Rucksackmore closely with the overall work of the Ministryand give greater emphasis to the work with childrenand youth. Cultural networks should begiven a more important role as prime movers inthe further development of the programme, whilethe Secretariat should work at a more generallevel.The expansion of the Cultural Rucksack toupper secondary schools is not expected to havefurther administrative consequences for the state.The economic consequences for the state are discussedunder section 7.2.7.4 Introduction of a new allocation keyfor Norsk Tipping funds in 2009In 2009 a new allocation key will be introduced forthe Norsk Tipping funds, according to which culturewill receive a smaller share (36.5%) than itdoes at present (50%). In the White Paper on policyfor the voluntary sector (Report No. 39 (2006–2007) to the Storting), it is assumed that the totalturnover will be sufficiently large to ensure thatthe recipients continue to receive the sameamount of funds. In the cultural sector, the distributionwill be the same: two-thirds are allocatedby the Storting and one-third by Royal Decree.Forty per cent of the funds allocated by RoyalDecree will be allocated to the Cultural Rucksack,30% to cultural buildings and 30% to Frifond (theallocation to voluntary work targeted at childrenand youth). The Government assumes that theamount of Norsk Tipping funds for the CulturalRucksack will be approximately the same as atpresent: NOK 167 million. If the amount shouldturn out to be less, the efforts to extend the programmeto upper secondary schools must beadapted accordingly.The Ministry of Culture and Church Affairshereby recommends:that the recommendation of the Ministry ofCulture and Church Affairs concerning A CulturalRucksack for the Future should be submitted tothe Storting.

72 Report nr. 8 to the Storting 2007–2008A Cultural Rucsack for the FutureReferences and background literatureBooks and reportsABM-skrift [Archive, Library and Museum Authority]No. 30 (2006): Bibliotekreform 2014 – delI: Strategier og tiltak [Library reform, Part I:strategies and measures].ABM-skrift [Archive, Library and Museum Authority]No. 31 (2006): Bibliotekreform 2014 – delII: Norgesbiblioteket – nettverk for kunnskap ogkultur [Library reform, Part II: Nationallibrary – a network for knowledge and culture].ABM-skrift [Archive, Library and Museum Authority]No. 41 (2006): Statistikk for bibliotek ogmuseum 2006 [Museum and library statistics2006].ABM-skrift [Archive, Library and Museum Authority]No. 39 (2007): Lykketreff. Om de godemøtene i Den kulturelle skolesekken [Successfulactivities under the Cultural Rucksack programme].Austbø, Anne Tove (ed.) (2000): L97 og museene[National curriculum 1997 and the museums],Norsk museumsutvikling 3:2000.Bamford, Anne (2006): The Wow Factor. Globalresearch compendium on the impact of the artsin education. UNESCO, Waxmann Verlag,Münster.Borgen, Jorunn Spord and Synnøve S. Brandt(2006): Ekstraordinært eller selvfølgelig? Evalueringav Den kulturelle skolesekken i grunnskolen[Extra-ordinary or self-evident – evaluationof the Cultural Rucksack in primary and lowersecondary schools]. NIFU STEP Report 5/2006.Buland, Trond et al. (2007): Lokal grunnmur girnasjonalt byggverk?, Evaluering av tiltaksplanen«Gi rom for lesing!» – Delrapport 3 [Localfoundation or national building? Evaluation ofthe action plan “Make Space for Reading!”,part 3 of the report], SINTEF Teknologi ogsamfunn, Trondheim.Eeg, Camilla and Elisabeth Sørheim (2006): Medegne øyne I. Om formidling av samtidskunst[With their own eyes I. On presenting contemporaryart]. Nasjonalmuseet/GAN forlag.Haugsevje, Åsne Widskjold (2002): Inspirasjoneller distraksjon? Evaluering av forsøket med«full pakke» profesjonell kunst- og kulturformidlingsom del av den kulturelle skolesekken i Buskerud[Inspiration or discussion? Evaluation oftrial project on the presentation of art and cultureby professionals in Buskerud County],Telemarksforskning, Bø, Arbeidsrapport nr.10.Högkvist, Stina (2006): Med egne øyne II. Om formidlingav videokunst [With their own eyes II.On the presentation of video art]. Nasjonalmuseet/GANforlag.Kristiansen, Line Prøis (2007): Den kulturelle skolesekkeni Akershus – En brukerundersøkelse[The Cultural Rucksack in Akershus – a usersurvey], HiO-rapport nr. 2, Oslo UniversityCollege.Sogn- og Fjordane fylkeskommune (2006): Kulturkontakten.Informasjon til kulturkontaktaneog skulane [The cultural coordinator. Informationfor cultural coordinators and schools].Research Council of Norway (2003): Kunnskapsbehovi kultursektoren [Knowledge needs inthe cultural sector].Kunsten å være kirke – om kirke, kunst og kultur[On art, culture and the church] (2005): Verbumforlag, Oslo.Lidén, Hilde (2001): Den kulturelle skolesekken.Modeller for kultur-skole samarbeid, sett nedenfra[The Cultural Rucksack. Models forschool–cultural sector cooperation], NorskMuseumsutvikling, 2001.Lidén, Hilde (2004): Tørrfisken stinka, men kahyttenvar topp – En oppfølgingsstudie av to modellerfor organisering av Den kulturelle skolesekken[A follow-up study of two models for theorganisation of the Cultural Rucksack], ISFrapport 012, 2004.Røyseng, Sigrid and Ellen K. Aslaksen (2003): Pionereri regional kulturformidling – Evalueringav Turneorganisasjonen for Hedmark [Pioneersof cultural presentation at the regionallevel – evaluation of Hedmark Touring Organisation],Telemarksforskning – Bø [TelemarkResearch Institute], Rapport nr. 201.

2007–2008 Report nr. 8 to the StortingA Cultural Rucsack for the Future73Rønning, Anne (2003): Evaluering av Turnéorganisasjoneni Østfold [Evaluation of Turnéorganisasjoneni Østfold, responsible for the CulturalRucksack in Østfold County], StiftelsenØstfoldforskning, OR.25.03.Den kulturelle skolesekken – forsking, utvikling ogevaluering [The Cultural Rucksack – research,development and evaluation], NIFU skriftsserienr. 21, 2003.Strategies, action plans and White PapersBroen og den blå hesten [Action plan “The bridgeand the blue horse”] (1996), Ministry of Education,Research and Church Affairs.Gi rom for lesing! Veien videre [“Make Space forReading!” The road ahead] (2007), Directoratefor Education and Training.Handlingsplan for landsdekkende formidling av billedkunst,kunsthåndverk, arkitektur og design[National action plan for the presentation ofarchitecture, design and the decorative andvisual arts] (2005), National Museum of Art,Architecture and Design.Kompetanse for utvikling. Strategi for kompetanseutviklingi grunnopplæringen 2005–2008 [Strategyfor competence development in primaryand lower secondary school 2005–2008](2004): Ministry of Education and Research.Læreplanverket for Kunnskapsløftet [National curriculumfor the Knowledge Reform] (2006):Ministry of Education and Research.Skapende læring. Strategiplan for kunst og kultur iopplæringen [Creative learning. Strategy forart and culture in education] (2007): Ministryof Education and Research.Report No. 61 (1991–1992) to the Storting: Culturefor Our Time, Ministry of Culture andChurch Affairs.Report No. 38 (2002–2003) to the Storting: TheCultural Rucksack, Ministry of Culture andChurch Affairs.Report No. 39 (2002–2003) to the Storting on artand culture in schools, Ministry of Educationand Research.Report No. 48 (2002-2003) to the Storting: CulturalPolicy up to 2014, Ministry of Culture andChurch Affairs.Report No. 30 (2003–2004) to the Storting: A Culturefor Learning, Ministry of Education andResearch.Report No. 22 (2006–2007) to the Storting on film,Ministry of Culture and Church Affairs.Websites:www.regjeringa.nowww.denkulturelleskolesekken.nowww.kultureltmangfold.nowww.rikskonsertene.nowww.scenekunstbruket.nowww.norskkulturrad.nowww.nasjonalmuseet.nowww.abm-utvikling.nowww.dvoted.sewww.kunstkultursenteret.nowww.utdanningsdirektoratet.nowww.nfi.noThe following are the most frequently used abbreviationsin the text:NIFU STEP – the evaluator of the project, a bodythat conducts studies on education, researchand innovation.Norsk Tipping funds – from the allocation to cultureof the surplus from Norsk Tipping, thestate-owned gaming company.Rikskonsertene – the Norwegian Concert Institute.Scenekunstbruket – The National Touring Networkfor Performing Arts.

Published by:Norwegian Ministry of Culture and Church AffairsThe Secretariat for the Cultural RucksackTlf: +47 23 11 75 00e-mail: info@denkulturelleskolesekken.nohttp://www.denkulturelleskolesekken.no/oversettelser/english.htmCover illustration: Geir HansenInternet address: www.government.noPrinted by: Norwegian Government Administration Services - 11/2008