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Mums Gone To Iceland V2
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Mums Gone To Iceland V2


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  • The three-day conference had 250 participants ranging from young people to industry and academia representatives as well as policy makers. There were presentations from scientists with expert knowledge on schools as a framework for developing innovation and creativity, and from business people engaged in creating the right framework for innovation in a business context.
  • Mih � ly Nagy, a representative of European Commission. He challenged countries to use their knowledge-base and creativity to find the answers at local, regional, national and community level.
  • Ambassadors for creativity and innovation have been advising the EU, writing commandments that include:
  • It is important that the Welsh Assembly Government in Wales does not underestimate the opportunities presented within the Further education sector to promote creativity through lifelong learning through the provision of adult and community education.
  • will describe how lifelong participating countries should co-operate in the coming decades. It has within it the following Strategic Objective:
  • Unlike Wales’s comparable Dynamo programme, JA-YE, is part funded from industry. It was evident in this speakers presentation that industry takes great pride in the part it is playing in turning around Norway’s education system. Investing in Enterprise Education was important to him because he sought employees who have discovered the ability and willingness to learn continuously – and do it. This was how he defined the role of Entrepreneurship in schools and colleges within Norway- Johan H. Andresen jr. is owner and Chief Executive Officer of a privately held Norwegian investment company Ferd, which has an annual turnover of EUR 2.7 billion
  • This business owner from Norway recognised that knowledge can become outdated, but the attitude to seek new understanding can last a lifetime.
  • In her own Icelandic research the professor has sough to define that which is being done in arts education and how it is done, to make a judgment about the quality of arts education in Iceland and to show the possibilities and challenges, both current and future. In Wales’s FE sector we also share some of Iceland’s problems in respects of Teacher Education. For example, Iceland has a shortage of qualified teachers in remote areas and the aim and vision of teacher education is unclear and mixed. In respect of professional development, again there are similarities between Iceland and FE in Wales.
  • For example, beyond the specialised teachers, teacher confidence and expertise to teach arts and creative education is low, particularly in the compulsory school. Postgraduate education is not generally accessible to teachers that are in full-time employment, except through ‘sabbatical’ provisions and t here are untrained teachers working in arts education. Professional development of artists is also a key issue in both countries.
  • Gordon Torr is the author of the book, ‘Managing Creative People’- claims that the extraordinary growth of creative businesses, such as film, video games, music, broadcasting, publishing and advertising, has shifted the traditional focus of management from the organization of skills and resources to that of what he calls ‘the mysterious art of mining the imagination’.
  • Torr does not believe it’s possible to teach a student to have a creative personality which he defines to be a flexibility of thought, ambition & drive, arrogant, introvert, lack of warmth, open to experience;
  • In revolutionary mood we all resolve to facilitate those creativity stimulations in the workplace - freedom to experiment, good project management, resources, demarcation, redundancy, encouragement, recognition, time, challenge and pressure ❾ . except that we can’t! Think about these creativity and innovation killers and think about our institutions. In a class we firstly teach constraint i.e. sit down and be quiet – head teachers aren't managers as teachers some are poor project managers. Head teachers can be disinterested in creativity and our schools and colleges are certainly places of surveillance, operating on a basis of status quo. Government cuts in spending often lead to lack of good resources, and classrooms are often places of built competition with enormous time pressures that require learners to move onto the next . Teachers and parents often use bribery. Without a doubt creativity killers exist in the classroom, the challenge is to bring creativity into classroom and encourage partnerships and co-operation in education, rather than competition.
  • Anna Croft
  • How can we get people involved in the creative industries to be involved in education? Focusing on arts alone gives a very narrow view of the creative industries, other domains and skill sets such as digital innovation need to be included. A very narrow view can close arts off from young people who could be engaged with a broader definition. The broader the roots the better so you need partnerships with arts and cultural communities and industry. Often digital innovation offers opportunities for free partnerships on a global scale. One of the challenges would be to change the mindset of young people, rather than being consumers of culture can we educate them to be creators?
  • Transcript

    • 1. Mum’s gone to Iceland
    • 2. Innovation and Creativity in the hands of the young
    • 3. Threefold long-term challenges for Europe . economic . societal (Europe’s aging population) . environmental (including climate)
    • 4. Ambassadors for creativity and innovation
    • 5.  
    • 6. Commandments include:
      • Nurture creativity in a lifelong learning process
      • Make schools and universities places where students and teachers engage in creative thinking and learning by doing
      • Promote a strong, independent and diverse cultural sector that can sustain intercultural dialogue
    • 7. Education and Training (‘ET 2020’) Strategic Objective 4: Enhancing creativity and innovation, including entrepreneurship, at all levels of education and training
    • 8. Entrepreneurship Education Programme Junior Achievement-Young Enterprise (JA-YE)
    • 9. Companies know less about the future than ever before…..
      • expected changes occur unexpectedly fast
      • overflow of information
      • tomorrow’s businesses haven’t been created yet
    • 10. Professor Anne Bamford
      • more focus on developing creativity in schools
      • more emphasis for integrating creative learning across all curriculum areas.
    • 11.
      • Nearly 20% of the total workforce of under 24 year olds are employed in the cultural industries, the highest in Europe (Eurostat cultural statistics 2007).
      • Iceland has one of Europe’s lowest levels of students in the arts in higher education (only 2.6 %)
    • 12.
      • Who can say it’s wrong to present a semi-circle like this?
      • ‘ Locked up thoughts’ about how things should be are stopping us from seeing possibilities and new solutions to our problems
    • 13. Gordon Torr
      • creativity is the creation of ideas
      • defeat of habit
      • making things that people find remarkable
    • 14. Creativity and innovation killers:
      • Constraints
      • Evaluation
      • organisational disinterest
      • over regard for the status quo
      • lack of resources
      • Competition
      • time pressure
      • Bribery
      • surveillance
    • 15. Organisation Patronage
      • employees must spend 20% of their time not working
      • 80 % of Google's innovations have come from this time
    • 16. Why is creativity so important to us?
      • Economic Driver - knowledge is primary to economic productivity and we see achievement as excellence and creativity
      • Social Driver - we now ask where are we going at each point in our lives
      • Technological Driver - creativity is possible and demanded
    • 17.  
    • 18.
      • Education has been depicted as taking knowledge and skills and giving it to someone else.
      • Can such an education system, focusing on knowledge and skills encourage active participation?
    • 19.
      • create an environment that is broad
      • expose staff and students to as many as possible craft skills.
      • bring creativity into classroom
      • encourage partnerships and co-operation in education
    • 20. Feeling uncomfortable is a sure sign that something is changing!
      • True creativity happens when a person takes more than a half days journey away from their comfort zone and never returns, thereby expanding the zone.