Open school – open to the world

Ebbe Hoyrup
CEO, LMS – Live Music in Schools
Chairman, Young Audiences Music Committee


Wonders of the world – and education

In Denmark the term ”Open School” was introduced in 2014 as a part of the latest reform of the public school system. In short, it is about increased interaction between schools and the surrounding society in the form of sports clubs, museums, businesses and cultural institutions. To me this is a most encouraging development towards enriching education by realizing the learning and the “bildung” that the wonders of the world can offer. It is also an opportunity to bring school and its surrounding in closer touch with each other and avoid that schools become small parallel universes.

The best way to learn is through play – and we play the best when we are totally absorbed in what we are doing, in a state of seriousness and joy. In an open school many realities can be invited inside and make a great difference if we can attach a pedagogical handle to them. Experiences, inspiration, enthusiasm and magical moments can be the sparks that ignite the joy of learning, and they can supply a lot of raw material for knowledge and insight. Also for kids having difficulties with the traditional school form. It means offering more “languages” to grasp the world and to evolve as a human being.

Professor David Kolb says that learning to require at least four facets: concrete experience, reflective observation, abstract conceptualization and active experimentation. Schools of today are strong in conceptualization and reflection. Experience and active experimentation are strengthened considerably when the wonders of the world are brought into play.

Good teachers have of course always involved the outside world in their teaching. Nevertheless, the potential is far greater if the structures and systems of schools, art, culture, sports and local associations are tuned towards cooperation, and I think it is the duty of all parties to commit to that wholeheartedly.



To truly vitalize the school system, the cooperation with the outside world must build on professionalism and quality in the meeting between the various fields. The required professionalism is largely a new one, focusing on the common “room” in which the cooperation takes place, and it must have full respect for both the school and the outside partners. Furthermore, it must add a professional view on what it takes to create a successful encounter and possess skills and knowledge on available options and methods.

It is important that school is school and outside partners are what they are. Authenticity in experiences, encounters and processes are vital for establishing a solid common ground. For instance, an artist should not be a teacher, and a teacher not an artist. Instead, they should both contribute with the skills that are unique for them and their profession.  It is vital that we have a focus on quality in in the contributions from both the artist and the teacher, and in the design of the encounter. The challenge is to make two worlds meet in a fruitful way that promotes experience, inspiration and learning.


Enthusiasm and structure

Enthusiasm is very, very important for successful projects. But in the bigger picture it is paramount to have systems and structures that can support the enthusiastic individuals and make their good projects last and thrive. Good initiatives deserves not to dry out if one teacher leaves. Also there should be possibilities for knowledge to dissiminate in teams, between schools, municipal school administrations and professional circles. It all depends on time for professional dialogue, support from management and available experts to consult.

Enthusiasm must be present all through the food chain, and involving school with the outside world offers many advantages: Pupils will get different and more varied experiences and inspirations, and should be involved in decisions and get responsibility also. Teachers will obtain more inspiration and new eyes on their subject. Parents will see kids that are more excited, and they may actually be involved themselves. Schools will get a closer integration with the local society, and municipalities will get stronger cohesiveness and will benefit from better use of existing resources. Finally, the whole society will benefit from having more well-educated citizens with a stronger and wider cultural foundation.


Helpful systems in schools

There are many things we can do to systematically back up school relations to the outside world. One thing would be to involve pupils in decision-making and responsibilities as we do in the Danish KulturCrew system. Pupils in KulturCrews are active planners and organizers of concerts, theatre and dance performances etc. in their school and often in their local society too.

For teachers it will be important to have an “open-school-coach” available, maybe based in the school library/media center. Such a coach would have competencies to advice on local and national offers from art institutions, museums, companies etc. and would be able to advice and give feedback in planning subjects, aesthetical learning processes and so on. This will require some further training and education of the coaches.

The “open school coaches” should have access to a municipality based “open school consultant” who could also be responsible facilitator for school-to-school networking. Furthermore this consultant should be up to date with national and regional schemes, recent development in the field, evaluation practises etc. Luckily, many municipalities in Denmark already have this kind of person employed.

On a national level, a close contact between ministries of education and culture is of great importance. General policies, support services, teacher training and research are areas where the national administration has a great role to play.


… and in the surrounding world

Outside the walls of the schools, all the different partners and collaborators must also be ready to adjust themselves to the common “room” created with the school. It means that they have to familiarize themselves thoroughly and respectfully with the mission, raison d’etre and circumstances for the schools. This includes will and appetite for dialogue with the educational world. These cultural, artistic and other partners have to have a professional approach in targeting their services in a way that make them relevant in the educational agenda ruling in the schools.

Can you put such demands on every artist, football trainer or business owner? Of course not. Here the “cultural umbrellas” or competence centers come into the picture. In Denmark Levende Musik I Skolen ( is one of them. They are important channels to the wonders of the world, and their task is to be super sharp in making the raw material of the surrounding world relevant for pupils, and to be experts in presenting it in a way that makes sense – without losing any authenticity on the way.

It is also relevant to expect the umbrellas to cooperate and share experiences and knowledge to ensure quality and continuous dynamics in the their work.


Set the course, start moving  

So, there is plenty to do. But at the same time there are many who can contribute from each their starting point. And the nice message is, that in many countries it is not even as much a question of more money as a question of better focus and stronger consciousness. A lot of valuable competences, activities and knowledge is already available. The understanding of the common goal seems to be somewhat missing, and a stronger focus on professionalizing the mediator role between school and art etc is also needed to glue things together. It should be a possible task for any wealthy society – especially when the gain is better, more joyful and sparkling learning and education!


November 2016

God struktur fremmer Åben Skole

Kort oversigt – og en lille ønskeliste
Af Ebbe Høyrup, koncertdirektør Levende Musik i Skolen

Fem ord er vigtige, når det drejer sig om en vellykket struktur af Åben Skole:

  • netværk
  • dialog
  • kvalitet
  • enkelhed
  • rigtig pris

Det er erfaringen fra Levende Musik i Skolen, som siden 2007 har haft gode resultater med netværks-modellen Musik i Tide.

Hvis en lærer for alvor skal kunne drage nytte af omverdenens virkeligheder i sin undervisning, skal det være enkelt at orientere sig om mulighederne, og man skal kunne få faglig, kollegial sparring. Der skal også være faglig kvalitet i både indholdet og processen. Endelig skal en evt. pris være overkommelig og opleves fair. Disse grundforudsætninger skal være til stede, for at man kan opbygge en god netværks-struktur og en god dialog.

Kontaktpersonen på hver skole er ansvarlig for aktiviteterne. Meget gerne elev-ansvar, fx i form af KulturCrew, der planlægger, afvikler, laver PR m.m.
Ønskes: forankring omkring det pædagogiske læringscenter med vejlederfunktion der kan inspirere og facilitere Åben Skole aktiviteter.

Kontaktperson indgår overordnede aftaler med større aktører og koordinerer mellem skoler. Holder bl.a. et årligt dialogmøde med repræsentanter fra alle skoler. Ønskes: Åben Skole koordinator, som kan inspirere og vejlede skolernes Åben Skole vejledere, hjælpe i forhold til regler, attester, kørsel o.l.

En konsulent koordinerer på tværs af kommuner i et område. Hjælper med evaluering og anden opfølgning.

Hos LMS sker der kvalitetssikring, udvikling af koncertproduktioner og undervisningsmateriale, koordinering. Her tilknyttes også det statslige tilskud til aktiviteterne.

Struktur er godt, men uden tæt dialog og fælles ejerskab, nytter det ikke! Her er nogle eksempler på vigtig dialog:

  • En lærer med en idé skal kunne få sparring på sin skole – Åben Skole-/kulturvejlederen skal kunne hjælpe med overblik, inspiration.
  • En vejleder skal kunne få faglig sparring og yderligere overblik hos kommunens Åben Skole koordinator.
  • Lærere skal kunne mødes på kommunebasis og planlægge, udveksle, evaluere i dialog med kommunalt og nationalt niveau.
  • Ved udvikling af produktioner, projekter, aktiviteter og undervisningsmaterialer skal det nationale niveau være i løbende dialog med lærere.
  • Alle aktører skal kunne udveksle evalueringer mellem hinanden på en enkel måde.

Åben Skole og verdens mange virkeligheder

En historisk mulighed

Undervisning – smag på ordet. Undervisning er kunsten ”at vise undere”. Vi har de sidste par år fået begrebet Åben Skole ind i folkeskolen, og det er for mig at se en unik mulighed for at vores skole kan trække mere på de undere, der findes i verden. En mulighed, der åbner for et kvantespring i styrket læring, trivsel og menneskelig dannelse. En mulighed, der sikrer at skolen aldrig bliver et parallel-univers, men en stærkt integreret del af samfundet.

Vi lærer bedst, når vi leger – og vi leger bedst, når vi bliver fuldstændig grebet og opslugt, og oplever en ægte blanding af alvor og lyst. Med en åben skole kan omverdenens mange virkeligheder inviteres ind og gøre en stor forskel, hvis man kan få et pædagogisk håndtag på dem. Oplevelse, inspiration, begejstring, engagement og magiske øjeblikke kan være gnister, der antænder lysten til læring og samtidig er råstof til reel viden og indsigt. Også for elever, der har det svært med den traditionelle skoleform. Åben Skole er et tilbud om flere ”sprog” til at begribe verden og dannes som menneske.

Uddannelsesforskeren David Kolb siger, at vellykket læring består af mindst fire facetter: oplevelse, refleksion, begrebsdannelse, og aktivt eksperiment. Skolen er stærk i begrebsdannelse og refleksion, men oplevelse og aktive eksperimenter kan løftes betydeligt, når omverdenens virkeligheder bringes i spil.

Den gode lærer har naturligvis altid brugt omverdenen i sin undervisning, men potentialet er langtfra udnyttet, og skolens, kulturens, foreningernes og erhvervslivets systemer er endnu ikke gearet til at støtte godt nok op. Med Åben Skole er der nu politisk vægt bag ønsket om at inddrage skolernes omverden, og det er op til alle involverede at opbygge de strukturer og samarbejdsflader, der gør det muligt.

Hvis Åben Skole for alvor skal vitalisere læring, dannelse, trivsel og samvær i skolen, må der være solid faglighed og kvalitet i mødet mellem skolen og omverdenen. Det er i høj grad en ny faglighed, der fokuserer på det fælles rum som Åben Skole opererer i, og som må bygge på fuld respekt for både skolen og omverdenens aktører. En faglighed som bidrager med et blik for hvordan man skaber et vellykket møde og som har viden om muligheder og metoder.

Det er vigtigt, at skole er skole, og omverden er omverden. Det er netop det autentiske, der gør hele forskellen i det fælles rum. En kunstner skal ikke være lærer og læreren skal ikke være kunstner, men hver især skal bidrage med det, de er bedst til. Det er afgørende, at der er fokus på kvalitet i både lærerens og kunstnerens bidrag og i det fælles møde. Formidlingen består derfor i, at få to verdener til at mødes på en frugtbar måde, der giver både oplevelse, inspiration og læring.

Ild og opbakning
Ildsjæle og engagerede mennesker betyder meget for løsningen af enhver opgave, men i større, samfundsmæssig sammenhæng er det afgørende, at der er systemer og strukturer, der understøtter dem. Gode initiativer må ikke dø, hvis en bestemt lærer rejser, og der skal være mulighed for at lade gode ideer brede sig i teams, på tværs af skoler, kommuner og fagkredse. Det kræver, at der er tid til faglig dialog, opbakning fra ledelsen, og at der er fagpersoner at rådføre sig med.

Engagementet må også gennemsyre hele fødekæden, og Åben Skole byder på nogle oplagte fordele i den sammenhæng: Eleverne får anderledes og varierede oplevelser og allerhelst også indflydelse og ansvar. Lærerne får inspiration og nye øjne på deres fag og stof, forældrene vil opleve mere begejstrede børn og bliver måske selv inddraget. Skolen bliver en tydeligere del af lokalsamfundet. Kommunen får større sammenhængskraft og udnytter eksisterende resurser bedre, og samfundet som helhed får mere bredt dannede og uddannede borgere.

System i tingene
Der er mange ting, vi kan gøre for at bakke Åben Skole op på en systematisk måde. Eleverne kan fx gives ansvar og inddrages i beslutninger, planlægning og afvikling af forløb, som det sker med KulturCrew på en del skoler allerede. Her er eleverne aktive arrangører af koncerter, teaterforestillinger, dans med mere på skolen.

For lærerne vil det være vigtigt at kunne få hjælp fra en vejleder eller i PLC (skolens pædagogiske læringscenter – tidligere skolebiblioteket). Her er brug for en faglighed, der kan rådgive om hvilke muligheder, der findes lokalt og på landsplan, og som også kan være sparringspartner omkring ideer til læringsforløb knyttet til omverdenen, æstetiske læreprocesser og lignende. Det vil indebære, at der åbnes for efteruddannelse som Åben Skole Vejleder eller Kulturvejleder på linje med læsevejledere.

Den enkelte skoles vejledere skal også kunne få sparring med en kommunal Åben Skole konsulent, som også faciliterer at skolerne netværker med hinanden, og som har fingeren på pulsen, når det drejer sig om regionale og nationale tilbud og ordninger, ny udvikling, evaluering og så videre. Mange kommuner har heldigvis allerede etableret sådanne funktioner.

På nationalt plan er et tæt samspil mellem ministerierne for undervisning og kultur meget vigtigt, og her er man heldigvis også godt i gang. Overordnede politikker, konsulentordninger, efteruddannelse, forskning på området, internationalt ud- og indblik er områder, hvor staten spiller en afgørende rolle.

… også i omverdenen
Udenfor skolens matrikel må de mange samarbejdspartnere også være klar til at tilpasse sig det fælles rum, man skal skabe sammen med skolen. Det betyder bl.a., at man må sætte sig grundigt og respektfuldt ind i, hvad skolens opgaver og vilkår er. Det indebærer en vilje og lyst til dialog med skoleverdenen og en evne til professionelt at målrette sine tilbud, så de giver mening i den lærings-dagsorden som styrer skolen.

Kan man forlange det af den enkelte kunstner, virksomhedsejer eller idrætsleder? Nej, selvfølgelig ikke. Så her kommer organiseringer som fx kunstneriske kompetencecentre som Levende Musik i Skolen, skoletjenester o.l. ind i billedet. De er vigtige formidlere af omverdenens virkeligheder, og deres opgave er at være knivskarpe på, hvordan det ”råstof”, man tilbyder, er relevant for eleverne og hvordan det præsenteres så det giver mening – uden at det går ud over autenticiteten. Her er det også relevant at forpligte de forskellige centre og tjenester til at samarbejde og dele erfaringer og viden for at sikre kvalitet og udvikling i formidlingsarbejdet.

Sæt kursen
Der er altså masser at gøre. Men også mange, der kan bidrage fra hver deres udgangspunkt. Og det gode budskab er, at det snarere handler om retning og bevidsthed end om flere penge. Der er masser af værdifulde kompetencer, aktiviteter og viden, men de savner blikket for at se det fælles mål klarere, ligesom der skal sættes ind med mere fokus på formidlerkompetencen, som kan binde tingene sammen. Det burde være en opgave, som et rigt samfund er i stand til at løfte – ikke mindst når gevinsten er bedre, sjovere og mere sprudlende læring og dannelse!

Trinity of Arts Education

– get inspired! – learn! – do it! – 

To have no access to music and other art forms is bad! Only thing worse is if we have an unqualified, simplified and out-of-balance access! It may scare us away for a lifetime. How we introduce art to kids is really important business and should be taken up in a serious way with all the attention, focus and skill that we would put into any other professional endeavor.

To start somewhere we need to realize that bringing art to children and youngsters is a holistic task, and that a successful approach need to integrate at least three different spheres: experiencing/inspiration (I), learning (L) and doing (D).

Musikklode ILD
Full circle

Together they form a full circle, and without any of them, something will be missing, and the other two will not really work. I, L and D all have to be there to make it give any meaning. Take the example of a medic: The “learn” part is obvious with studying diseases, cures, anatomy etc. But also watching and being inspired by experienced professionals is a must. And finally: Only in practicing and doing it, makes it all real and turn you into a useful medic.

This is so obvious that it is almost embarrassing to mention. But we have to! It seems a human tendency to complicate things and forget simple basics in the process. So my objective here is actually just to remind us of realities already staring us into the face.

In Arts Education especially we cannot afford to forget basic elements like these. Many people still consider art a luxury in the educational system which means that there is not much room for failure (actually art is not a luxury as I have discussed in other articles). A qualified holistic approach is essential to succeed.

The danger of tunnel vision, where we only recognize the small area each of us happen to work with, can spoil a lot. If for example you help children make their own music, you need to be aware that they also need to experience great professional performances and acquire knowledge about what they are doing. Someone else may help them with that, but you must facilitate that it happens. You have to be aware of the ecology, you are a part of.

I – inspiration

A breathtaking experience in a concert, in front of a piece of art or at a theatre performance is often the spark that ignites our inner passion, and in some cases even changes our destiny. In any case it is a quantum leap on the ladder of development and learning. When we are inspired, our whole system is geared to receive relevant information, generate ideas and build up the necessary energy and joy to process it all.

Inspirational events activate the emotional and intuitive parts of our intelligence. It is widely recognized that emotions are critical to create the patterns that help us learn, and similarly inspiration builds a basis for relating to art. The quality of results we achieve depends on the quality and “richness” of our awareness and attention. Compared to reluctant learning, inspiration speeds up the process and retention rate manifold.

The ignition capacity is invaluable when we speak of inspiration, but it does not only matter in the beginning. In Arts Education and in all development and growth we start over and over again, entering new fields and meeting the unknown. In all these steps inspiration is necessary to fuel the process and to show us things we don’t know yet. Confronted with mastery we become gradually aware of how far we can aspire and get a boost to our motivation.

L – learn

To make a good experience stick and become productive, it must combine with learning and doing. Otherwise we are more in the entertaining business where things enter and leave our system without making us develop and grow.

Learning comes in many shapes, but generally is about creating patterns in our mental and cognitive spheres, that connect experiences and pieces of information to each other and making it possible to compare them, remember them and pull them out whenever needed. We understand what we are doing, and why.

A primitive approach to learning indicates that if you place the pupils on a chair and pour down information on their heads, they will learn.

TragtNothing could be more wrong. They may at best remember a few of the things that we want to teach them, but rarely much, and surely innovation and creation of new ideas will be absent.

Actually learning is a vast area, and can be described with a holistic circle of its own, indicating at least five elements that are all necessary to make real learning happen. Actually quite much overlapping with the I-L-D-model.

Learning circle

– Experiencing the world, phenomena, expressions, ideas etc.
– Conceptualizing them and placing them in context with theory, history etc.
– Reflecting on their meaning.
– Experimenting with them, testing, trying.
– And letting go of them in order to let the subconscious work (like the important pause in music)

Like a spiral, learning bring us through these stages over and over, making learning progressively deeper and wiser.

D – do it

Third element is where you have to act. Do it, struggle with the obstacles, marvel at the results, “getting your hands dirty”, fail, try again, succeed… Here we are involving physically with the body and the brain to make knowledge and visions concrete, manifest and useful.

Some speak of 10000 hours of practice to attain mastery – as a surgeon, a violinist, a painter, or anything. Though a quite doubtful and populistic statement, it indicates how much training it always takes to be good at something. There is no quick fix to excellence.

To make the effort endurable, it surely helps if you are inspired and enthusiastic about it, so it becomes joyful playful. There is a huge difference between reluctantly doing what you are told to do, and doing it because you are fueled by passion, ignited by strong and inspiring experiences.
So let us make sure that inspiration, learning and doing are always available somewhere in the ecology of Arts Education activities and programs. Not all the elements can be present in every activity, so for professionals in the field it is paramount to have a wider view of what is going on and a sense of understanding the role you and others play in the holistic picture. With such an awareness there is a good chance that Arts Education stays on the agenda and evolves the way it deserves!

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Be inspired / learn / go there …
Daniel Golman: Emotional Intelligence. Bantam Books, 1995
Howard Gardner: Multiple Intelligences – New Horizons in Theory and Practice. Basic Books, 2006.

Kunst og kultur i skolen – en investering der betaler sig

Ebbe Høyrup
Koncertdirektør i LMS – Levende Musik i Skolen. Desuden formand for Young Audiences Music Committee og medstifter af KulturPartner og Forum for Kunst og Kultur i Skolen. LMS er nationalt kompetencecenter for børns møde med professionel musik.
Artiklen er trykt i “Årbog 2015-16. Antologi om pædagogiske læringscentre.” KFPLC, 2016.”


Gnisten der tænder det hele …

”Musikerne var meget dygtige, og koncerten var helt fantastisk. Her er ord fra en kollega i overbygningen, som har arbejdet med det forberedende materiale, og han var også med til koncerten: “Det var meget inspirerende, anderledes og nytænkende.”
Tilbagemelding fra en lærer efter koncert med bandet Tumult på Englystskolen i Vejle 18/9 2015

Citatet ovenfor er et godt eksempel på den synergi, der kan opstå når kunst og skole mødes. Og det er et udtryk for lige præcis den balance, vi i LMS stræber efter, når vi sender over 2000 koncerter ud i hele landet hvert år: Vi vil gerne give en stærk, kunstnerisk oplevelse, som kan begejstre, engagere og inspirere og samtidig vil vi gerne have koncerten til at generere læring og være relevant for skolens vigtige opgave med at give eleverne dannelse og viden.

En kvalitetsoplevelse kan være den gnist, der i bedste tilfælde kan ændre en livsbane, men også ”bare” skabe nysgerrighed og interesse for at undersøge og lære mere om et emne. Hvis den åbne skole fungerer optimalt vil den løfte både læring, dannelse, trivsel!

Koncerten er kun ét af mange led

I tilfældet fra citatet – gruppen Tumult – følges koncerten af et undervisningsmateriale om bl.a. folkeviser, og vi har netop meget god respons fra skolerne om, at de kan bruge det til overbygningen, så undervisningen bliver meget mere levende og nærværende pga koblingen med koncerten.

Gennem det sidste skoleår har vi i LMS gennemarbejdet alle vores undervisningsmaterialer, så det nu er helt tydeligt, hvordan de knytter sig til kompetencemål, færdigheds-/vidensmål og læringsmål. Dermed imødekommer vi et berettiget ønske fra mange lærere om at gøre det nemmere at koble oplevelser med relevante undervisningsforløb.

En koncert, en kunstoplevelse – hvad enten det er på skolen eller udenfor – er altid del af en større sammenhæng, og kan ikke betragtes isoleret. Vi kan ikke tillade os at bruge elevernes tid på noget, der ikke giver en ægte og autentisk oplevelse af virkelighed, og heller ikke på emner, der ikke er relevante i forhold til skolens opgave – begge dele er spild af tid og ressourcer. Derfor er åben-skole-aktiviteter altid nødt til at mestre noget så komplekst som kunsten at forstå både skolens og omverdenens sprog og kultur. Måske kan det synes overdrevent, men vores erfaringer fra formidling mellem det professionelle musikliv og skolen gennem næsten 25 år viser tydeligt, at der ofte er tale om to verdener med to forskellige sprog.

Så når der tænkes i vellykket sammenhæng, er der brug for ”udvidet sprogforståelse” fra både skolen og kulturlivet. Det kræver en hel del af begge parter, men min personlige overbevisning er, at det er en investering, der ”tjener” sig mange gange tilbage, når det lykkes!

Hvad kan kunsten gøre?

Kunst- og kulturlivet må gøre sig umage for at forstå og anerkende skolernes kompetencer og i højere grad end i dag tænke sig som samarbejdspartner frem for ”flødeskum på lagkagen”. Ligeværdighed er et nøgleord, som kræver at begge parter kommer med det bedste, de har, og samtidig er bevidste om den anden parts kvaliteter. Kun på den måde kan man overstige sprogbarrieren og bygge på en reel forståelse af, hvad samarbejdspartnerens vilkår og situation er – og dermed skabe plads for et frugtbart møde.

LMS bestræber sig meget på at inddrage lærere i udviklingen af koncertkoncepter og undervisningsmaterialer for at være i samklang med målgruppen. Når vi måler tilfredsheden med vores undervisningsmaterialer ligger den på 4,4 ud af 5, hvilket bestemt er flot, men hver lille decimal, vi kan rykke op mod 5 er værd at knokle for. Sidste år så Aalborg Universitet i en stor undersøgelse på brugen af materialerne, og selvom der generelt var stor ros, var der også mange gode og lærerige hints til os.

“…det er voldsomt godt gennemarbejdet. Og jeg synes, at det er lige til at gå til. Jeg er faktisk meget imponeret” udtalte en lærer til undersøgelsen.

Det viste sig at godt 80% bruger 1-4 lektioner på undervisningsforløb i forbindelse med en koncert. Hovedsagelig i musik- og danskfaget, men dog også 10% i andre fag. Der var efterspørgsel efter at få mulighed for niveaudeling i materialerne, så der både var noget der kunne bruges til en kort optakt, der ikke kræver nogen forberedelse, og til mere dybtgående forløb. Desuden var der ønske om flere lyd- og videoklip, samt online muligheder for at eleverne individuelt kan være undersøgende, aktive og medskabende af viden.

Det lyder dyrt og besværligt, og det er det til dels også. Men det er samtidig spændende og givende at arbejde med, og giver den store tilfredshed af at ”swinge” med sine samarbejdspartnere. Det er mere en investering end en udgift.

Hvad skal skolen gøre?

Mange skoler har ildsjæle, der brænder for teater, musik eller andet, og Gud ske lov for det! Men ud over det værdifulde, personlige engagement må vi opbygge åben-skole aktiviteterne på en systematisk måde, som sikrer at erfaringer og viden forankres i organisationen. Ligesom kulturlivet langsomt, men sikkert, udvikler sine kontaktflader og sin formidling, må også skolen udvikle sine kompetencer i samarbejdsfladerne, for at der kommer tilstrækkelig kvalitet i ”den åbne skole”.

Forum for Kunst og Kultur i Skolen har foreslået en formaliseret kompetenceudvikling for PLC-personer, og det synes jeg personligt er en meget god idé. Hvis en PLC-medarbejder er godt klædt på til at vejlede sine kolleger er vi kommet et langt skridt. Det kan være vejledning i, hvordan man finder de gode tilbud i ”verden udenfor”, og ikke mindst hvordan man aktiverer dem som katalysatorer ift undervisningen i en alle fag, og det kan være viden om æstetiske læreprocesser og uformel læring.

Det virker naturligt at skolebiblioteket udvikler sig den vej. Ikke blot fordi bekendtgørelsen siger det, men især fordi udviklingen med flere og flere medier gør det oplagt også at have en strategi for det ”medie” som omverdenen i al sin rigdom repræsenterer. I takt med den voldsomme udvikling af den digitale verden, er det paradoksalt nok ”den virkelige virkelighed”, der byder på et af de største potentialer som læringsmæssig resurse, hvis vi forstår at se mulighederne.

En stærk faglighed i PLC omkring åben-skole generelt vil åbne for nye muligheder og skabe større ejerskab på skolen ift kunst, kultur og mange andre omverdens-resurser. Parallelt kan man så supplere med at skabe ejerskab hos eleverne ved at etablere KulturCrew, som KulturPartner har gode erfaringer med gennem de sidste par år.

Kvalitet, aktualitet og alsidighed

… det var de tre kriterier, jeg lærte om, da jeg i sin tid uddannede mig som folkebibliotekar, og de står stadig i biblioteksloven, så de har bevist deres levedygtighed. Kvalitet i kunstnerisk indhold, kvalitet i formidlingsevne, relevans, genrebredde er andre måder at sige det samme på, og det er begreber som det er værd at holde sig for øje, når man vælger skolens bøger, film, computerprogrammer, koncerter, forestillinger, projekter og andre omverdens-resurser.Her skal jeg til sidst lige lufte den bekymring, at når politikerne taler om åben skole, siger de også altid ”lokal”, og ikke ”kvalitet, aktualitet og alsidighed”. Det lokale har selvfølgelig stor værdi og skal inddrages alt, hvad man kan. Men aldrig uden at også kvalteten, aktualiteten og alsidigheden er med i overvejelserne! Vurdering af, hvad man kan trække på lokalt, og hvad man skal hente i turnerende tilbud m.m., er vigtig, og understreger endnu engang betydningen af åben-skole-faglighed på skolen. Både de ord, vi bruger, og de, vi ikke bruger, er med til at forme fremtiden, så jeg vil gerne slå et slag for at udvide sprogbrugen med ”kvalitet, aktualitet og alsidighed” i forhold til åben skole.

Jeg vil også appellere til at både kunst-/kulturliv og skole er opmærksomme på, at de må udvikle sig for at udnytte potentialerne i samarbejdet. Lad os tage nogle skridt fremad, og lad os hjælpe hinanden med det på tværs af sektorer – så skal det nok berige alle parter. Det er en investering, der betaler sig!

Watering the roots – School needs art #2

(This is the second of two posts on future and past in relations between art and school education).


In the first post I gave my opinion on the importance of art to make us creative, flexible and innovative in the future. Now I want to discuss another issue: the importance of art for understanding our background.

Layers on layers on layers …

Very, very early in human history man discovered (or rather invented) music, dance, painting and drawing. Patterns created by hitting logs and stones and whistling sounds from hollow bones forming into rhythmical and melodic structures, sketches in the sand etc. Man began to express himself and art was born!

All these ancient expressions run deep in our cultures and are essential for our understanding of who we are. Later on we became more sophisticated in means, methods and forms, but all the time building on top of earlier layers. Like a real good lasagna where the rich taste comes from a totality of all the ingredients piled on top of each other.


To understand ourselves, we need to be aware that our life is building on all these many layers. It is necessary if we want to be able to keep things as they are, as well as if we want to change them. No man is an island in the sea of history. So to keep some degree of harmony in our personal identity and in society we have to know this, and we have to embrace the foundation we stand upon.

Adding life to facts

This is where art comes in handy, as it brings alive the feelings buried in the past. To know who we really are, we have to turn to artistic expressions, as they show us the feelings of the generations before us. Art transmits a deeper level of reality and can preserve feelings and emotions over time so we suddenly get a feel of 15h century atmosphere when we hear a medieval tune, or get horrified by the war terror of 1937 by watching Picassos Guernica. Art show us the wonders and horrors of humanity and give life to the cold facts of the past and present.

My culture – your culture

In the same way, art can bring us a step deeper into the understanding of other cultures and be a key to identify with people in China, Greenland or down the next block. The world is multifaceted and it can be hard to even understand your neighbor. Art reflects that and goes beyond what words can explain. Of course it cannot save the world, but it can add understanding which has the potential of giving us a broader perspective of the world and the time we live in.

Art and school

School is there to teach us factual stuff, but also to help with what Germans call “bildung”, meaning helping us to navigate in the culture we are part of by knowing our culture. Therefore, school has an obligation to open more languages than just the verbal one, in order to help us grasp the world. Music is a language, dance is a language, all artistic expressions are languages, and each of them contribute to a deeper and more nuanced perception of reality. Compared to hardcore facts, art offers detours with a deep meaning – we may be a little longer on the way, but we cover a lot more ground as we go along, and end up wiser and more fit for life.

Integrating art in our schools is actually a duty each generation has to the next one to pass on the values that shape our society and ourselves. We cannot leave this only to the free initiative of well-off parents, as it is a human right for all. The UN Convention on the Rights of the Child paragraph 31 clearly states that it is “the right of the child to participate fully in cultural and artistic life” – and I think we better take that serious. No other institution than school can carry out this task!

So: schools, get started if you have not already done so – it is so rewarding for the kids, for the schools itself and for society!

And: art, know your responsibility! Get out of the ivory tower and meet the kids and see what wonders will happen – for them and for you!

In tune with time – School needs art #1

This is the first of two posts on future and past in the relation between art and school education.

The change

Think back 20 years – not much in human history – but still: how different is the life of our kids today compared with then! Small and big screens now illuminate their rooms most of their waking hours, providing music and movies ad libitum, answers to any question they might have, live contact with friends all over the globe etc. Some find this terrible and some find it wonderful – it is a matter of taste and culture. But it is for sure one sign that the world is changed and still changing fast – one sign among many others. And change calls for continuous innovation.

School and learning are meant to make us fit for life. “Non scholae sed vitae…” And school people, politicians and many others are very well aware that something MUST happen to make us successfully keep up with the change in our world. It is just not easy to change the course of a supertanker, especially when you have no real idea if the new course will take you to the 10-year-ahead reality.

The paradox

That is why there is so much focus on innovation, creativity, adaptability, flexibility and what have you. These buzzwords crowd the skies and no-one will of course disagree. This is the one side. However, on the other side, we see that what really happens in education of our kids is often the opposite: Strict rules, regulations and standards narrow-in the perspective, and tests and guidelines prevail and dominate a “development” that is characterized by less and less nuances and holistic understanding.

This paradox is really strange. And even more so as we have solid empiric evidence today what makes people thrive, function happily and effectively and perform well. This is basic knowledge within educational circles, management, psychology, organization etc. But apparently our stone-age brain has a hard time to really keep up with this. We know, but we don’t really KNOW.

The art of arts

The arts have something to offer here. Art connects us to things inside and outside ourselves in a very profound way. A piece of music can open feelings and realities that we in no way can describe in words. A novel can make us realize and understand a situation in a much deeper way than a textbook or a newspaper article. A painting can open our eyes to profoundly new ways to see the world. They are surely “languages” without which we cannot grasp the total complexity of our existence.

Music, theatre, visual art, literature etc. are all expressions of the human fantasy, imagination and creativity. As such the arts are not only basic elements in our society since stone-age but also methods and ways of approaching and dealing with our surroundings on a personal day-to-day level.

Therefore expressing and experiencing art is something indispensable, and actually always have been so through the history of mankind! So nothing new and wonderful about it. But it seems we live in times where it is absolutely essential that we remind ourselves about this.

Arts Education

Unesco has tried to turn some spotlight on the issue by a focused process from 2005 to 2010 on Arts Education, but it has not created the waves in the pond which could be wishes for. Education in the arts, education through the arts, art as education, education as art are all concepts arising from this process. From 2012 Unesco has established an Arts Education Week last week in May worldwide. So again on one level we have a pretty clear idea of how things interact.

So what to do?

The million dollar question is how to be operational about the whole thing, and here are some very easy-to-use suggestions.

– invite artists – it is paramount that kids experience/see/hear/feel the impact of art and creative excellence can have

– let kids express themselves through art – dance a biology report – play a math solution – etc. And involve artists as much as possible

– make sure teachers teaching in the arts have are well educated

– involve artists, teachers and pupils equally in the planning of these events and projects

The artist can be the teachers best friend but it is very important that a true and equal relationship between artists and teachers is established. Artists do not come down from another planet to save the world. But together – with the artistic competences combining with the educational competences – the two professions can work wonders. So to politicians: please make the room for that in the legal framework and curriculums. Your voters – or at least their kids – will surely thank you in the long run.

It is not for free. Of course artists will need pay like anyone else, and introducing them will not save teachers’ time. But like any other serious business, we are here talking about an investment that we cannot really afford to ignore.


A small selection of links for inspiration … In the UN Convention on the Rights of the Child paragraph 31 speaks directly about the right for art and culture. – Unesco arts education main page with links to the Seoul Agenda etc Professor Anne Bamfords book The Wow Factor based on intensive research for Unesco has had a significant influence on the understanding of the need for arts education. Ken Robinsons more than 10-mil-plus-views-on-Youtube presentation on the subject. Tatiana Chemi: The Art of Arts Integration. This book deals with the subject in both a theoretical and practical way. shows many examples of concerts and projects aimed at kids in schools

… and hopefully we can soon see a site for YAM – Young Audiences Music project running from 2014 to 2016 with support from EU. For a brief idea check

Ebbe hav 2014b