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D E N K U L T U R E L L E S K U L E S E K K E N“... today we are flooded with offers without having gottenmore users. Den kulturelle skolesekken is a culture project, andthe intention is to increase the production of culture from thebottom up, not the top down. We do this by buildingcompetency in the pupils. We let the money follow the user,even as it really ends up with the artist” (M:Landsverk2004a:9). 48It is a remnant of the thoughts behind the pilot project in Sandefjord, whichended as one of the models for the nationwide program. The initiatingorganisation stated originally that: “The main goal is to make DKS thefoundation for establishing Sandefjord — and now Vestfold — as a city and aregion of culture” (M:Skrede 2002b:9). 49 They wanted to use the school as abasis, and to legitimize this move it was based in the curriculum. It mightseem that placing it in schools is more a means to an end, rather than an aimin itself: “— Being rude, one might say that the school pupils have becomemore important for the art and culture politics, than the other way around...”(M:Landsverk 2004a:9), 50 as commented on by artist organisationsthemselves.This pilot project, a pre-runner for DKS-program signalled an opening toinclude the teachers, but at the same time they voiced concern. The artists didnot want them to be part of the decision process (E:Fønhus et al. 2000). Theytalk contemptuously of the course mentality that they find saturates theNorwegian educational system (M:Landsverk 2004a). The argument is thatinstruction in culture to qualify people is a waste of time. This is confusingconsidering that, at the same time, they advocate the aspect of bringing thepeople the necessary knowledge to understand what quality art is, because thelocal crafts and amateurs are not good enough. They “… are certain that thelack of an opera house is closely connected to the fact that most Norwegianshave no training in experiencing art and culture, and definitely that artistsmany places have had no natural place in the community” (M:Skrede2002b:9). 51 The professional offers are centralised in the major cities, whilethe amateurs are in the districts. The enjoyment of these amateur productionswill never provide us with a central opera house or a rich artistic scene. Thesethoughts are problematic in relation to the DKS program that is supposed to48 OQ: “… i dag oversvømmes vi av tilbud uten at vi har fått flere brukere. Den kulturelle skolesekken er etkulturprosjekt, og intensjonen er å øke kulturproduksjonen nedenfra, ikke ovenfra. Dette gjør vi ved å byggeopp kompetansen hos elevene. Vi lar pengene følge brukeren, selv om de egentlig ender opp hos kunstneren”.49 OQ: “Hovedmålsettingen er å gjøre DKS til grunnmuren i å gjøre Sandefjord – og nå Vestfold – til kulturbyog kulturfylke”.50 OQ: “For å være stygg, kan man si at skoleelevene er blitt viktigere for kunsten og kulturpolitikken ennomvendt ...”.51 OQ: “... mener beste OQ at mangelen på operahus har en nær sammenheng med at nordmenn flest ikke harblitt opplært til å oppleve kunst og kultur, og ihvertfall at kunstnere mange steder aldri har hatt en naturligplass i nærmiljøet.92
T H E D K S N A R R A T I V E Sbe anchored locally. “A joint Norwegian culture scene ought to line upbehind the suggestion of a proper art dissemination organisation directed atchildren and youth” (M:Amundsen 2002:3). 52 The focus remains on receivingthe funding that is offered: “The culture scene must not accept settling forscraps and courtesy nicely” (M:Amundsen 2002:3), 53 and are quitecontemptuous when it comes to letting the educational side into the execution(Landsverk 2005b).Artistic Freedom — Limiting AdministrationOne of the aims for the program is the wish for a joint endeavour. This is alsobrought into the media debate: “Competence gain for both teachers (about artand culture) and for artists (about schools) is an important part of DKS”(M:Holen 2002:5). 54 The collaboration of equals that is stated as the aim ischallenged by one of the narratives told in the media. The picture is paintedas unreachable, as the differences are seen as too great. “Den kulturelleskolesekken is supposed to be a meeting between the school sector and theculture sector, but the two sectors often sport very different opinions on how,and on what grounds this meeting should work” (M:Landsverk 2004a:10). 55To relinquish any control of the program for the ‘art world’ is not seen aspossible: “It would be tragic if artists were transformed into pedagogues.Artists have to be allowed to do what they do best, namely creating art…”(M:Landsverk 2004a:10). 56The thoughts of artistic freedom cannot be interfered with. Even where the‘school world’ and the ‘art world’ are seen to be more equal, the sentimentthat it is worrisome that the ‘school world’ be more involved shines through.“It is very important that the artistic side is maintained. Therefore I amworried that the school itself could get too much influence on the content…”(M:Landsverk 2004a:10). 57 This is direct contrast to the documents that statethat the schools should have a say in content and curriculum issues. However,in this media narrative there is still a tendency towards accepting that theartwork belongs to the artist, and as such the school sector — even as theyare welcomed into the collaboration — should know their place. They areeven suspected of being susceptible to the temptation of using the funding for52 OQ: “Et samlet norsk kulturliv bør stille opp bak forslaget om et skikkelig fungerende formidlingsapparatfor kunst rettet mot barn og unge”.53 OQ: “Kulturlivet må ikke finne seg i å ta til takke med smuler og neie pent”.54 OQ: “Kompetanseutvikling for både lærere (om kunst og kultur) og for kunstnere (om skole) er en viktig delav skolesekken”.55 OQ: “Den kulturelle skolesekken skal være et kulturmøte mellom skolesektor og kultursektor, men de tosektorene har ofte sært ulike oppfatninger om hvordan og på hvilke premisser dette møtet skal skje”.56 OQ: “Det ville vært tragisk om kunstnerne ble omgjort til pedagoger. Kunstnere må få gjøre det de er bestpå, nemlig å lage kunst…”.57 OQ: “Det er svært viktig at den kunstneriske siden blir ivaretatt. Derfor er jeg bekymret over at skolen selvskal få for mye hånd om innholdet…”.93
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S T R A T E G Ythere one solution p
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F I N D I N G D O C U M E N T A T I
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T H E M Y T H E X P O S E Doriented
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T H E M Y T H E X P O S E Dprogram.
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B I B L I O G R A P H YBénatouïl,
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B I B L I O G R A P H YBumgarner, C
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B I B L I O G R A P H YConference,
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B I B L I O G R A P H YHaabesland,
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B I B L I O G R A P H YKlafki, Wolf
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B I B L I O G R A P H YLied, Edith.
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B I B L I O G R A P H YEducation. T
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B I B L I O G R A P H YSchjønsby,
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B I B L I O G R A P H YThavenius, J
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