Ministry of Education, Science and Culture

National Cultural Policy
Iceland

Reykjavík 2013

National Cultural Policy
Published by: Ministry of Education, Science and Culture, Iceland 2013
Responsible editor: Ásta Magnúsdóttir
Design and layout: Svavar Pétur Eysteinsson
Photographs: p. 2, Árni Magnússon Institute for Icelandic Studies, Jóhanna Guðrún Ólafsdóttir; p. 5, Ingvar Högni Ragnarsson; p. 6, Iceland Dance Company, Golli; pp. 10 to 11, Iceland Symphony Orchestra; pp. 24 to 25, Zena White; p. 30, Ingvar Högni Ragnarsson.
Edited by: Guðni Tómasson and Þorgeir Ólafsson
ISBN: 978-9935-436-13-9
Printing: Háskólaprent

Introduction
On 6 March 2013, the Althing passed a resolution mandating the Minister of Education,
Science and Culture to implement a policy on the arts and the cultural heritage – theNational Cultural Policy. This is the first time a specific public policy is drawn up in thisdomain.
The policy document describes government’s involvement in matters relating to the arts andthe cultural heritage. The terminology used should be viewed in light of this demarcation,
considering that the policy does not address issues relating to particular artistic disciplines orindividual cultural heritage stakeholders. The policy is intended as an aid for government andlawmakers in future debates, in policy-making in specified areas and in decision-making. The
National Cultural Policy has been drawn up in the hope that it will serve as an incentive forthe large number of people and institutions active on the Icelandic cultural scene to focus on
quality and look to future in their decision-making and planning. It should prove useful topoliticians and government officials, employees at cultural institutions, researchers,committees responsible for the allocation of funds, artists and artists’ associations, media
employees and anyone taking part in cultural life. A number of the government’s partners in
the field of culture, such as local authorities and private actors, should also be able to use it
as a point of reference.
There has been a long-standing call for the Icelandic government to draw up a specificNational Cultural Policy. The Ministry of Education, Science and Culture started work on thepolicy in 2009, consulting extensively with those involved in the cultural scene. For thispurpose, the Ministry in 2010 organised a conference entitled “The Land of Culture”(Menningarlandið) to discuss how the policy should be shaped.
Iceland possesses a rich cultural and artistic life characterised, in a variety of fields, byworthwhile original creative work which is of importance both to its inhabitants and to theworld at large. In the sphere of cultural heritage the government has a key role to play since
an understanding of the nation’s cultural history is one of the prerequisites for active
participation in society and an important part of each individual’s personal identity. A varied
cultural life also contributes to general well-being in society and promotes equality.
Participating in cultural activities is conducive to a full life and stimulates positive interaction
between different social groups and generations. Cultural activities are also a key factor in
the development of tourism.
The following four factors are the cornerstones of the National Cultural Policy:*

Creative work and participation in cultural life.

*

Easy access to the arts and to the cultural heritage.

*

Cooperation between the government and the large number of people andinstitutions which are active in the field of culture.

*

Participation by children and young people in cultural life.

It is imperative for the cultural policy to be at all times a dynamic part of further policymaking, legislation and decision-making in this field, and for its different aspects andpriorities to be allowed to evolve in harmony with social changes, technical innovation andinternational currents.
The National Cultural Policy is meant to reflect the dynamic character of Icelandic cultural
life and contribute to its further strengthening. A flourishing national cultural life brings
benefits to all.

National Cultural Policy
A guiding light for government in the domain of the arts and cultural
heritagea.
The Icelandic government sees it as its role to create the appropriate conditions for fostering
diversity, innovation and initiative in the field of the arts and cultural heritage.

b.
The government considers adequate access to cultural activities and awareness of thenation’s cultural heritage to be important components of the social fabric. Research into thecultural heritage and the dissemination thereof lead to a heightened sense of historicalcontinuity and strengthen the national identity. The Icelandic language is a crucial part ofthat identity and should be reinforced in every possible sphere of society in accordance with
Icelandic language policy.

c.
The government wishes to promote the increased participation and improved access ofevery citizen to cultural activities supported by public funds.

d.
Government involvement in cultural life is structured by legal provisions and by the support
measures implemented. Government support is primarily directed at professional activity inthe arts as well as at the preservation and dissemination of cultural heritage.

e.
The government considers a diverse cultural scene to be an important part of the national
economy, and one which is likely to carry even further weight in the future. The cultural life
in Iceland has a wide-reaching derivative economic impact, including in the tourism andtechnology sectors, in education, and in trade and services.

f.
While recognising the independence of public institutions in the field of culture, thegovernment expects their directors and employees to maintain a high degree ofprofessionalism.

g.
The government prioritises the quality of the work done by all recipients of financial support
in the domain of culture, and expects them to display professionalism in their activities andin the services they provide.

h.
The government is not directly involved in the programming and daily activities of any of the
public cultural institutions or of other recipients of public financial support. However, it
carries out performance assessments for these activities and enforces the accountability of
directors, board members and others responsible for the management of public funds.

i.
The government prioritises support for regions that are at a disadvantage when it comes toenjoying the services of the main cultural institutions, achieving this through culturalcontracts, investment plans and development projects.

j.
The government manages its support for cultural activities in accordance with the arm’s
length principle as applicable to the allocation of public funds for cultural purposes, forexample in relation to the work of institutions and foundations, as well as of the allocationcommittees of artists’ stipend funds.

k.
The government places special priority on promoting the culture of children and young
people throughout the country and enabling them to become active participants in cultural
life. Publicly funded cultural institutions and other recipients of public support areencouraged to plan their programming having due regard, inter alia, to the needs of children
and young people, and to organise their activities so as to allow them easier access to thearts and to culture, irrespective of their financial standing.

l.
The government works to facilitate the cooperation of the different participants in cultural
life. The creative energy of different groups and individuals strengthens cultural life, thebasic prerequisites for any such creative activity being the freedom of expression anddemocracy.

m.
One of the government’s priorities is cooperating efficiently with local authorities and theirregional associations on cultural issues, and encouraging them to collaborate between
themselves on individual cultural projects. Cultural contracts are drawn up with regional

associations with the purpose of supporting cultural activities outside the capital region.
Cooperation with the City of Reykjavik, the country’s capital, is very important.

n.
The government prioritises the digital dissemination of the different aspects of cultural life.
Cultural institutions are expected to make targeted use of information technology in theirwork, in particular for the dissemination of cultural heritage.

o.
The government encourages the cooperation and participation of individuals and companies
in cultural life.

p.
The government aims to support the high-quality promotion of Icelandic culture abroad aswell as international cultural cooperation.

q.
The government’s support for cultural and artistic life must be in harmony with
contemporary trends with due regard to diversity, continuity, and the language, heritageand history of Iceland.

I
Cultural participation
Having access to culture is an important aspect of living in a free society. Cultural activities
support knowledge seeking and innovation in society. Two other key aspects of cultural life
are the preservation and dissemination of cultural heritage and the importance of the
Icelandic language.
Cultural literacy and cultural participation play a significant role in the upbringing of children
and adolescents. Access to culture makes them more broad-minded and tolerant andcultural participation enhances their sense of democracy, justice and historical context. This
makes them more likely as citizens to adopt a mature and skilful approach to participation insociety.
Cultural diversity strengthens society and contributes to the quality of life of people in
Iceland. Cultural activity encourages social interaction and reduces the risk of the cultural
isolation of individuals or groups. The role of the media in highlighting the diversity anddynamism of cultural life is crucial.
A rich cultural life is of importance not only to the inhabitants of Iceland, but also to visitors
and tourists who are interested in acquainting themselves with the country’s population andits history.
Diversity and professionalism are key factors in making culture accessible to all andfacilitating active cultural participation, in addition to being a guiding light for all types ofcultural tourism.

Objectives

1.
To preserve and enhance the diversity of cultural life so as to make it possible for everyone
to find something to their taste.

2.
To ensure the highest possible level of access to culture for all groups of society, irrespectiveof place of residence or financial standing.

3.
To increase the cultural offer for children and young people, and to increase their
participation.

4.
To strengthen the teaching of and about the arts in schools, and to continue developing
university-level studies and research in the field of culture and arts.

5.
To encourage active participation, creative work and initiatives by individuals in accordancewith the increased emphasis on critical thinking, creative activity and tolerance incurriculums at all levels of the educational system.

6.
To spur cultural institutions and those receiving public support for carrying out culturalactivities to constantly aim for a wider audience, thereby counteracting cultural barriers.

7.
To ensure that cultural institutions stay at the forefront of the spreading of cultural diversity,each in their respective fields.

II
Living cultural institutions
Cultural institutions are important to the functioning of society. They strengthen thenational identity and have a role to play in underpinning social relations.
Cultural institutions afford the people of Iceland a chance to enjoy artistic creations and toacquaint themselves with the cultural heritage, as well as playing a significant role in culturalresearch, archiving, documentation, preservation and administration. They are serviceoriented institutions taking the diversity of the society as their starting point in theiractivities and programming, besides playing a key role in providing education in the field of
culture, to children and adults alike. Moreover, cooperation on cultural research between
universities and cultural institutions is one of the prerequisites for innovation in the fields ofresearch and dissemination.

Traditionally and according to law, publicly funded cultural institutions enjoy independence
in their work. Their activities are regulated by the provisions of acts and regulations, andtheir objectives and priorities are laid down in performance management contracts.

Objectives

1.
For cultural institutions in Iceland to focus on professionalism, diversity and quality in their
work.

2.
For cultural institutions to support original creative work in the arts and search for new ways
to carry out research into and dissemination of cultural heritage.

3.
For cultural institutions to initiate collaboration with independent actors, in the interest ofboth parties, and aim to increase the flexibility of their activities and policies. For cultural
institutions to seek cooperation with the grassroots of cultural activity with a view toenhancing their work and promoting innovation.

4.
For cultural institutions to seek to define the group of people they serve and make it their
aim to reach out to other groups of society.

5.
For the programming of cultural institutions to be seen as a worthwhile option for theleisure activities of Icelandic families. Particular attention should be given to programmingfor children and young people, including through cooperation with educational institutions.

6.
For cultural institutions having a national focus to provide services to those living outside thecapital region to the extent possible.

7.
To explore the feasibility of merging cultural institutions, where appropriate, in order to takeadvantage of synergies and reinforce the professionalism of their work.

8.
For government to formulate a long-term housing policy for cultural institutions.

III
Cultural cooperation
Although cultural activity in Iceland takes place to a large extent without any government
involvement, public support for cultural institutions, funds and contracts consolidates thefoundations of the various cultural activities carried out by professionals.
Individuals and their associations are the principal driving force of cultural life and provide afoundation for creative work and cooperation. Advancement and innovation in cultural life
are dependent upon wide participation by and cooperation between different actors. A
thriving artistic and cultural environment requires cooperation between public institutions
and private actors.
Cultural life is one of the prerequisites of permanent residence, in the same way as access to
occupation, health services, education and social security. The government promotes thestrengthening of cultural activities throughout the country, and a precondition for this is
close cooperation with local authorities, for example in the form of financial contributions
under cultural contracts signed with the regions.
Publicly funded cultural institutions serve as focal points for cooperation and lead the way
professionally in their respective fields.

Objectives

1.
To carry out regular assessments of the results achieved through cultural contracts enteredinto between the state and local authorities, with an aim to strengthening the cooperation.

2.
To ensure that every type of cultural cooperation is based on professionalism and that
allocations of public funds take place in accordance with the arm’s length principle.

3.
To ensure that cultural and educational institutions cooperate toward the goal of enhancing
cultural literacy among the younger generations.

4.
To promote increased cooperation between artists and schools, with priority being placed
both on facilitating the enjoyment of the arts by children and young people and on fostering
creative activity and critical thinking among them.

5.
To encourage increased social participation by undertakings and individuals through thesupport provided to cultural activity.

IV
Iceland in an international context
Icelandic cultural life is nourished by international currents while at the same time
contributing to those currents. This kind of interaction is indispensable for the advancementof artistic and cultural activity. Participation by Icelandic artists in international cooperation
enlarges the market they have access to and heightens the standard by which they aremeasured, while at the same time contributing to the enrichment of the country’s artistic
and cultural life.
Iceland’s cultural life influences many people’s experience of the country, and its reputationis enhanced by high-quality cultural projects presented in the international arena.
Preserving the cultural heritage, including the Icelandic language, is important in a global
context, not to mention the importance of that heritage as a fundamental component of thenational identity.
One of the roles of government in the domain of the arts and culture is to promoteparticipation in international relations and cooperation.

Objectives

1.
To increase international cooperation, including through the promotion of Icelandic culture
abroad by professional means with the active collaboration of everyone concerned. To
bolster, for this purpose, the activities of the information centres for the arts and inducethem to seek closer cooperation with their sister organisations in the other Nordic countries
and elsewhere in the world.

2.
To ensure that participation in international cooperation in the domains of the arts and thepromotion of Icelandic arts abroad takes place on the terms of art itself. The information
centres for the arts, Promote Iceland, the Ministry of Education, Science and Culture, andthe Ministry for Foreign Affairs have important roles in this.

3.
To make it easier for Icelandic artists to participate in artistic activities in other countries andto strengthen the role of the information centres for the arts in this respect.

4.
To take advantage of a variety of ways to disseminate the Icelandic cultural heritage,prioritising participation, learning and own experience.

5.
To promote active cooperation on cultural affairs between the government andinternational organisations.

V
Operational environment in the field of culture
Freedom of expression is a basic condition of cultural life, and the government has an
obligation to safeguard that freedom by every means available. Public authorities must not
attempt to influence creative activity or the content of the arts or other parts of cultural life.
Government involvement in cultural life is structured by legal provisions and by the support
measures implemented, which primarily concern the activities of institutions andprofessionals in the domain of the arts, as well as the preservation of cultural heritage. The
government respects arm’s length rules and aims to create a precedent of best practices andgood governance.
The operation of cultural institutions, artists’ stipend funds and statutory project funds
enhances the diversity of cultural life. Public authorities have an obligation to ensure thatfunding is put to good use and that policies and decision-making are governed byprofessional considerations. Satisfactory overview and effectiveness are both importantwhen it comes to the allocating public funds for the arts and for activities in the field of
cultural heritage.

Objectives

1.
To channel public contributions to cultural projects through statutory funds administrated byprofessionally led allocation committees which allocate the funds based on well-conducted
peer reviews. Fund boards should adopt good governance practices, respect the arm’s
length principle and observe generally accepted eligibility criteria.

2.
To ensure that artists’ stipend funds and project funds are properly defined and that theyreflect the diversity and on-going development of cultural life, including as regards
cooperative projects.

3.
To look for ways to further strengthen private support for cultural endeavours and make it aworthwhile pursuit. To foster mutual understanding and recognition of the common
interests of the cultural and economic spheres of society.

4.
To improve the working environment of artists in terms of taxation, social security, healthinsurance, etc.

5.
To support research into the importance of culture for the Icelandic economy in order toprovide a firmer basis for artistic and cultural activities in the nation’s economic and social
life.

6.
To make the macroeconomic impact of artistic and cultural activities a part of regularly
tracked statistics.

VI
Digital culture
Information technology and digital distribution methods are factors of strong influence inthe sphere of contemporary culture, whether as regards entertainment, creative work,communication, research, or the preservation and diffusion of different types of cultural
material. A constantly growing group of people uses online resources to search forinformation on Icelandic culture, which is becoming increasingly accessible through digital
distribution methods. Iceland is a country with a high rate of Internet access, and Internet
usage per capita is one of the highest in the world. The conditions are therefore favourable
for making even further progress in this domain.
Providing easy access to Icelandic culture and related information in digital media is highly
important for the maintenance of a rich cultural life in the society. In order to further
improve the public’s access to the treasures of Iceland’s artistic and cultural heritage, it isnecessary to increase the supply of new digital content and render older content accessible
in digital form. Adequate access to cultural material provides support to the teaching of
culture and the arts, counteracts the illegal use of copyrighted content, and promotesinterest in and knowledge of Icelandic culture.
The use of digital technologies for artistic purposes is increasing fast, and it is important topromote original creative expression in this field while at the same time enhancing thegeneral public’s ability to use digital media. The rapidity of technological advances posessignificant challenges for the digital preservation of cultural material, and there is a need fora careful examination of possible solutions to those challenges.

Objectives

1.
To make the nation’s cultural heritage accessible in digital form wherever possible. For thispurpose, cultural institutions working with digital material must cooperate, prioritise andmake appropriate plans.

2.
To safeguard the quality and visibility of the supply of Icelandic culture in digital form.

3.
To ensure the professionalism of online presentations by cultural institutions of theiractivities, both in Icelandic and in foreign languages.

4.
To promote active participation and creative activity by the country’s population on theInternet. Media literacy in the educational system is an important basis for any suchparticipation, and consequently information and media literacy is one of the priorities of therecently updated curricula for the different school levels.

5.
To search for solutions to copyright and intellectual property issues on the Internet,
cooperating in this respect with artists’ associations and public authorities in neighbouring
countries.

6.
To ensure that cultural institutions step up their efforts to make artistic material and thecultural heritage available in digital form and that they strive for close cooperation with therelevant stakeholders.
------------------------------

National Cultural Policy – Comments to the proposal for aparliamentary resolution
This is the first time a specific public policy in the domain of the arts and cultural heritage ispresented for approval in parliament in Iceland. The policy covers all areas of responsibilityof the Ministry of Education, Science and Culture in the domain of culture, with the
exception of sports and youth-related affairs. The Ministry has recently drawn up a policy inthe area of sports, and work on a Youth Policy is underway.
The National Cultural Policy is intended as a broad description of the government’s
involvement in matters relating to the arts and cultural heritage, and as an aid for thegovernment and parliament in future debates, in policy-making in specified areas and indecision-making. The terminology used should be viewed in light of this demarcation,
considering that the policy does not address issues relating to particular artistic disciplines orindividual cultural heritage stakeholders. The policy will hopefully serve as an incentive forthe large number of individuals and institutions active on the Icelandic cultural scene tofocus on quality and look to future in their decision-making and planning. It should prove
useful to politicians and government officials, employees at cultural institutions, researchers,committees responsible for the allocation of funds, artists and artists’ associations, media
employees and anyone taking part in cultural life. A number of the government’s partners in
the field of culture, such as local authorities and private actors, should also be able to use
the policy as a point of reference.
It is important for public authorities to pay careful attention to their involvement in thisdomain and to cooperate actively with the largest possible number of cultural actors. It isalso important to review the policy at regular intervals and to make sure that it reflects thegovernment’s priorities at each time.

There has been a long-standing call for the Icelandic government to draw up a specificNational Cultural Policy. Preparatory work has been on-going at the Ministry of Education,
Science and Culture for a few years, including an assessment of the need for such a policy aswell as work on a draft policy document. For this purpose, the Ministry in 2010 organised a
conference entitled „The Land of Culture“ (Menningarlandið) where a large number ofstakeholders met to discuss the shaping of a cultural policy, and a number of actors in thedomain of culture have been consulted. The opinions of those invited to submit comments,
as well as the conclusions of the conference, have been taken into account in a number ofways in the policy presented herein.
The principal role of the state in matters of culture is to create the appropriate conditions forfostering diversity, innovation and initiative in the field of the arts and cultural heritage, andto safeguard the latter. This entails, for instance, the creation, through legislative,administrative and budgetary means, of a framework for cultural life that allows it to flourish
and encourages the participation of the public. It is important for this framework to be
shaped in a way that avoids any direct influence on the content of artistic and culturalactivities, and that the independence of artists and cultural institutions is fully respected.
Iceland possesses a rich cultural and artistic life characterised, in a variety of fields, byworthwhile original creative work which is of importance both to its inhabitants and to theworld at large. In the sphere of cultural heritage the government has a key role to play since
an understanding of the nation’s cultural history is one of the prerequisites for active
participation in society and an important part of each individual’s personal identity. A varied
cultural life also contributes to general well-being in society and promotes equality.
Participating in cultural activities is conducive to a full life and stimulates positive interaction
between different social groups and generations.
The following four factors can be said to be the cornerstones of this proposal for a public
policy in the domain of the arts and cultural heritage:*

Creative work and participation in cultural life.

*

Easy access to the arts and to the cultural heritage.

*

Cooperation between the government and the large number of people andinstitutions which are active in the field of culture.

*

Participation by children and young people in cultural life.

In practice, public cultural policy also manifests itself in various pieces of legislation as wellas in regulations and other administrative provisions. This includes in particular:*

The state budget, which contains provisions on public funding for cultural activities.

*Legislative and regulatory provisions on cultural issues, for example regarding
institutions, project funds, artists’ stipend funds, copyright, media, etc.

*

Cultural contracts drawn up with regional associations of local authorities,
performance management contracts signed with institutions, as well as the terms ofreference of the directors of those institutions, and cooperation agreements drawn
up with various parties regarding specific projects and operations.

*

Other policy documents, such as the Icelandic language policy, the policy of the
Ministry of Education, Science and Culture’s on sports and youth-related affairs,museum policy as regards national treasures, and cultural policy in relation to
infrastructure.

*

Various other measures by the Ministry of Education, Science and Culture and otherministries in the domain of culture.

The concept of culture is broad and difficult to define, and opinion differs as to where theline between culture and other aspects of the social setting should be drawn. Culture is afundamental concept in a variety of disciplines. To illustrate, the classical anthropologicalnotion of culture was shaped by customs, traditions, ideologies, the values of society, etc. In
its widest sense, the term “culture” may designate any human activity. In the context of anational cultural policy, however, that definition is ambiguous and too broad, and thepresent policy mainly focusses on government involvement in matters of the arts andcultural heritage.
One may ask, however, whether a national culture should be considered as unified andindivisible or as complex and composite. The Icelandic culture has often been presented as
being distinct from other national cultures. Defining it along such lines is hardly appropriate
in the contemporary world where cultural influences cross borders even more readily than
before, not least considering the fast-moving technological advances and distribution
methods offered by the Internet. Indeed, the Icelandic language lies at the heart of Icelandic
culture, but the cultures of neighbouring countries and of distant parts of the world also
contribute something new to cultural life in Iceland every day. A wide range of creative
activity, debate and exploration of cultural life is also made possible by information
technology, and for this reason it is important for public cultural policy to take this digital
environment into account. Factors such as globalisation, technological innovation andincreased supply and access to diverse cultural activities have also shaken the foundations of
the persistent division of culture into ‘high’ and ‘low’. The salient feature of thecontemporary consumption of culture is that it is governed by the consumer’s search for
new knowledge and experiences. New experiences constantly shape the individual’s interestin the arts and his/her awareness of the cultural heritage.
The way in which children are introduced to culture and the arts is of great importance. The
crucial point is that children must be allowed to approach the experience on their own

terms. Publicly funded cultural institutions are encouraged to facilitate active participation in
their activities by children, young people and their families by presenting their subjectmatters in animated and interesting ways, thus aiming to provide a positive experience ofand sharing in cultural life. Certain aspects of the cultural policy are principally directed
toward children and young people. This includes cultural activities and introductions to thearts that take place in Icelandic schools at all levels of the educational system, often incooperation with cultural institutions. Given the considerable creative energy of children andyoung people, it is also important to involve them as active participants in cultural life. It is
important for organisations, groups and associations in the domain of culture to initiate
cooperation with schools to the extent possible, and for schools to strive for such relations inthe same way. Schools at all levels of the educational system have an important role in thenation’s cultural life, not least in relation to children’s culture, education about the arts andthe enhancement of cultural literacy, and their impact on the general public’s relation to
culture and the arts is wide-ranging.
A large proportion of all cultural activities in Iceland is in the hands of individuals and theirassociations, without any public intervention as regards the arrangement of the activities.
The government operates artists’ stipend funds and art project funds with the aim ofsupporting the activities of independent professionals while ensuring that applications arescreened by allocation committees that apply a rigorous peer review process, respect thearm’s length principle, and are subject to the regular replacement of committee members.
The state also operates cultural institutions in the domains of the arts and cultural heritage
as required by law, insisting at the same time on the independence of those institutions.
Performance management contracts are drawn up with these institutions with a view toensuring the efficiency of their services and day-to-day operations. Over the past few years,
cultural contracts have also been signed with the different regions with the aim ofguaranteeing the best possible allocation of public funds with the help of members of thelocal population having the appropriate perspective. These activities must be subject tosystematic performance reviews so as to ensure at all times the best possible performanceof the cooperation of the state with local authorities and their regional associations.
A country can best achieve a thriving cultural life by paying attention to the relations andinteractions between its different elements. Thus, although experimentation and innovation
are important aspects of cultural life, supporting cultural activities is not only a question ofstarting new projects, but also of making the best use possible of public funding and of
maintaining diversity. The interaction between institutions and the grassroots in all areas ofculture is of the utmost importance in order to enable the public at all times to cultivate asense for the nation’s cultural life and become acquainted with both modern and traditional
aspects of the arts and of culture.
There can be no doubt that the Icelandic population is interested in both having access to adiverse cultural environment and running various cultural projects. This interest must bebuilt up and strengthened, and in this the government has a significant role. The potential
exists, since a rich and varied cultural life tends to inspire greater creative activity in theeconomic, scientific and innovative spheres of society, as well as increasing the quality of lifeof the population. While the creative energy and the search for knowledge characterising
the artistic and cultural life of Iceland benefit the country’s economy in a variety of ways, it isimportant for statistical reports to show the economic impact of cultural activities moreclearly than has been the case until now. For this purpose, foreign models should be studiedin cooperation with public authorities in neighbouring countries.
This policy document is presented in the context of the government’s general goal-setting as
laid out in the strategy document Iceland 2020. It is imperative for the National Cultural
Policy to be at all times a dynamic part of policy-making in this field, not least on account of
the rapid changes occurring in the contemporary world and the fact that technologicaladvances and the increased mobility of people and capital make it necessary to review therationales behind any public cultural policy at regular intervals. That review is on-going andalso takes place with the help of general policy instruments in the field of culture. A
flourishing national cultural life brings benefits to all.