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The focused and dedicated handball coach, Guðmundur Guðmundsson takes his teams to the podium – and will settle for nothing less. Iceland's favorite athlete is Guðmundur Guðmundsson, one of the most victorious handball coaches to come from our tiny island. Leading the Icelandic team to receive the silver medal at the Summer Olympics in Beijing in 2008 and the bronze medal at the 2010 European Handball Championship in Austria, Guðmundur went on to become the head coach of the German Bundesliga club Rhein-Neckar Löwen until July 2014 when he signed a three-year contract to become the head coach of the Denmark's National Handball Team. In 2016 Guðmundur lead his Danish National Team to the gold medal in the Summer Olympics in Rio de Janeiro. The Icelandic nation was ecstatic and proud of their golden coach. The Danes were proud of their team but unfortunately failed to recognize the head coach's part in the victory. As a result, Guðmundur announced he would not be renewing his contract with the Danish team at the end of his three-year term in July. In spite of the smear campaign in part of the Danish media against Guðmundur, it neither made a dent in his sense of integrity nor his professionalism and dedication towards his team. He signed a contract, and he will honor that contract. Lesser men would have upped and walked away. Sharing objectives When Guðmundur is asked whether his decision will impact the players in his team during the preparation leading to the World Championship, he says he doesn't think so. "They respect my decision, and in fact, the players never get embroiled in conflicts of this nature. It had nothing to do with the team itself. We share the same objective: To win." Handball has been part of Gudmundur's life from an early age. He started playing with his home-team, Víkingur (Vikings), around the age of 7. For the next ten years, he played both handball and football. "I was totally into sports," he says, "and at that time we didn't have computers or television to distract us in Iceland. I got away with enjoying both handball and football until the age of 18 – when I decided to give up football and concentrate on handball. The reason I chose the handball was the new head coach hired to coach the Icelandic National Team, Bodan Kowalczyk. A game-changer I was intrigued by his approach to training. He was thoroughly professional and placed an extreme demand on the players. I was fascinated by his work, and I knew I just had to be a part of it. He changed everything with regards to training and training intensity. It was an amazing experience. He took handball to a completely different level in Iceland. He didn't just shape us as handballers, but also molded our characters and impacted our thought process. He always set himself sublime objectives and followed them through. He taught us extreme selflessness and discipline and his was a massively tough schooling." I am still benefitting from those years, even today, and am eternally grateful for the years I trained with him. He met a lot of criticism in Iceland at the time. He made extreme demands, and there were those who found it hard to take. It was a game-changer. The training was completely organized, as was the training approach and the tempo. It has been a guiding force in my life, though obviously there are a lot of things I do differently. Being a coach is a process. You are always learning something new, picking up ideas here and there along the way and processing everything into your approach." Throughout his years as a handball player Guðmundur played almost exclusively with his home-team, Víkingur, as well as playing with the Icelandic National Team for ten years, from 1980 to 1990 when he quit at the early age of 30. He admits to sometimes regretting leaving at such a young age. "The training with the National Team was incredibly intense, and we were playing much more international games than today. It put a massive strain on my family and my job. Even though I always got time off to play with the National Team, I was dependent on my employer's tolerance and mercy. There comes a time when you've just had enough." Hard work and discipline By the time Guðmundur quit playing handball, he was already working as a coach. He started coaching his first team in 1989, which means he has been amassing experience and know-how in the job for 27 years. When asked what swapping roles felt like, he says: "It was a bit strange and, I must say, quite tough. I was a bit green when it came to my new role. It is a widespread misconception that you can move straight from the role of a player to the role of a coach as if it is an automatic process. But, believe me, it is far from true. Those are such different roles. As a player, you are trained to do what you have been drilled to do. You are only responsible for yourself and your place in the team. As a coach you are responsible for the whole team and you are constantly dealing with human factors. To become a coach is a long and strenuous process. There are so many excellent players who have had the misconception that they could automatically move from being a player to become a coach, only to be rudely disillusioned. Of course, it is a great asset to have trained with an excellent coach and to have taken part in the Olympic games, but it is not enough to become a good coach. You just do not transfer effortlessly between the two roles. Becoming a good coach takes a long time, a lot of hard work – and immense discipline.” A constant learning process “Coaching is a constant learning process when taken seriously. I am always looking for ways to become a better coach; better and better by each and every year. I am always competing with myself, aiming to be better at resolving difficult and tricky situations. I read quite a lot and for some time I have been working on Awareness. It has helped me to exclude negative aspects; to enjoy what I have here and now. I must admit, it can be pretty hard to stay in this Awareness, and there are days when I forget myself and need to take time out to remind myself to focus on being appreciative. It totally relaxes me – which I find fascinating. It is what helped me stay calm during the 2016 Olympics. It is an immense pressure to stay focused at all times. And the more matches we won, the heavier the pressure." Guðmundur says he never thought about becoming a coach when he was a player. "When you are a player, you do not think that far ahead. You are just in the here and now, and being led by someone else. Someone has already decided where you are going next. You do not have to plan anything or think about the future. I quite enjoyed it and had no plans to become a coach – but here I am." A force to be reckoned with Guðmundur is educated as a systems analyst with a diploma in management and personnel administration and has a Masters degree in finance and international banking. While playing and coaching in Iceland, he was the Project Manager for Kaupthing Bank, responsible for implementing the bank's computer system and presiding over a large group of people. After the financial collapse in 2008, he left the bank job to dedicate himself to being a full-time coach. He had already led the Icelandic National team to the Olympic podium in Beijing where they received the silver. For the next four years, he coached the German team Rhein-Neckar Löwen. "The silver at the Olympics provided me with an opportunity to take giant steps as a coach and I made up my mind to become a force to be reckoned with in this field. In 2012 Rhein-Neckar Löwen won the EHF Cup which was an incredible achievement for my team." Which led to Gudmundur's being offered to take over the Danish National Team in 2014. When you are hard working and efficient in this environment, you will become better and better at your job. The demands placed on me are immense; the challenges ever greater. But, I like that because I have a vision: It is not enough to prepare yourself well; your preparations must be excellent at all times. It is very easy to be a popular coach, but it is hard to be an effective coach who achieves results. When you are an effective coach, you put immense pressure on everyone. Not just the players in the team, bot also on the doctors, the physical therapists, massage therapists, and all the assistants working for the team. And thus, you sacrifice your popularity. When I was hired as head coach for the Danish National Team, I was hired to get results. And that is precisely what I did at the Olympic games." At the crossroads When Guðmundur is asked what his driving force is, he doesn't hesitate: "Passion. It must be the driving force because coaching a highly successful team is hard work. During the Olympic Games in Rio last summer, I was working sixteen hours a day; working on strategies, studying the other teams, reading, motivating each player and the team. There is such a short distance between winning and losing. It only takes one goal. It only takes one player to be absent minded for a brief moment and not do what he is supposed to do, and it is GAME OVER." Guðmundur will be fulfilling his contract to coach the Danish National Team during the 2017 World Championship in the summer. When asked where he will be going next, the great handball coach says: "I am at a crossroads. There are various possibilities in the pipes today. The plan is to keep on coaching."

You will either love it or hate it. Most love it. Whichever it is, the Icelandic Highland never cease to fascinate both locals and their visitors. The island is only habitable along the coastlines as the Highland cover most of the country. And, it is a dangerous place. The Highland is where the forces of nature are at their most extreme. You get volcanic activity, raging glacial rivers, glacial runs, killer weather. It is a volcanic desert of grey, black or brown earth, lava and volcanic ashes. But, now and then you stumble upon mind-numbingly beautiful oasis-like areas, like Herðubreiðarlindir and Askja. Childhood fondness You can only cross the Highland during the Icelandic summer as their gravel roads are closed during the rest of the year. Still, that doesn't stop the true Highland fanatics of whom there are quite a few in Iceland. One of them is Þórhallur Másson, a builder living in Akureyri. To him, there is no such thing as "off limits" when it comes to the Highland. Þórhallur fell in love with the Highland when he was a child, and his parents took him camping there every summer. At the tender age of sixteen he joined the Akureyri Rescue Services where he had to train in even appalling conditions during wintertime. Today, he knows the Highland intricately and travels there all year round. When asked what fascinates him so much he is quick to reply: "The vastness." The rock desert Þórhallur goes on to elaborate: "Some people only see sand and scree, but they are not looking properly. The Highland are such an extensive area and constantly changing. There is something about this rock desert. You can be driving along admiring the mountain shapes and hues stretching afar, when you are suddenly upon a Dell with wonderful flora, like alpine fireweed. And, I find the Highland coarseness quite beautiful. The Highland are a volcanic area, and you will also find most of the glaciers there. The glaciers don't stay the same. Some of the glaciers are in retreat, others have disappeared altogether. The landscape is constantly changing. It changes from summer to fall, from fall to winter, from winter to spring. It even keeps changing throughout the day. It changes by light and shadows. It never stays the same, and it is impossible to get bored with it. I go to Askja at least ten times a year. The landscape around Lake Askja and south of Dyngjufjöll where the lava flowed has changed dramatically due to the eruption and the flowing lava last year." Tricky situations To most this would sound like hazardous journeys. And it is dangerous, even to the experienced experience Highland man. "Of course, we get into tricky situations now and then," says Þórhallur. "It is not unusual to return home twenty-four hours later than planned. And, of course, I have had misfortunes. My car had jumped into a river when a snow-bank broke beneath it. The car was in a really bad shape. I have often found myself in tricky situations, but this was the only time my heart missed a beat." Þórhallur travels the Icelandic Highland throughout the year. When asked which he prefers, summer or winter, he is thoughtful for a moment before replying: "I can't say. All seasons have possessed different quality of charm. Still, the winter may be my favorite. There is no dust, no midges, and fewer people. But, then again, you can be caught in a snowstorm. I also like the autumn. The air is cooler than in summer; the vastness is veiled in snow, and the air is much clearer than during summer." Favorite areas Þórhallur drives his own Highland Jeep, a Landrover Defender with 44-inch tyres. But, what is accommodation like in the Highland? During winter, we sleep in lodges and during summers in tents. Well, we sometimes opt for the tent as well in winter. It depends on with whom I am travelling. I spread a reindeer skin on the tent floor and then we have excellent mattresses and sleeping bags. The coldest night I have spent in a tent was -15°. The summers are different and every year I take my family to the Highland. It is the highlight of each summer. Last summer we spent 22 nights in a tent, and we loved it." Þórhallur has quite a number of favorite areas in the Highland. "I always love Ódáðahraun. Hveragil in wintertime is unique. That's where I always take my "spring-bath." After parking my car, I hike for about ten minutes along a warm river until I reach a waterfall. There, in a natural pool where I bathe and shave off my winter beard. You can't bathe there during the summer because the pool will be too hot. So, every year, on the first Icelandic summer's day, my friends and I go there for this annual ritual to welcome the summer. Other favorites are Þórsmörk, which is a favorite with most Icelanders, and Lónsöræfi, which very few get to visit but most would like to. It is where I hunt for reindeers every year." Hiking and Jeep tours But, being a true Highland fanatic, Þórhallur doesn't just drive around. He also loves hiking. "Some people only like jeep tours, others like hiking. I love both," he says. "I keep myself in top form to be able to enjoy the Highland as I prefer. Anyone who is interested can take to the Highland in their preferred way. It is simply a question of finding out what you want to get out of it. And, it is never too late to start. If your interest is piqued, you will find your approach. The only thing you must constantly keep in mind is to be very careful. No matter how experienced you are. No matter how benign the area you are travelling through looks, not all is as it seems up there. And, turning back when faced with doubtful situations is the proper thing to do. Be sensible."

East-Iceland is a bit of an enigma even to the Icelanders. None of the major Sagas, with all their important locations, memorable fights, and dramas, are set in this part of the country. They have Hrafnkels Saga Freysgoða, of course – but it is considered a minor Saga. Which is one the reason there is little emphasis on the beautiful eastern fjords in the school system. There are roads leading to the East fjords, but somehow no roads leading away from there – except back home. Until the last two or three decades there didn't seem to be a reason to go there. The East-fjords didn't offer an escape from the Island until the Norrøna started sailing to Seyðisfjörður. You see, the notion of leaving; escaping the confines of an island is quite central to the Icelandic character. The Southwest has an International Airport and some harbors, lots of escape routes. Ignored by the Icelanders The East-fjords have been inhabited since the earliest settlement of Iceland – but too remote, too isolated to even be considered attached to the country. For centuries, the whole area seems to have been ignored by the rest. Meanwhile the inhabitants went about their daily life, enjoying the fabulous nature in their part of the country, creating myths and folklore, raising great writers, painters, and musicians, taking care of their wonderful communities and each other. There have always been villages and hamlets scattered along the east coast, connected by precipitous mountain roads leaving them even isolated from each other during harsh winters. A prosperous village Born in Reykjavík and raised in Breiðdalsvík, a tiny hamlet south of Fáskrúðsfjörður, Steinn Jónasson has always lived in East Iceland. As a young man, he moved to Fáskrúðsfjörður to learn the trade of auto mechanic. There he met his wife and settled for life. "I liked Fáskrúðsfjörður from the very start," says Steinn "Of course it was an isolated community at the time, but that was of no consequence to me as I came from an even smaller community. It didn't feel isolated mainly because the social life was very rich and the economy was booming. We had three fish factories, so there was plenty of work for everyone. We had a drama society, a cinema, a sports hall, a choir, and various other societies. There were frequent get-togethers to celebrate all kinds of moments and to enjoy each other's company. It didn't feel like a community of 700-750 people. It felt much larger. They were good times." The Aluminum Plant changed everything Fáskrúsfjörður is still a prosperous village with capelin fishing and processing factories; there is enough work for everyone. When asked if the village has changed since he moved there, Steinn says indeed it has. "Everything changed when we got the tunnel to Reyðarfjörður. It offered new and different job opportunities with the arrival of the Alcoa aluminum plant. A lot of people in Fáskrúðsfjörður work in Reyðarfjörður and vice versa. Steinn and his wife both work in Reyðarfjörður. Steinn is the Fire Prevention Inspector for Fjarðarbyggð that covers the area from Mjóifjörður to Stöðvarfjörður. He is one of three Fire Service chiefs with the fire station headquarters located at Reyðarfjörður because of the aluminum plant. "The plant brought immense changes to our community. We now have much more diverse jobs to choose from and to attract young families to the area. As a result, we have had some utility companies moving into the area, and we now have the second largest harbor in Iceland. The two communities now practically function as one." The small community is good for children When asked why he joined the Fire Service, Steinn says it was at the Fáskrúðsfjörður Fire Chief's insistence. "He wanted his team to be comprised of craftsmen. I was training as an auto mechanic, and he simply informed me that I was to become a member of the fire service team. In the smaller communities, the fire service is often the craftsman's sideline." Steinn as four children and says that raising children in a small community in Iceland to be a privilege. With a changing community with more diverse job possibilities, the young are not too eager to move away as they used to be. "In such a small community you never worry about your children. There is always someone keeping an eye on them. Still, they are free to play wherever they like. There is no heavy traffic, and everything is very relaxed. You'll also find that children growing up in small communities tend to find ways to entertain themselves instead of waiting for someone else to entertain them. In Fáskrúðsfjöðrur, they have a well-equipped Sports Hall and a swimming pool, and they run a leisure center." The French Connection Fáskrúðsfjörður has an interesting history and a strong link with France. It is a beautiful fjord adorned with the wonderful island, Skrúður. Their pride is the Sandfell laccolith mountain where nothing grows but the gravel is as fine as silk. There are not many of those in Iceland. An ongoing process is the renovation of the old French Hospital and the French houses. The houses were built during the time (from 1830 until the beginning of the Great War) when hundreds of French fishermen would migrate from France to their operating base in Fáskrúðsfjörður from March through September every year. "Our sister town in France, Gravelines, holds two celebrations each year to commemorate the fishermen," says Steinn. "The former is at the end of February, beginning of March at the time when the fishermen would be leaving for Iceland. The latter is in September when the fishermen would be returning home. In Fáskrúðsfjörður, we celebrate The French Days in July each year to commemorate the French fishermen's stay in Iceland. We have a museum commemorating the French fishermen and their interaction with the locals and just outside the village is a French cemetery with 49 graves. They all have crucifixes and have been very well maintained. The names of the French fishermen buried there are carved into a rock in the middle of the cemetery." Pristine and unique The population, along with Icelandic Heritage Institution and the Municipality of Fjarðarbyggð, of has not only renovated the old French houses but made an effort to renovate all old houses they can get their hands on. As a result, the village is exceptionally beautiful. It is a joy to have a stroll through the village and visit the local café, Café Sumarína and the Kolfreyja gallery (both located in old renovated houses). You can also take long walks along the pristine beach or go angling down by the harbor. And of course, there are hiking trails all over the mountains and hills, from one fjord to the next. It is like going back in time. And the best part: Fáskrúðsfjörður enjoys mild weather on the whole. Winds, gales, and storms are indeed very rare.

The concept of distance most certainly has a different meaning in different cultures. A four to five-hour drive in Central Europe or the U.S., let alone China, may not be considered a distance worth mentioning. But, in Iceland it is almost insurmountable. That is to say, if you live in the Reykjavík area. The Icelanders have a somewhat warped sense of distance. More than half the nation lives on the southwest corner and everywhere else is too remote. Those who live outside the Southwest have long realized that anywhere in Iceland is short-distance. The Academic Scene There used to be only one University in Iceland, so academics had little choice as to where to live. If you wanted to live in Iceland, Reykjavík it was. In Akureyri and West Iceland, further universities have been established during the last decades. The University of Iceland has also established seven research centers across the country. Amongst them is the University of Iceland's Research Centre (UIRC) in Hornafjörður with the main goal of increasing knowledge about the local nature, culture, and community. Nine years ago one of Iceland's most prominent literature academics, Soffía Auður Birgisdóttir, moved to Hornafjörður when her husband became head of the UIRC there. Soffía, who had been a teacher and a researcher at the University of Iceland for some years, became a full-time researcher. She recently completed and submitted her, Dr. Phil. Thesis and published a book on the writings of Þórbergur Þórðarson, one of Iceland's best-loved writers. Þórbergur was born and raised at Hali in Suðursveit where the cultural center, Þórbergssetur, is based, in the district of Hornafjörður. No Remoteness or Isolation anymore When asked what prompted two prominent academics to move to this "remote" area in Iceland Soffía says Höfn is by no means remote. True; it doesn't have any neighboring villages and towns, but it has everything her family needs, a good music school for the children, as well as various opportunities to practice sports, such as soccer and basketball. And with all the modern technology, there is no question of remoteness or isolation anymore. "We moved to Höfn because we were offered job positions here but mainly because we were open to moving away from Reykjavík," says Soffía, adding: "Moving here was much easier than we expected. Very early on we took action towards integrating into the community. I joined the female choir, and my husband joined the male choir, as we have always been members of choirs. Thereby, we instantly got to know half the population. We have never felt isolated here nor found it difficult to get to know the locals; quite the opposite.” Lively Social Life “The Research Center where we both work is a small establishment, housed in Nýheimar Knowledge Center along with a number of other establishments, amongst them the secondary school our youngest son is attending and our daughter graduated from last spring. It is, therefore, a large workplace and the canteen is very lively when various generations merge there at lunchtime. What struck me when I moved here was the level of caring in the community. People stick together and make sure no one becomes isolated. Though I would like to see more varied extracurricular activities for the teenagers and young adults, the social life for the middle-aged and elderly is quite rich. We have various concerts, festivals, and feasts throughout the year and each autumn the local drama club stages a play along with the youngsters from the secondary school." Captivating Nature Unlike other parts of the country, this area has very little snow during winter. It hardly stays on the ground for more than a few days. Of course, we get our share of winter storms but they hardly prevent us from doing what we want to do and drive where we want to go. The snow has never been a problem here. The only thing that has caused us temporary isolation is eruptions with fumes too dense to drive or fly anywhere. When we moved to Höfn, we were immediately captivated by the nature surrounding us. We have a fantastic view of the Vatnajökull glacier. We bought a house here and are now in the process of expanding it to get an even greater view of the glacier, as we are here to stay. Iceland's best-preserved secret is what a privilege it is to live in the smaller communities around the island. Hiking and Photography We have enjoyed the diverse nature around the Vatnajökull glacier thoroughly. My husband is a photographer, and after we had moved here, he took on the task of regularly photographing Jökulsárlón throughout the year and later published them in a book called Jökulsárlón, all year round. At the time, there were no tourists visiting the lagoon during the winter. Nowadays, though, it is always crowded, every single day of the year. Tourism is the biggest change we have seen since moving to the area." When asked if she has any favorite destinations in the area, Soffía is quick to reply: "Yes, the area around Hoffellsjökull eystri and the beach at Horn. Though, the whole area is exceptionally beautiful. You can stop your car anywhere and decide to go for a hike, and you will always discover something precious." Changes The greatest changes to Höfn, since Soffía moved there has been due to the increase in tourism. "We have witnessed great prosperity in Höfn in the nine years since moving here," she says. "We have now four restaurants to choose from when we want to go out for dinner, and two of them are truly among the best restaurants in the country. The area around the harbor has been redeveloped, and many of the old houses in the village have undergone renovation. There is no shortage of work here. In fact, we need more people but have a problem providing them with suitable housing. The only downside of increased tourism is that people tend to rent their houses out to tourists instead of the workforce. The Municipality is faced with the luxurious problem of having to build houses to attract a bigger workforce to live here. This situation has developed over a very short period and is a by no means a regional problem here. Still, I think people with young families should seriously consider moving out of Reykjavík where the cost of living has become nearly impossible," says Soffía, who only faces one question at this point in her life: What to select for her next research project.

Unnar Geir was born and raised in Egilsstaðir, Unnar then moved to the capital area for vocal studies. Later he headed to London to study acting and directing. Earlier this year he returned to his hometown after seventeen years away to head the area's Cultural Centre. It was a challenging move for a challenging job. When asked how it felt to return to the small town after years of cosmopolitan life, Unnar says it was quite nice. "I found there were still so many familiar faces in this milieu. Still, the town had changed so much, and for the better.” Childhood mischief “Egilsstaðir was a village until 1987 when it received municipal rights. When I was growing up, it had this village atmosphere. It was an era of prosperity; there was an influx of young people, raising young children. My street was Reynivellir in a brand new neighbourhood, and it was awash with children. We enjoyed life, playing outdoors, throughout summer and winter. Our street was one of the first in the village to be asphalted thus making it perfect for bicycling. Of course, children from outside our street also wanted to bike there – but we would have none of it. And, we defended our street staunchly with rocks. Outside children were literally stoned. Their only option was to befriend someone from our street who then became responsible for them. Egilsstaðir was different from other towns and villages, as it had no harbor or seafaring. But, we had the airport. My friends and I would climb the airport fences, which was absolutely prohibited, of course. We would crouch down and spy on the passengers. We would record who was leaving and who was arriving and who was suspicious. The most suspect ones were men with briefcases.” The “Lions” in the Woods “We also had the Egilsstaðir woods. At that time, the local farmers kept their bulls there. The woods were not open to the public. We would venture into the woods in search of the bulls, which was also prohibited, of course. But, to us this was a jungle, and the Bulls were lions. We were utterly terrified, and whenever we heard a twig crack, we would run for our lives. Still, we would go there again and again – just for the thrill. It was always the question of whether we would get away before the bulls caught up with us. The woods were our area for thrills and excitement. Afterwards, we would go to the river Eyvindará for a splash. We also had a favorite spot there for fishing. Years later we learned it was the precise spot where the sewage entered the river. No one remembered to tell us and obviously it didn't bother us. There wasn't much tourism at the time. But, the Norræna ferry had started arriving in Seyðisfjörður. And, every time the ferry came in my friends and I would stand by the road and wave to the tourists. We took it upon ourselves to welcome all of them, on behalf of our community.” A transient place “Egilsstaðir rested on farming and services to the area, but it is changing. I am still observing the community as a guest, and it seems to be searching for a new identity. It has a kind of teenage atmosphere. We are not bound by the rules and traditions of the old community and, therefore, a bit infirm. The atmosphere is a bit peculiar. Egilsstaðir feels like a transient place. A lot of people move here only to stay awhile, and it affects the community. Not necessarily in a negative manner. It is essential to import new trends and ideas but at the same time stability is somewhat lacking." Today, Unnar says Egilsstaðir has a lot to offer. "We have very good schools and access to education is excellent. All services and amenities are a short distance. We have quite a variety of shops, and the restaurant business is booming. We have the airport for the east coast region next doors. Thus, we are just 50 minutes away from the centre of Reykjavík. There is exquisite nature all around us and we enjoy the privilege of a relaxing atmosphere. Everything is short distance Egilsstaðir is a prosperous place. Distance learning at university stage is being developed, and I find I enjoy all the services I need here. And, most important to me, the cultural life is very rich. The Icelandic Art College is running an art form faculty here. We have a robust drama company and quite a number of choirs. We are now preparing for Icelandic and international dance companies to stay with us for a while. They will be using our facilities for rehearsals and performances. And, at Seyðisfjörður, our neighboring town, you will find The Visual Arts Centre, which has been a player on the international culture scene for quite a number of years. If this had been the reality here in Egilsstaðir when I was young, I very much doubt I would have left. At that time, we only had sports. If you didn't do sport, there was nothing for you to do. In mere seventeen years, the community has become much more diverse and open. Still, there are great opportunities for further expansion. One of my aims as the director of the Cultural Centre is to establish a basis for artists to settle here. I aim to make it possible for artists to live off their chosen art form in our region."

The Icelanders have always found Keflavík a bit odd and the inhabitants different from the other islanders. There might be some truth in it though a very few can pinpoint exactly what makes them different. It used to be a town with a vague identity and hardly anyone’s family was originally from Keflavík. The town started as a fishing hamlet that grew to be a trading centre. As it had favorable port conditions and the distance to good fishing grounds was relatively short people from the rest of the country started moving there in search of work. As a result, Keflavík became a potpourri of Icelanders who had their extended families scattered around the rest of the island. During the Second World War the American Navy built a Naval Station at the town’s threshold and stayed until 2006. Keflavík saw a fresh influx of people searching for jobs and settling in the area. The Americans brought the modern world with them in the form of television and a radio station broadcasting contemporary music 24/7. This absolutely modern media was only available to the inhabitants of the Reykjanes Peninsula, setting them still further apart from the rest of the islanders. They had a window to the rest of the world. Keflalvík was “a Room with a View.” Surrounded by natural wonders In this atmosphere of ceaseless transition Ólafur Jón Arnbjörnsson was growing up. He later left to study in Reykjavík, then Demark and later in the US. Now a teacher, Ólafur moved back to Iceland to be assistant headmaster of a secondary college in Sauðárkrókur in North Iceland and later took up the position of headmaster in his hometown, Keflavík. Ólafur has very fond memories of growing up in Keflavík. “It was great,” he says, “it is quite funny but I don’t have any conscious memories of my life before the age of twelve, but it doesn’t take much to trigger older memories. It happens when I brows through photos from that period or, I enter a house which has a certain smell of old people’s powder or perfume. Old smells, sounds and pictures have been my way of recalling my life until the age of twelve. The things I remember most is travelling around the Reykjanes Peninsula with my parents. They much admired the peninsula’s geology and we would go on daytrips to appreciate the natural wonders surrounding us. I still find the Reykjanes Peninsula to be one of the most beautiful parts of Iceland. The Age of Music At the time I wasn’t aware of Keflavík being different from anywhere else. I never wondered about the window we had to the world through the American TV and radio. I am sure I assumed it was accessible to everyone else in Iceland. Anyway, throughout those decades provincial pundits kept closing them down and reopening them in a perpetual frustration over the impact it might have on our amorphous souls. During my teenage years we had a relatively open-minded authorities; the dangerous American influence stayed open. And, I loved being a teenager in Keflavík. Due to our proximity with a radio station broadcasting all the latest musical trends in Europe and America we were aware of the Beatles very early on. We liked what we heard and Keflavík became consumed in some sort of a musical craze. There were pop bands all over the place. Everyone and their uncle were forming a band, rehearsing in every garage, shed and stockroom they could get their hands on. No one was plagued by an inferiority complex when it came to music; there were no barriers and you didn’t have to have a clue how to play an instrument. I didn’t know how to play an instrument but I played with several bands. Well, we never actually played anywhere, but we rehearsed like mad. Big changes Indeed, the musical life in Keflavík was so rich we always had live bands at school dances. Then there were the local dancing halls. I was small for my age at that time and born late in the year making it difficult for me to gain access to the dancing halls. I had to wait much longer then my friends who were more mature, or born earlier in the year. How I envied them. Still, these were great times.” Changes are an integral part of Keflavík. When the American Navy left in 2006 there were many who predicted a speedy decline, even death, to the communities on the Reykjanes Peninsula. To add to the unemployment problems were changes in the fishing industry. The fishing grounds had shifted further away and technology had advanced, permanently altering life in fishing towns across the country. This process had already started in 1995 when Ólafur returned to Keflavík, after more than two decades away. Keflavík had changed, and it kept changing, but in they way many had predicted.” Communal ups and downs “Of course I could see the changes when I came back,” says Ólafur, “but, then again, my outlook had also changed. The town was going through a transition period, once again. When I started working there as a headmaster, 500 students were attending the school. When I resigned three years ago, the number had increased to 1.200. Keflavík, and the neighboring communities are the fastest growing area in Iceland outside the Reykjavik metro. It is a lot more diverse and offers much more opportunities. It really is a melting pot with changes happening very fast. All cycles are larger and faster in this area then the rest of the country, resulting in lesser stability. This applies to both nature and economics. This is a very young area with the comparatively the largest age group between 18-25. Five years ago, unemployment for this age group was tremendous. Today, there is a shortage due to projects developing and being launched in the area, mainly in connection with increased tourism, as well as, new and changed opportunities in the fishing industry.” Realizing the potential Three years ago, Ólafur resigned as headmaster of the secondary school in Keflavík to launch a brand new project, The Icelandic College of Fisheries. The College was founded in Grindavík, to the south of the peninsula. “When I came back to Keflavík, I realized a big portion of the local teenagers would not go on to secondary school for a further education. As I have always been passionate about matters concerning education I set out to identify the problem. The primary question was: Why would young people rather settle for a life working in fishing factories than attain more education? After analyzing the communities and possibilities around the peninsula I had to ask myself: Why aren’t we educating young people in the field of their choice? We are not all cut out to become academics at the age of 16. We all have different talents. We all seek different lifestyles. And, as a community, we need this diversity. I started discussing the matter with municipality authorities in communities across the peninsula, as well as, comities responsible for further education and last but not least – the fishing industry and the unions. Everyone was interested. So, we launched the school. For the first year we had a handful of students and I was the only staff member, doing everything from teaching, to maintenance and cleaning. Today we have 70 students in Grindavik and seven permanent staff members and growing. There are satellite projects now in the West-fjords and in the North-West and more on the way – and run recruit programs for some of the bigger companies in Icelandic fish processing. “ Offering an alternative “What we offer is an alternative to sixteen-year-old kids who want to work and live in the area; kids who don’t want to know more about subjects they are already fed up with and have no ambition of pursuing further. Why not offer them a two-year education in the profession of their choice? Why not offer the technical know-how they need? We offer a variety of courses for seamen, net makers as well as workers in fish processing factories and fish farming to certify them for the profession they have chosen. The fishing industry has always been important for this area and will continue to be so. There is no reason to forget all about the industry that has maintained this nation throughout the ages, just because we have new job opportunities coming into the area. We simply have to adjust, embrace diversity and do better than ever before.”

Three years ago, Jenný Lára graduated as an actress and director from the Kogan Academy of Dramatic Arts in London. Every year quite a number of young Icelanders complete their education in dramatic arts abroad, most often in London. Some choose to stay, some to return home. Jenny Lára chose to return to Iceland immediately after graduating. Back home to an extremely competitive market. Back home, to reap the rewards of her education and harness her creative spirit. But, what was it like returning home? "It was very nice, but at the same time, quite hard. Returning to all this lovely nature and my thinly populated country after all the hustle and bustle of London was great. But, it was hard. I was educated abroad for a highly visible profession. Nobody in Iceland knew who I was. I had to start building a reputation from the scratch. But, being an actor or a play director isn't easy anywhere. I reckoned it would be easier for me in Iceland than in the UK. Firstly, my roots are here; secondly, Icelandic is my mother tongue." My work has to matter to me Jenny Lara has wasted no time since returning to Iceland. She has been quite prolific, writing, acting, constantly directing for three years. She has worked with methods hitherto unknown in Iceland and in places not too obvious for staging a play. Her ways are quite unconventional, as she still hasn't found time to venture into the big conventional theatres. Why? "When I returned home I found I wasn't ready. I needed time to experiment and grow; to develop my creative voice. Establishing oneself is quite complicated anywhere in the world. The big theatres have their repertoire. Their directors can't choose which plays to direct, that is, not until they are very experienced and established. They also have a set group of actors and a director can't always choose his/her actors. I am still not ready to do just anything. I want my work to matter to me – creatively. I relish the freedom to experiment. When you are young it is important to challenge yourself, try out new methods, new venues, new ideas. I simply don't want to tread other people's path." Your standpoint seems to be that of the director. What about acting? The beloved northeast Iceland "It is a similar situation. If you are an actor working at the constitutional theatres, you have to do as you are told. You neither choose the roles you are cast in, nor the productions. Whatever your dream role, it is not yours. Not by a long shot. Maybe never. When you are working independently, you are not forced into roles where you have no chance of demonstrating your versatility as an actor. And the greatest freedom of all for the theatrical outsider is not being confined to Reykjavík. The whole country is your playground. I spent part of my youth in the northeast and my ties to that area are very strong. I wanted to bring something back to this wonderful area. Not just anything. Not a traditional piece with a traditional text. I wanted to introduce diversity and the vast possibilities the theatre has to offer. It has been a wonderful experience." A brand new experience Jenný Lára's first production in the northeast was Elska (Loving), which Jenný says is a play based on the Verbatim method. "I interviewed people living in the area about their relationships and what constituted love in their minds. From this material, I wrote the play. It was a study on the concept of love. It had six characters and in order to switch from one character to another I had shoes. Each character had his pair of shoes. I performed Elska in all the communities but one in the Þingeyjarsýsla county. After the performance, I invited questions and discussions on the topic of love. Every performance was great fun and a brand new experience for the audience and me. I also performed Elska at the Act Alone Theatre Festival in Suðureyri and in Reykjavík." The next piece Jenný Lára wrote and produced was on the Hidden People of the Northeast area. "I was asked by Mývatnsstofa (The Mývatn Cultural Centre) to write a piece from the local Elf-tales and then perform the play in English during summer 2014. It was a magnificent experience as the play was staged in Dimmuborgir, the greatest lava formation area in Iceland – and just by the beautiful Lake Mývatn. I also relished being able to bring those stories to our visitors, as I have always loved the Icelandic Elf-tales." Her very own Theatre Company Jenný Lára's third production in Iceland's Northeast was the "Culture Bus." Along with artists from England and Norway, she travelled in a bus from Kópasker to Raufarhöfn, performing their play en route. The topic was the old, Icelandic tradition of domestic work migration. The questions being asked were: Why do those who stay, stay? And why do those who leave, leave? The Culture Bus was quite a success, but alas, had limited capacity for audience. Ever since, the group is being asked when they will be back. As a director, she has staged two amateur productions, one in her beloved northeast part of Iceland, one in Reykjavík. But, Jenný Lára has not only been working in the northeast. She founded her own theatre group, Artik, where she directed the Icelandic play, The Equal and played the role of Sophie in Blink by Phil Porter. She also had a small role in Rams, the film nominated by Iceland for the Oscars. Jenny Lára has further worked as a producer for numberless theatre groups and is the founder of Uppsprettan (The Source), which is quite a novelty in Iceland. Innovation "Uppsprettan is for promoting writers, actors, directors and other professionals educated in theatre genres. We ask writers to submit a short play they want performed a few weeks before a set date. We select three selection committees that choose one play, each. Then we advertise for directors and actors who want to take part. They get the script 24 hours before the performance. At six o'clock on a set day, they start rehearsing and at nine o'clock, performances of the three chosen plays commence. During rehearsals, the audience is free to roam the theatre, read the scripts and observe the groups rehearsing. It is great fun and wonderful experience for the artists taking part. They also get a chance to meet and bond with other artists, instead of wasting away alone in their corner. This method is a very demanding for all the artists taking part. The time pressure exposes both your strengths and weaknesses, thus providing a great opportunity for you to work on your skills." Busy times, Well, what next? "Apart from managing Uppsprettan (The Source) twice this winter, I am off to London in November and December to act in "The Perfect Analysis Given by a Parrot," by Tennessee Williams. In the New Year, I'll return to the north, to direct Thorbjorn Egner's children's play about the animals in the Swedish Hakkebakke forest in Húsavík. Then, back to Reykjavík to rehearse a play I am writing along with a colleague of mine. It is a play we base on the Verbatim Method on the consequences of DUI and will premiere in April. And then I am working on developing Elska further as it has gathered interest in quite a number of places." Iceland sounds like the ideal place for you. "I believe you can do anything in Iceland if you really set your mind to it. But, it is not enough to be a creative artist. You also have to be creative in how to realize your dreams. You know, it is quite possible to be creative in Excel.

The Icelandic farmer’s son who became an Internationally renowned Conceptual Artist His compositions are lyrical, poetic and ethereal; they are touching the untouchable like the light and the wind through philosophical ponderings; they are a perfect picture of things that don't exist. Through his compositions, Hreinn Friðfinnsson explores the everyday human experience and transcends the mundane materials from which they are made to evoke strong emotions in the viewer. His works have been exhibited all over the world. Observing the Invisible As a young boy, Friðfinnsson had a front seat position to observe the wonders that later would become the basis for his art. Raised on a farm in the beautiful and historic Dalir in West-Iceland with nothing much happening, his seemingly mundane life was transformed every day by the display created by lights and shadows, wind and rain, completely and continuously metamorphosing both the arable land and diverse nature surrounding him – as well as, affecting the farmers' philosophical outlook. Anything meaningful was created by invisible sources. At the age of fifteen Friðfinnsson left his beloved homestead to study at the Arts and Crafts School in Reykjavík – and later to London, Paris and Rome to develop his very personal voice to touch us with his stories of invisible wonders. During this period, he frequently returned home for observation and work, until 1971 when he settled in Amsterdam. One would think being raised on a farm wouldn't provide much leisure for gazing at nature and its forces, but as luck would have it, Hreinn was the youngest of the three Friðfinnsson brothers – by far. "For as long as I remember, I had this obsession," says Hreinn. "I was constantly drawing and consuming anything related to art. In our rural area, we didn't get much in the form of art exhibitions, but I read everything I could get my hands on about the art scene in Reykjavík and elsewhere, primarily through newspapers. I studied the pictures attached to the articles very intently. They made quite an impact on me. And, upon understanding my interest, relatives and friends gradually started bringing me catalogs from art exhibitions in Reykjavík.” Moulding and shaping “I soon realized it was possible to make a living as an artist. Still, I didn't know where I was headed. I loved everything. When you are young you don't discriminate, you merely absorb. When I was a teenager and fully realizing what I wanted to do with my life modernism was the popular art form in Iceland. And all due respect to our pioneers, like Kjarval, who were imperative in shaping my path. But abstract art and the modern poetry – what we in Iceland used to call "the atomic poetry" – held the greatest impacts. I still remember as a child, when one of our guests at the farm brought me a catalog from Þorvaldur Skúlason's exhibition. It was the first time I had laid my eyes on the works of our geometric painters, and I was fascinated." In spite of the modern and geometric paintings shaping and molding the young farmer's son, the painting was not to become his art form. "Studying at an arts and crafts school is not all about drawing and painting," says Hreinn. "It is not least about the people you meet, the friends you make. Friends, who are like-minded, and share similar interests. It is about sharing opinions and widening your horizon pretty fast. In Reykjavík, the bookshops had books on arts and culture, which was an excellent supplement. They enabled me to study what was brewing in the modern art scene abroad, as well as, earlier art forms." The notorious SÚM In 1965 Hreinn was one of the founders of SÚM, the most influential art movement in Iceland to date. They were a group of artists determined to widen the Icelandic cultural horizon. Which, in itself, was no mean feat as the general public, led on by art critics, would only consider oil and watercolor paintings, figurative sculptures and possibly graphic art as "real" art. Of course, the SÚM exhibitions generated quite an uproar. They received a lot of negative reviews; other artists were condescending, and the public was incensed. But, bear in mind, this was the sixties and Iceland was still Europe's backwater. The reaction was due to prejudice and ignorance of tides and currents that had been developing abroad for some years. In a way, the SÚM group can be seen as criticizing the prevalent order and rebelling against the prescriptivism dominating the arts and culture scene. They would break away from the preconceived framework assigned to arts and culture. They sought inspiration from abroad; from the Fluxus movement, Arte Provera with ideology reaching as far back as the Dada movement and Marcel Duchamp. It is evident; the SÚM ideology was based on art nouveau avant-garde ideas from Europe and the US. Foreign influence "The SÚM group was entirely different from anything the Icelanders had seen before. We, ourselves, regarded it as a significant avant-garde art, but in reality, it was a bit of a mixture, a sort of impression of what was going on abroad and we had had the opportunity to observe," says Hreinn. "I seriously doubt you could have detected any Icelandic characteristics. Foreign influence was quite evident. We had pop-art and Duchamp, you could spot ready-made, and even much earlier influences which had made a great impact, and will continue to do so for the foreseeable future." Of course, SÚM had a manifesto, but alas, it was neither here nor there with its ambiguous, and often contradictory, articles. The original members dispersed all over Europe, new members joined, some were expelled, some quit, some persisted and the nation was furious, deeming most of the SÚM artists mad, and at times requesting the government to discontinue grants to those artists who couldn't paint a decent painting. It was a great time to observe the discourse between the artists and their nation. Settling in Amsterdam Hreinn moved on to London where he met his wife who was a ballet dancer. When she got a position in Limos in France, the couple moved there and Hreinn continued to develop his art. Then, in 1971 his wife was offered a position with various companies, amongst them the Dutch National Ballet, which she deemed the most feasible. They moved to Holland where they both have lived to this day though they split up in 1980. In spite of living in Amsterdam his entire career, Hreinn has been an active force in the Icelandic art scene. "For the longest time, I came back to Iceland at least once or twice a year. Every spring I felt this need for the Icelandic nature, the light, the people. My extended family lives here and the majority of my friends. Most of my colleagues in the art world were living her. Iceland was the central point for SÚM even though we started producing exhibitions abroad in 1971 and 1972." Hreinn says he also needed Iceland for inspiration. "There is no doubt the Icelandic nature has always impacted my work. I used to paint the landscape from a very early age with whatever material there was on hand. The scene developed and changed until it was merely implied in my work. It takes more than a mere glance to see it. But, then again, I never think about Icelandic connections in my work so I couldn't tell you where and how to find them. Others have spotted the links and written about them.” Connecting past and present “My photographic works are an exception. After moving to Amsterdam, I used Icelandic motives. My first one-man exhibition was in Amsterdam in 1972 where I exhibited anecdotal pieces on enchanted patches in Iceland. It was comprised of photographs and the stories attached to those patches. All the material was obtained in Iceland, from nature and the folklore. I still use this material now and then. I have used ideas from the works of our writers, especially Halldór Laxness, and Þórbergur Þórðarson, as motives. Their ideas are as fresh today as they were in 1970. I can always take a walk back to the past to collect material, bring it to our present times and turn it into a piece that is entirely different from the original one. When I succeed it is more in tune with our age even though the roots are old, or ancient." When asked if he has ever considered moving back to Iceland, the answer is no. "I made my home in Amsterdam. A lot of my exhibitions have been there, as well as, in France, German and Belgium. I'm perfectly placed for exhibition staging in Europe. In later years, I have been too busy to visit Iceland as frequently as in my earlier years. I would have liked to come more often – and for longer stays than a mere few days," says this poet amongst artists who is the recipient of both the Ars Fennica Award and the Carnegie Art Award.

In Iceland, the Snæfellsnes Peninsula is considered to be an area of supernatural energy. It oozes from the Snæfellsjökull glacier – the gateway to the centre of the earth according to Jules Verne's novel from 1864, A Journey to the Centre of the Earth. Not that it is affecting the everyday life of those who live on the Peninsula. They go about their daily lives on farms and in villages, minding their own business and enjoying the exquisite nature surrounding them. The Snæfellsnes Peninsula is indeed an area of natural beauty and diversity, as well as, rich history; an area where many an Icelander dreams of living. Lúðvík Smárason, a fisherman, a teacher, a carpenter and a construction engineer was born and bred in Hellissandur and later at Rif, the westernmost villages on the Peninsula. When he was still a child, his family upped and moved to Reykjavík but only stayed there for a year. "We didn't like it," says Lúðvík. The family moved back to Rif where his father, a carpenter, built his family a home. It didn’t feel small Being a carpenter in Iceland has its challenges. The weather is not at all favorable to those working outdoors, building houses; nail-by-nail, board-by-board, brick-by-brick. In 1987, Lúðvík's father decided enough was enough. He packed his carpentry and took on the role of custodian at the local elementary school until his retirement. When asked how he felt about returning to the Snæfellsnes Peninsula after living in Reykjavík for a year, Lúðvík replies: "I felt immensely relieved. It had been a short-lived experience, and I didn't make any lasting connection with other children and the community there. I loved my life in Rif and Hellissandur. We enjoyed freedom alien to children living in Reykjavík. At the time, there were many children living in Rif and Hellissandur. The two villages have always functioned as one. In my year, there were seventeen children. In the next year above there were 24 children. Today there are much fewer children around. There are only 160 people living in Rif and between 400 and 500 in Hellissandur. Still, it didn't feel like a small community when I was a child as there were so many children around." Leaving and returning home After completing elementary school at the age of 16, Lúðvík went to Akureyri in North Iceland to finish his A-levels. "The kids from the Snæfellsnes Peninsula who went to college tended to go to Akureyri as they had a dormitory. I don't know why we didn't go to Laugarvatn, which is much nearer to Snæfellsnes," says Lúðvík. After completing his A-levels, he took a sabbatical year where he studied English in England and took a fishing season in Rif for a few months before starting his studies at the Teacher's College in Reykjavík. "There I met my wife who comes from Keflavík on the Reykjanes Peninsula. When we finished our studies we were both hired as teachers at the Rif Elementary School." The builder and the fisherman Lúðvik was a teacher from 1984 to 1996 when he quit. "My wife and I were together 24/7, at home and the school and it simply got to be too much. I got a job debarking and unloading fish at the harbor. Ever since I was a teenager, I had gone fishing with my father during the summer. That is when the weather allowed. When it didn't, I was working with him building houses. I liked both jobs very much. I like the sea and the activity around the harbor. As teachers Lúðvík and his wife, Anna Þóra, could have settled anywhere in Iceland. Why Rif? "The elementary school here was in need of teachers. They offered subsidized housing, which was very convenient. It was a good place to start. My wife never intended to stay more than two years – but here we are. When she stopped teaching, she decided to train as a yoga teacher, which is her profession today though she is still a substitute teacher both at the local preschool and the elementary school." The Inspector In 2006, Lúðvík moved to Denmark to study construction engineering. His wife joined him a year later, and they stayed in Denmark for three and a half years. When they moved back in 2010 Iceland was still in a mess following the economic crisis in October 2008. Lúðvík was free-lancing designing constructions until July 2014 when he started working as Snæfellsbær's building inspector. "I gave it a year but didn't like it at all. It was rather a dull job. So, I resigned and went back to what I had always done, fishing and carpentry during the summer, with a bit of free-lancing in between." When asked what is the greatest advantage of living in a place like Rif, Lúðvík replies: "If you have connection to the sea, this is a very good location. The distance to the waters is short, and they are good waters. We can start fishing very early in the spring and continue until late fall." A creature of habit But, why fishing when he can choose from so much more? "I like the waters, and I like fishing," says Lúðvík. "It offers much freedom, and I have always enjoyed success. I am also a creature of habit. Somehow, I got caught in this profession and find it hard to tear myself away from it. My time in Denmark was great, and I am very happy to have had a try at being a construction inspector. Now I know I am not missing out on anything. For a fisherman, Rif is a great place. Then we are a mere two and a half hours drive from the capital area. It is very easy for us to enjoy all the services, entertainment and pastime Reykjavik has to offer. Rif and Hellissandur is a good community. I am now building a house in a traditional Icelandic style in Hellissandur where my wife and I plan to run some operation in the future. She has been running a café during the summer for some years at a rented location. It has its disadvantages, so I decided to build us a house."

One of the things that might strike you when you get to know the Icelanders is how diverse a career many of them have. When it comes to choosing how to spend their lives, linear thinking and planning is not at all popular. They like circular, square and triangular. Any shape that can take them away from their homestead and be sure to bring them back when they so choose. They want to have it all. They want to live in different areas in Iceland; they want to live abroad. They want to be regular citizens, teachers, bankers, etc.; they want to be artists, bohemians, free spirits. Quite many of them manage all of this during one lifetime. That's why, when you meet the Municipality Director of Rangárþing eystra (the East Rangárþing), Ísólfur Gylfi Pálmason, you are also meeting a former member of parliament and a musician, a former athlete and a teacher. Born in Hvolsvöllur, within his current municipality, he has completed his circle (at least for the time being) and is now back home. When asked what it was like to grow up in this tiny village next to ferocious volcanoes and proximity to the Highlands, the answer is: Simply beautiful. The settler’s son "My family was among the first to settle in Hvolsvöllur. Which means I am practically a settler's son," says Ísólfur Gylfi. "And, it was just great. What was there not to love? We were surrounded by fantastic nature; we had a good school and an excellent music school. Our sporting facilities were good and our social life diverse. And, there were nice people living in the village. It felt good to be a child in Hvolsvöllur. During summer, we would fish in the Brooks, pluck flocks from fences and sell them to the Co-op. Hvolsvöllur had a town hall and when I was a kid Saturday night dancing was quite common there. On Sunday mornings, I would get up early to collect empty bottles scattered all around the hall. I would sell them to eke my pocket money – and sometimes I would even find money lying amongst the litter. Like so many Icelandic children at the time, I was sent off to stay at a farm during part of the summer. It was invaluable. I was sent to stay at Hallgeirsey in Landeyjar, which is so incredibly short distance from the Vestmanneyjar that we could see their cars flashing even though we were separated by the ocean.” The musical farmhand “The farmer was a very talented musician which was fortunate for me. He had drums I could play whenever I found the time and later when I was a teenager; I got to play in a band. I still do. I just love music. Whenever I get a chance, I visit the old farmer. He is now 85, and we play music together. He has a Martin saxophone from 1914. Both the farmer and the instrument are still in excellent condition. Ísólfur Gylfi left Hvolsvöllur to go to the Teachers College and then the Sports Academy. For six years, he was a teacher at the Bifröst in Borgarjörður school and then moved on to try something new. He was a personnel manager at a co-op store in Reykjavík before moving back to Hvolsvöllur to work as a Municipality Director. Not for long, though as he served as a member of parliament for two terms. Amongst his roles was to be Iceland's representative to the Nordic Council and a member of the Icelandic Chambers of Commerce. After the eight years in Parliament his beloved south Iceland was calling him back, loud and clear. He first returned to Flúðir where he was Municipality Director for six years, before returning to his hometown of Hvolsvöllur in 2010 to work as the Municipality Director of Rangárþing eystra. So, what have been the greatest changes in his hometown from his childhood? Big changes "It is completely different. The population is much larger. In 2002, six neighbouring municipalities were joined into one. As a result, we have 1800 inhabitants living in a huge area, reaching from Eystri-Rangá to Jökulsá at Sólheimasandur, just east of Skógar. The area has been quite prosperous and today we have a very nice swimming pool, excellent sports hall, a modern pre-school, elementary school, and of course, a wonderful music school. We are a mere 100 km from Reykjavík with a much better road system from when I was a kid. As a result, it is very easy for us to enjoy all the best the capital has to offer and still enjoy our pastoral lifestyle. This municipality is the most fertile agricultural area in Iceland. We produce more milk than any other area. The tourist industry is quite diverse, and some of the best-known tourist attractions in Iceland are within our area, e.g. Seljalandsfoss, Skógafoss, Þórsmörk and Emstrur. Horse-breeding and training are very popular within the municipality, and we are party to the annual horse tournament of South Iceland. Last, but not least, we have the Saga Centre, which is based on one of the greatest Icelandic Sagas, Njáls Saga, that was set in our municipality. At the Saga Centre, one of the ongoing projects is the 90 m Njála Tapestry. Anyone can visit the centre to make a few stitches. It is a popular destination both for Icelanders and foreign visitors and already 45 m of the tapestry have been completed – in mere two and a half years." Living next to Eyjafjallajökull When asked what he likes most about living at Hvolsvöllur, Ísófur Gylfi says: "Well, all around us we have the most spectacular and diverse landscape in Iceland. We are next to the "unpronounceable" Eyjafjallajökull. When it erupted in 2010, we got endless calls from our friends abroad asking us to leave, to stay with them. But, we were never in any danger. We could simply sit by the window and enjoy the display. It is a privilege for children to grow up here. All the basic family services are intact which is essential if you want young families to move to the area. Increasing tourism has resulted in an influx of young families who are benefiting the area a great deal. Our senior citicens are more of a part of the community than in larger towns and the capital area – which means, they are less lonely. Hvolsvöllur is a good place to grow up and to grow old. I am very proud of our community."

Halldór Bragason is the leading figure in the Icelandic Blues scene, turning it into a much appreciated music genre in Iceland At the mere mention of blues in Iceland, one name instantly springs to mind. Halldór Bragason. Founder of the Reykjavík Blues Festival and now an honorary member of the Icelandic Blues Festival, Halldór has been tireless in introducing and developing this wonderful genre into the Icelandic music scene. A music genre some find a bit outlandish and removed from the Icelandic music traditions. But, then again, the international language of music belongs anywhere. "Those of us who represent the blues in Iceland, always emphasize the fact that the blues communicates peace, empathy and understanding of man's life and destinies. Wherever the Blues is being played, it is a powerful weapon against racism and creates an atmosphere of charity. It is very sincere and goes straight to the heart of those who are listening." The history When asked when the Blues first arrived in Iceland, Halldór says the earliest records to be found in newspapers from the 1920s. "It was and advertisement for a workshop in jazz and blues music. But, I don't think the blues genre really hit us until 1965. It all started with the British blues-wave; the Rolling Stones, John Mayall and Fleetwood Mac. The blues simply became the music genre of that era. It was quite an explosion, and you can follow it through Led Zeppelin, Pink Floyd, Jethro Tull, and Doors. It was a time when musicians started searching through original traditions and make music that was understood by the whole world. Here in Iceland there were suddenly blues bands on every street corner and in every garage. We saw blues and jam sessions appear between 1965 and 1970. They became the Icelandic blues roots. Still, the whole endeavor was very unclear and disorganized until 1989, when a band called "Vinir Dóra" (Dóri's Friends) started playing at Púlsinn bar. It was the start of a huge wave, and we saw musicians like KK and others emerge. The Icelandic Blues was born.” The Blues is the source “It's the same all over the world. Whereas music is concerned, the Blues is the genre closest to the heart. It has to do with its groove, its roots. You find it in pop music and today in rap music. The Blues is the source and musicians are constantly recreating it. The Blues you listen to today is not the same Blues you heard 60 years ago. Nowadays, you hardly ever listen to a pop song without hearing the blues gamut. Maybe it is more obvious to me than most as I have been living and breathing Blues most of my life. Still, it is curious that people always seem to be able to listen to Blues. You can choose from so many different types of Blues. It is funny, sometimes I ask people if they like listening to Blues, and they reply: No, I have never listened to Blues. Then I ask them which is their favorite group, and their reply is, Led Zeppelin. People just don't realize when they are listening to Blues. It has become such an intricate part of us.” Interest piqued at a young age When I was about six or seven years old and started listening to the Beatles and Rolling Stones, I realized there was a purpose in life. There was more to it than simply an everyday, gray and boring existence. Those groups were a revolution to my ears. I started acquiring their records by any means. In those days, we had vinyl, which came in large covers with loads of information on the back. Somewhere along the way I started reading the information and kept seeing the name Dixon again and again. He had a lot of different roles. He was a bass player, a producer, a songwriter. And, he most certainly caught my interest. I realized not all those Beatles and Rolling Stones songs I was listening were not necessarily written by the group members, but by a variety of original Blues musicians. Now, that piqued my interest. I started an extensive research into the original musicians and gradually managed to make the connections. Vinir Dóra “In the 90s my band "Vinir Dóra" wanted to work with the originals of the blues and invited them to Iceland to play and record some CDs. We were working with and learning from sheer legends in the business, Pinetop Perkins, Jimmy Dawkins, Deitra Farr and more. Later we toured with those legends from Chicago to Italy. They gave us a glint into this musical genre, and it was all we needed. It was parallel to a classical instrumentalist being invited to play with the Berlin Symphony Orchestra and directed by Karajan. We formed the Reykjavík Blues Festival in 2004. We invited those geniuses back to Iceland to play with us and take part in the Reykjavík Blues Festival. It has been a treat ever since." In spite of all the connections to pop music Halldór is pointing out, it remains that he plays, teaches and promotes the Blues genre. So, what is it about the Blues that attracts people all over the world? Conflict and tautness "In blues you always have to tell a story – or rather the feelings behind the stories. It is easier to play blues than other types of music from the heart. It demands the instruments to sing the story being told. Blues might sound very simple – but it is anything but. The Blues is riddled with one-seventh parts. There is always this conflict, always this tautness. And then there are tunes that can be a single chord, a groove. Performing Blues is very dependent on the musicians. It is relatively easy to spot whether a musician has got the feeling for blues. He has to be able to express the feelings behind the story he is telling. He has to have a story to tell. If he does, it doesn't matter what his mood is like during a performance. For example, Bob Dylan may give five concerts. Maybe four of them are awful because he is not in the mood. But Dylan is always Dylan and maybe one of those awful concerts is the best concert someone in the audience has ever attended. And then, we have geniuses like B.B.King, who appeared on stage with only his guitar. The minute he started playing it felt like the heavens had opened up. Always." All them Gigs Apart from being the Artistic Director of Reykjavík Blues Festival since 2004, Halldór is the Chairman of the Reykjavík Blues Society. He is also the leader of the Blues band. "Vinir Dóra" aka The Blue Ice Band. "We have regularly been playing as a band since 1989. We came together for one gig and then decided to do a second gig. Since then we have constantly been adding a one more gig –, and soon we shall be old men."

Iceland’s foremost Whale specialist, Gísli Víkingsson, reveals the truth about Iceland’s Whale hunting and explains the “ridiculous” and unsubstantiated propaganda Iceland has had to suffer. Decadal changes in distribution, abundance and feeding ecology of baleen whales in Icelandic and adjacent waters, was the heading of Gísli Víkingsson’s Ph.D. dissertation from the University of Tromsö, Norway. And who better to present us with educated and unbiased information about the real truth when it comes to whale hunting. Gísli has been working as a whale specialist for the Marine Research Institute in Iceland for over three decades and is head of the Whale Research Unit. The Marine Research Institute (MRI) was established in 1965. It is a government institute under the auspices of the Ministry of Industry and Innovation. The MRI conducts vast marine researches and provides the ministry with scientific advice, based on its research on marine resources and the environment. In July 2016 the MRI merged with the Institute of Freshwater Fisheries and is now called Marine and freshwater Research Institute (MFRI). Like the rest of the world, Icelanders are concerned about whale hunting, but feel the discussion on the international forum has been unfair when it comes to Icelanders and whale hunting, to say the least. Especially, when the outcome from the latest whale counting in Icelandic waters shows an astounding increase in the harvested whale stocks. A record-breaking increase rate “We started monitoring the whale stocks in Icelandic waters in 1987,” says Gísli, “which means strategic surveys for estimating numbers and distribution. Since then we have been carrying out these researches every 6-8 years in collaboration with neighboring countries by the North Atlantic. The last one was carried out in 2015, which means we have been scientifically monitoring the whale stock for nearly three decades. Generally, there are twelve species of cetaceans regularly seen in the Icelandic waters, but we only hunt two of them, the fin whale and the common minke whale. During those three decades we have seen great changes in the distribution of some of the species. The most remarkable is, of course, the increase in the humpback whale stock, which was estimated to consist of 1800 animals in our original count but is now estimated to consist of 14.000 animals. It is a record-breaking increase rate. The fin whale stock has also increased considerably, albeit not as much as the humpback whale stock. Then again, the abundance of minke whales has diminished quite considerably since the turn of the century throughout the Icelandic backshores, which is primarily due to climate change as the hunting has been at a minimum. In 2001 the number of minke whale in Icelandic coastal waters was estimated at around 40.000. In 2009 it was estimated at 10.000. The most probable explanation is the changes to various the minke whale’s various food groups. We had, e.g., a collapse in the sand eel stock around 2005, but the sand eel is the minke whale’s primary food along the south and west coast of Iceland. Then the capelin, a cold-water fish, which is the minke whale’s primary food along the north and east coast of Iceland, has retreated towards Greenland during the summer. For quite some time we couldn’t figure out from the Norwegian’s and Greenlander’s counting where the minke whale had disappeared to. As we had only been hunting approximately 30-50 animals a year, we were at a loss to understand how the stock could have decreased from 40.000 animals to 10.000 animals in a matter of eight years. Then, this summer, we had good news. The minke whales hadn’t disappeared, they had only got lost. The Norwegians had spotted a massive volume of minke whales around Jan Mayen. They had never seen anything like it. We realized, the “Icelandic” minke whale stock had been found.” Chasing the food When asked about the reason for the increase in the humpback whale stock, Gísli says it is quite a mystery. “Until 1980 the humpback was a rare species but since then they have been increasing at a rate of more than 10 percent every year – which is an increase traditionally assumed to be more than biologically possible for the whales. Maybe it is a similar story as with the minke whale. Maybe they come from elsewhere; maybe it is not simply a biological increase. The thing is though, this has been happening all over the world. There is a significant increase by the USA backshores, and in Australia we are looking at similar numbers. This has astounded scientists all over the world. We don’t have an adequate explanation. How can a species, which has been quite rare all over the world despite decades of protection suddenly increase in such numbers? There is no interaction in any way between the stocks. The Icelandic and the Australian stocks are quite different from each other. Still, from the turn of the century, we have seen substantial changes in the Icelandic waters, possibly due to ocean warming. Quite a number of marine stocks primarily found by the southcoast have now moved quite far to the north from Iceland. Instead we have got mackerel by the southcoast, a species that used to be found quite far to the south. There has been a northwardly shift in the whole system due to ocean warming. The increase in the whale stock numbers is possibly a part of that lateralisation. They are chasing their food.” Efffect on the ecosystem With Iceland being a fishing nation such increase in the humpback whale stock might be a cause for concern. When Gísli is asked how the increase will impact the marine stocks around Iceland, he says: “Well, it is a complicated matter as we don’t have a thorough knowledge of which fish species the various whale species feed on. What we do know from a research we carried out a few years ago though, is how much the twelve species around Iceland eat. They eat approximately six million tons each year. In contrast, the Icelandic fishing fleet only catches one to one and a half million tons a year – so it is considerably more than the fishing fleet is conceivably able to catch. Still, we don’t know how it will impact our fishing industry. The consumption by whales of 4-6 times the total fishery landings is likely to have some, and probably significant effect on the ecosystem. However, this is difficult to quantify at the present stage of knowledge. Better understanding of these interactions in the marine ecosystem is essention to future management of our marine resourses using an ecosystem approach. At present, our scientific advise is largely limited to assessment of the stock situation. Such assessments involve complicated modelling exercises conducted within international Scientific Committees but in simple terms their goal is to estimate the present status of stocks, or how large the stocks are in comparison to a historical maximum. Based on sucht assessments we make suggestions as to how many animals we can hunt without harming the stock (long-term sustainable catch).“ Never overstepped the recommended quota “We have carried out extensive research on the fin whale and the minke whale as they are our primary hunting species. The situation is is quite good so we have recommended a hunting of up to 150 fin whales and 220 minke whales. But, in reality, Iceland has had to adapt to the domestic marked and has only been hunting less than a 100 minke whales a year. The whale industry has never overstepped the recommended quota. Our recommendations are quite precautionary and conservative so we are a long way away from depleting the stock. The hunting is by no means pinking the stocks. The only question is, is it economically worth it.” When Gísli is asked if he thinks we should stop hunting whales because of the global condemnation and the negative consequenses it has for Iceland, he replies: “It is not my call. I am a biologist and my job is only to assess the stocks. Still, there is one major fact which is confusing the discourse, especially when it relates to the fin whale. It is on the IUCN global red list because the fin whale situation in the southern hemisphere is poor. Even though it is a different sub-species and has nothing at all to do with the fin whale in the northern hemisphere where the situation is quite good, the poor status of the southern fin whale is used in the propaganda against Iceland.” The only untouchable species There is a growing feeling in Iceland that we will have to start thinking about thinning some of the whale stocks out. When asked about his feelings on the matter, Gísli says: “It is perhaps not essential at this stage. The whale watchers are quite happy with “the more, the merrier.” But, if we leave the whales as the only untouchable species in the ecosystem, it will likely have consequnces. It will impact other species because we are fully utilizing anything that is usable from the ocean’s ecosystem. Leaving this large and significant part of the ecosystem alone, will impact other parts. Still, we can not yet scientifically claim whether the fish-catches would increase if we kept the whale stocks at 60-70 percent from the known maximal number. No one is even thinking about going beyond that number. Here, at the Marine Research Institute we are working towards a better understanding of the impact through ecosystem modelling. Hopefully, in the future we can predict the possible impact on the finshing industry, or the cause and effect link between whale stocks and fisheries. For the time being, we are not absolutely sure. ”Wlith twelve species of cetaceans, one can’t help but wonder why only two of them are being hunted. “Some of them, like the blue whale, still haven’t recovered from overexploitation in earlier centuries. The most aggressive hunting took place around 1900. The complete stock in the Icelandic waters is only estimated to count a thousand animals. We don’t know why it has not been able to procreate like the closely related fin whale. No one would ever think of hunting them anywhere in the near future. It is a stock, which would never be able to withstand hunting today. The number of humpback whales, on the other hand, has increased considerably. It could without a doubt withstand some hunting. But, as I said, it is not my call. We, who are are working at the Marine and Freshwater Research Institude can only make recommendations based on research. I think it would be harmless to hunt humpback whales and sei whales. But, we have not been asked to carry out stock assessments for them. That would have to be and administrative decision.” A ridiculous claim So, when we are being accused by the international community of destroying significant species, the propaganda has no substantiation. When Gísli is asked his opinion, he agrees. “The claim is totally ridiculous. We would never recommend whale hunting if we thought it would harm the stock. The criticism from academics who previously maintained that the whale hunting was not sustainable has abated. The extensive surveys and associated international scientific assessments have proved the present takes to be well within sustainable levels. However, wrong information on status of whale stocks is still upheld by many NGO‘s. Another part of the criticism centred upon the hunting methods being inhumane. The Fishery Directorate, hired independent foreign specialists to carry out a fin whale hunting method appraisal. They published their report last year and the comparison was much in favour of the Icelandic hunt when it came to whale hunting practices around the world s.a. in the USA, Japan, Greenland, Norway etc. According to the report 84% of the targeted whales died instantly upon shooting and most of the remaining ones within seconds. The comparison was even more favourable when it came to hunting large terrestrial mammals, like reideer, moose and fallow deer.” Unsubstantiated propaganda “The whale hunting was much more humane than these hunts. The hunting method, using explosive penthrite grenade harpoons is quite effective, the animals die very quickly after they are shot. Of course, there are exceptions in these huntings like in any other huntings. A shot can misfire. And when they do, they are used as an example in the media for propaganda purposes. It is unsubstantiated propaganda fabricated by big companies that prey on people in order to extract money from them. Apparently, it is a much more effective money-making machine than pollution. You can’t see things like pollution and ocean acidification which pose a much greater theat to cetaceans (and the whole ecosystem) than the limited whaling conducted around the world today.”