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CULTURE AND DEVELOPMENT CULTURE CULTURE AND DEVELOPMENT CULTURE AND DEVELOPM

DEVELOPMENTCULTURE CULTUREC U L T AND DEVELOPMEN CULTURE AND DEVELO CULTURE AND DEVELOPMENT in MDG-F JointProgrammes HONDURAS, NICARAGUA COSTA RICA,ECUADOR and URUGUAY Culture and Development in Latin America Honduras Reflections on the links between culture and development have been particularly dynamic and Nicaragua innovative in Latin America. The Intergovernmental Conference on Cultural Policies in Latin Costa Rica America (Bogotá, 1978) recognized that “the diversity of peoples should be considered a factor of balance, rather than division.” Ever since that statement, the region’s cultural policies have tended to integrate cultural diversity and national identity. The World Conference on Cultural Policies (Mexico City, 1982) made a keystone contribution to subsequent action taken nationally and internationally, as its final report contained a paragraph on the cultural dimension of development and it defined culture, for the first time ever, as “the whole complex of distinctive Ecuador spiritual, material, intellectual and emotional features that characterize a society or social group. It includes not only the arts and letters, but also modes of life, the fundamental rights of the human being, value systems, traditions and beliefs”. It was followed by Latin America’s first Forum of Ministers of Culture (Brazil, 1989), held in order to strengthen ties and encourage the conclusion of regional agreements. In 2006, after two decades of intense work on culture and development, with the strong involvement of researchers and academics, the XVI Iberoamerican Summit of Heads of State and Government adopted the Iberoamerican Cultural Charter in Montevideo. This marked a new step forward by the region in boosting cultural cooperation among Latin American countries and in promoting greater knowledge of each other’s cultural wealth, thereby creating the conditions to improve the circulation of cultural goods and services in the region.

In this context, the common targets of the Joint Programmes implemented in Culture and Development Joint Programmes Costa Rica, Ecuador, Honduras, Nicaragua and Uruguay have been designed to in Latin America > 5 Programmes: Costa Rica, Ecuador, Honduras, reduce social inequalities and strengthen creative industries, thereby illustrating Nicaragua and Uruguay that in Latin America culture is an unequivocal motor of development. > 11 United Nations partner agencies: FAO, ILO, WHO/PAHO, UNWTO, UNIDO, UNDP, UNESCO, UNFPA, UNICEF, UN WOMEN and UNV > 37 national partners > USD 30 million invested Uruguay > 217,840 direct beneficiaries > 2,551,300 indirect beneficiaries

TARGETED MDGs

United Nations territorial boundaries as of September 2012. The designations employed and the presentation of material on this map do not imply the expression of any opinion whatsoever on the part of UNESCO concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries © UNDP Brazil Helen Clark UNDP Administrator

Irina Bokova Director-General of UNESCO

ince it was launched in 2006, the Millennium Development Goals The power of culture matters all the more at a time of global economic Achievement Fund (MDG-F) has become a flagship initiative, showcas- crisis. We must build on what we have learnt in order to understand and ing the importance of the links between culture and development. harness this potential. This means we must capture the experience of all eighteen MDG-F Culture and Development programmes. As Convenor of the The Fund has supported eighteen Culture and Development Joint MDG-F Culture and Development Thematic Window, UNESCO will lead the Programmes across the world. Each has focused on sustaining intercultural MDG-F Knowledge Management experience to gather knowledge and to dialogue, cultural diversity and expressions, cultural heritage and cultural build bridges across the development community – to plan stronger future industries. Each has sought to increase opportunities for social and economic activities. development and to improve cross cultural understanding. These programmes have reached out to Governments, local authorities and civil society to This publication is part of our commitment to learning. It provides a regional demonstrate the power of culture for development. Local authorities and and a country by country reading of the impact of culture on development. communities have been key actors and, especially, the first beneficiaries of It shows the success stories and also the challenges of the MDG-F adventure. each programme. It provides an insider’s look on the lives it has affected on the ground, and it underlines the achievements attained at the policy level. Each of the MDG-F The United Nations has acted as one on each programme. We have programmes has shown how the United Nations can successfully integrated our efforts with national authorities to sharpen our impact at the support people and communities across the world in making the most of institutional and community levels. We have worked with indigenous and their cultural heritage and expressions for sustainable development and ethnic groups and ensured the participation of women and young people. social cohesion. ‘Delivering as one’ has been at the heart of the MDG-F experience, which has sought to make the most of the strengths of each United Nations institution Our conclusion is clear – culture is a fundamental component of sustainable bringing unique expertise and networks to bear a common framework of development, in its economic, social, environmental and human dimensions. goals and values for maximal impact. The result is a stronger global platform As a set of distinctive spiritual, material, intellectual and emotional features for action. This has meant greater creativity and sharper innovation. of society or a social group, culture frames the conditions for a genuinely human centered approach to development. Each programme has produced results on the ground, underlining for local authorities and communities the importance of culture to social and As the world engages in discussions on the post-2015 MDG agenda, we economic development. The impact has also been global. The MDG-F must place culture at the heart of development policy. This is an essential experience helped to ensure recognition of the contribution of culture to investment in the world's future. the Millennium Development Goals and development in the 2010 Millennium Development Goal Outcome document. It also paved the way for the adoption by the United Nations General Assembly of a Resolution on Culture and Development on 20 December 2010, which emphasizes the role of culture for sustainable development and the achievement of national and international development objectives.

1 Established in December 2006 with an overall contribution of €528 million (US $710 million) from the Spanish Government to the United Nations system, the Millennium Development Goals Achievement Fund (MDG-F) is an innovative international cooperation mechanism seeking to accelerate progress towards achievement of the MDGs worldwide. Building on both the comparative advantage of United Nations organizations and their joint effort in the context of the United Nations Reform, the MDG-F supports national governments, local authorities and civil society organizations in their efforts to tackle poverty and inequality in eight thematic areas referred to as ‘Thematic Windows’. Culture and Development (C&D) is one such Thematic Window.

UNESCO, as the United Nations specialized agency with a specific mandate on culture, was designated as Convenor of the Thematic Window on Culture and Development with a leading role in this joint effort of the United Nations system.

The overall purpose of the Thematic Window on Culture and Development is to demonstrate that, even though culture is not explicitly mentioned in the MDGs, cultural assets are an essential component of national development, notably in terms of poverty alleviation and social inclusion. To this end, 18 large-scale development programmes (referred to as Joint Programmes, JPs) focusing on intercultural dialogue, cultural diversity and expressions, cultural heritage and cultural industries, have been carried out in Africa, the Arab States, Asia, Latin America, and South-East Europe, with a view to increasing socio-economic opportunities and improving cross-cultural understanding for marginalized people. In work at both the institutional and the community level, notably with indigenous and ethnic groups, special attention was given to the participation of women and youth.

This new cooperation mode generated considerable innovation and knowledge. Conscious of the need to capture and capitalize on the innovation and knowledge created from the experiences of these 18 development programmes, UNESCO is working in partnership with the MDG-F Secretariat in the area of Knowledge Management (KM) in order to provide a space for sharing experience and expertise, showcasing success stories, improving practices based on lessons learned, as well as building a corpus of knowledge on C&D.

As part of a series of publications seeking to present the Knowledge Management project and provide information on the JPs, the present volume focuses on the five JPs implemented in Latin America between 2008 and 2012, namely in Costa Rica, Ecuador, Honduras, Nicaragua, Uruguay. The information and analyses which follow stem from different knowledge management tools used to gather and organize the knowledge generated by those JPs, namely a regional knowledge man- agement workshop bringing together the 5 JPs of Latin America (Montevideo, 4-6 May 2011) and a dedicated MDG-F Culture and Development questionnaire completed by the JP teams. As a result, it is important to stress that the present publication provides information and data which the JPs chose to highlight amid the mass of activities they carried out, the products they

2 produced, and the impact they generated. In addition, the MDG-F Knowledge Management endeavour seeks to capitalize on the knowledge generated across the entire Thematic Window. In this context, the material presented is by no means exhaustive but rather provides a snapshot of the knowledge generated both from a trans-country (regional) perspective and from an individual JP perspective around four main lines of emphasis forming the very cornerstone of the MDG-F experience: achievements and impact on the targeted MDGs national ownership success factors operational challenges

All of the Latin American JPs contributed to the achievement of at least one MDG which was initially unforeseen in the JP design. The present text highlights the JPs’ impact on both foreseen and unforeseen MDGs. Overall, some actions which impacted on unforeseen MDGs include: that of the Costa Rica JP to MDGs 7 and 8 through initiatives such as the Agricultural Fairs and the Youth Network of the Parque La Libertad, respectively; the impact of the JP in Ecuador on MDG 8 through the creation of inclusive public policies (policy on Gender and Interculturalism) and National Councils for Equality; the contribution of the Hondura JP to MDGs 1, 2 and 7 through support for indigenous and Afro-Honduran entrepreneurship (MDG 1), the educational offer in the Culture Houses and Infoculture Centres (MDG 2) and the model for the protection of archaeological parks (MDG 7); the impact of the JP in Nicaragua on MDGs 2, 3, 7 and 8 through the curricular reform for primary intercultural bilingual education (MDG 2), the focus on gender equality in public policies (MDG 3), the promotion of environmental values (MDG 7), and the network of Promoters of Culture (MDG 8). Finally the contribution of the JP in Uruguay to MDG 2, through capacity-building in Cultural factories (Fábricas de cultura) for youths who had dropped out of primary and secondary school, and training in musical education and audiovisual production for youth and adults in the Cultural factories (Usinas culturales).

In order to reflect further on the material highlighted by the JPs and explore issues of impact and sustainability, UNESCO has worked with academics from the UNESCO Chair on Cultural Policies and Cooperation of the University of Girona, Spain, and the ‘Silvia Santagata Research Centre’, Turin, Italy, part of the International Research Centre on the Economics of Culture and World Heritage Studies under the auspices of UNESCO, to foster the practical applications of the MDG-F culture and development experience from academic debates and theoretical perspectives. To this end, the prism of network analysis has been applied to these culture and development programmes.

It should finally be noted that, at the time of writing, the implementation of the JPs is still ongoing and the information and data reflected here therefore provide a snapshot of impact, outreach, success stories and lessons learned from the JPs at the time of going to press.

3 What is network analysis?NETWORK ANALYSIS

Social network analysis is a methodology increasingly used in several societal research fields (social science, in particular), which approaches society as a network of relationships between actors, based on the following two premises: (1) individuals see themselves in relation to others; and (2) these relations give structure to individual and group behaviour and development.

Network analysis and its importance in the cultural sector The cultural sector can be seen as a stakeholder network that promotes a creative atmosphere through interrelated and interdependent activities. The formation, durability and dissemination of vibrant new social networks are major features of the importance and sustainability of cultural development projects. Network analysis can be an effective method in research on the extent to which cultural development projects lead to the establishment of local networks and the identification of key stakeholders crucial to their implementation. Moreover, an interpretation of network analysis can yield additional indicators on the potential sustainability of cultural devel- opment projects if interaction between these networks is triggered and monitored once project implementation has been terminated.

Meeting local needs, facing regional challenges

For more than 20 years, Latin American and Caribbean countries have placed culture high on the regional cooperation agenda by emphasizing its importance for the achievement of shared targets, such as the protection of cultural diversity, social inclusion and the strengthening of cultural industries. In that regard, many regional activities have been undertaken, including the establishment in 1991 of the Southern Common Market (MERCOSUR), a trade bloc that encourages the production and circulation of cultural goods and services beyond the region’s borders.

In addition, Latin America’s distinctive characteristics, namely socio-economic inequality, the significant advance of demographic processes such as urban transition, the region’s vast and complex interculturality and the legal fragility of cultural policies, must be taken into account when examining links between culture and development.

In this context, the five JPs implemented under the MDG-F Culture and Development thematic window in Latin America all highlight the economic and social dimensions of culture. They have sought to create income-generating activities for the poorest by tapping local potential, strengthening institutions, raising stakeholders’ professionalism, guaranteeing ownership and promoting social cohesion. As a result, culture has featured prominently in regional development and

4 poverty reduction policies. Similarly, intercultural dialogue has been a key element of JP activities, thereby indicating a proactive approach which transcends mere conservation of at-risk cultural groups.

At the same time, successful initiatives aimed at winning recognition and appreciation of the region’s cultural diversity, such as the promotion of agricultural fairs as fora for rediscovering commercial activity through culture (Costa Rica), the implementation of an intercultural public health policy (Ecuador), cultural information centres for the dissemination and promotion of culture in rural areas (Honduras), the inclusion of interculturality in curriculum reform for bilingual primary education (Nicaragua) and the development of culture factories (Uruguay), have been undertaken by the JPs.

ObjectivesOverall objectives of the MDG-F ‘Culture and Development’ Joint Programmes in Latin America

Action has been taken by the JPs implemented under the MDG-F ‘Culture and Development’ thematic window to combat socio- economic inequality and increase social inclusion in order to give greater access to highly marginalized population groups such as people of African descent, indigenous peoples, women and youth. Some such initiatives include Costa Rica’s ‘Parque La Libertad’ urban regeneration project, which has boosted many inclusion activities under four axes, namely the arts, the environment, micro-, small- and medium-sized enterprises (MSMEs) and urban activities, Ecuador’s public policy on gender and interculturality, the promulgation of the Cultural Development Act in Honduras, the enactment of the Autonomy Statute of the Atlantic Coast Regions of Nicaragua (Law No. 28) and Uruguay’s cultural factories, established for socially and economically vulnerable populations.

Similarly, priority has been given by Latin America’s JPs to the development of cultural industries and to raising professionalism among stakeholders through training, the incubation of sustainable cultural enterprises and the formation of networks and clusters. Such initiatives include: (1) Costa Rica’s ‘Parque La Libertad’ MSME hub, which has led to projects such as the Support Centre for Small and Medium-Sized Enterprises (CREAPYME), mapping of production initiatives in the area and their integra- tion into the Park’s Business Network, the formulation of employability and entrepreneurship programmes (L@bora and TECNOPYME) and the promotion or rural tourism (‘Route of the Heroes’ and ‘AgroTour Maleku Celeste’); (2) gender equality modules in entrepreneurial training in Ecuador; (3) strengthening of 400 cultural enterprises through the Cultural Industries Fund in Honduras; (4) the creation of a Cultural Indicators System focusing on Indigenous and Afro-descendant Groups (SICPIA) and training of cultural workers in Nicaragua; and ( 5) the formation of networks (Southern Network and the Women in Music Network) and music and publishing clusters in Uruguay.

Lastly, the main objectives of the JPs can be summarized as follows: building institutional capacity to maintain information and data systems developing public policies that include culture in development strengthening cultural communication building capacities and creating human capital increasing social cohesion and participation improving cultural infrastructure promoting culture-based economic activities promoting cultural interaction and dialogue promoting creative and artistic processes

5 ImpactImpact of the Joint Programmes

Great efforts have clearly been made by the JPs to strengthen the region’s cultural enterprises. A total of 600 enterprises, primarily active in the areas of intangible heritage and cultural tourism, and specifically in the crafts, visual arts, dance, gastronomy and traditional music sectors, have benefited from the JPs. Furthermore, cultural output under the JPs has been quite considerable and comprises Costa Rica’s 2010 National Survey on Cultural Habits and Practices, Ecuador’s Anti-discrimination and Anti-racism Plan and its publication of indigenous dictionaries, Honduras’s Guide on the Economic Dimension of Culture for Indigenous Peoples, Nicaragua’s 1,520 systematized cultural studies and Uruguay’s virtual cultural portal (www.portaluruguaycultural.gub.uy) and catalogues issued by its publishing and music industries.

Contribution to the achievement of the Millennium Development Goals (MDGs)

Latin America’s JP activities are especially linked to MDG 1 – Eradicate extreme poverty and hunger – but they also have an impact on MDGs 2, 3, 4, 5, 7 and 8. The foreseen and unforeseen impacts at the MDG level are outlined below.

MDG 1 Eradicate extreme poverty The JPs in Latin America have made significant contributions to the achievement of MDG 1, which can be summarized under six main axes.

Creating or strengthening cultural production and employment MSMEs have been supported and cultural goods and services have been placed on the national market owing to incubators or funds established for that purpose under each JP. Similarly, artistic dissemination has been boosted and links between cultural services and the tourist circuit have been established. The impact on MDG 1 can be gauged through such activities as the design of tourist products and routes under the JPs implemented in Costa Rica, Ecuador, Honduras and Nicaragua, the strengthening of 400 cultural enterprises through the Cultural Industries Fund in Honduras and public access to means of artistic production through cultural factories in Uruguay.

Institutional strengthening and network formation Institutional strengthening entailed empowering public officials, cultural professionals, indigenous peoples and people of African descent. The networks mainly comprised craftworkers, artists, small-scale producers and various ministerial sectors that worked on common goals. Such strengthening and empowerment in turn had an impact by improving institutional coordination and increasing the influence of targeted groups on public policymaking.

Capacity-building Specific social groups (including people of African descent, youth and indigenous groups) and citizens in general were trained in matters relating to art, creativity, cultural diversity, the environment, music and civic participation. All JP training was used as a tool to strengthen regional institutions or enterprises through capacity-building of officials and independant professionals in business administration, cultural management and entrepreneurship. Specific themes, such as sustainable cultural tourism (Costa Rica), an intercultural approach in the health system (Ecuador), cultural voluntary work (Honduras), cultural revitalization (Nicaragua) and cultural mediation (Uruguay), were also addressed under each programme.

6 Creation of new knowledge Information crucial to the functional improvement of the culture and related sectors was garnered by collating disparate data and safeguarding endangered knowledge for subsequent systematization. To that end, traditional information-gathering tools, such as surveys, interviews, inventories and mappings, were used by the JPs, as were more novel knowledge-production methods such as the delivery of courses on ‘Ethnoscience: wisdom, traditions and knowl- edge’ (Costa Rica), action designed to revitalize intangible culture (Ecuador and Honduras), the training of community cultural workers (Nicaragua) and the establishment of the ‘Cultural Uruguay’ virtual portal.

Raising social and professional awareness This involved raising public awareness of human rights, the fight against racism and the importance of culture for development. Awareness-raising actions mainly had an impact on craftworkers, youth, social groups (indigenous peoples and those of African descent), public officials and cultural professionals. Moreover, cultural values were instilled in other sectors such as tourism, industry, health and public administration.

Recovery of agricultural and food traditions Latin America’s JPs have helped to strengthen the region’s food security, one of the main targets for achieving MDG 1, by revitalizing agricultural and food traditions and supporting undertakings such as Costa Rica’s agricultural fairs, Ecuador’s Cevicangre Community Tourist Complex and Nicaragua’s traditional food MSMEs. Both the lack of resources and the shortage of food suffered by much of the population were thus tackled under JP activities.

MDG 2 Education An impact has been made on this MDG owing to the introduction of art and cultural education curricula, the inclusion of cultural content in curricula and the boosting of bilingual intercultural education. This impact can be summarized under four main axes below.

Strengthening of public education This has mainly been achieved by systematizing processes and training teachers. Specific contributions under this axis have included the formulation of new syllabi for fine arts and physical education in Costa Rica, the production of four indigenous-language dictionaries for the Secoya, Cofanes, Wao and Shuar peoples in Ecuador, the diag- nostic review of art education in Honduras and primary education curriculum reform in Nicaragua.

Strengthening of higher education This impact was particularly visible in Ecuador, where two postgraduate courses were established, namely a Master's degree in Intercultural Public Policies and a Master's degree in Intercultural Health, and in Honduras, through the creation of a Diploma in Cultural Management.

Strengthening of extracurricular education This has been achieved through contributions such as the provision of musical instruments and delivery of art, dance and popular music classes in the Desamparados Music School in Costa Rica’s national music education system, the foundation of three music and performance centres in Ecuador, the training provided by artistic and popular education centres in Honduras, the training of community cultural workers in Nicaragua and the training of adults and youth in Uruguay’s cultural factories.

Strengthening of traditional education The JPs had an impact by helping to promote local identities, as well as the languages of indigenous and Afro-descendant groups and the systematization of ancestral knowledge through the revival of food tradi- tions in Costa Rica and Honduras, the revival of traditional practices in Ecuador (Aja Shuar), the strengthening of the Centre for Craft Training in Technology and Design for the Lenca people in Honduras, the provision of training in cultural revitalization in Nicaragua and the strengthening of the crafts sector in Uruguay.

7 MDG 3 Gender equality The impact on this MDG relates to two main factors, namely empowerment of rural and urban women and gender main- streaming in public policy. Some outstanding activities included the conduct of research into food traditions with women in rural and urban areas (Costa Rica), modules on gender equality in entrepreneurial training (Ecuador), enterprises, training and other educational activities for women (Honduras), inclusion of a gender equality approach in public policy (Nicaragua), a public awareness-raising campaign supported by UN WOMEN and the formation of the Women in Music Network (Uruguay). In addition, technical and financial support was provided to women’s enterprises under all JPs.

MDG 4 Reduce child mortality MDG 5 Improve maternal health The JPs' impact on these two MDGs mainly relates to the strengthening of the intercultural health system in Ecuador, which entailed equipping hospitals and training medical staff, nurses and social workers in medical centres to perform culturally appropriate childbirth in order to reduce maternal and infant mortality.

MDG 7 Protect the environment Environmental protection is viewed as a key project-management variable in Latin America’s JPs. Their impact on MDG 7 can therefore be summarized under two sub-headings.

Generation of sustainable programmes Impact was achieved as a result of opportunities created and programmes specifically designed to protect the environment, in particular the Parque La Libertad in Costa Rica, whose environmental approach generated projects such as the botanical garden, the sustainable market garden, the ‘recycling in action’ programme and technical training. Other highlights included the development of the Cevicangre Community Tourist Complex in Ecuador and the Archaeological Park Protection Model devised under the JP in Honduras.

Revitalization of sustainable traditional practices Impact was achieved through the revival of culinary traditions in Costa Rica and Honduras and the rediscovery of crops and small-scale fishing in Ecuador in order to revitalize sustainable traditional practices. Furthermore 500 people were trained in sustainable cultural tourism in Nicaragua.

MDG 8 Develop a global partnership The impact on MDG 8, as on MDG 1, is twofold, as noted below.

Strengthening or formation of networks and links This has been achieved, for instance, between the culture sector and other sectors (education, tourism or industry), between cultural promoters and local stakeholders, and between the public and private sectors. The impact can be gauged through the generation of association projects, such as Ecuador’s provincial committees and Uruguay’s music and publishing clusters. Similarly, networks, including the Parque La Libertad youth network in Costa Rica, regional councils and the cultural volunteering network in Honduras, the cultural promoters’ network in Nicaragua and the Southern Network in Uruguay, have been formed.

Promotion of fora for intercultural dialogue Such fora have been promoted both locally and nationally and have had an impact owing to legislative bills drafted and physical and virtual fora established to facilitate dialogue, such as Costa Rica’s agricultural fairs and intercultural ‘Food of our Land’ Festival, Ecuador’s bill for the coordination of and cooperation between indigenous justice and ordinary justice, Honduras’s Cultural Development Act, Nicaragua’s Autonomy Statute for the Caribbean Region and Uruguay’s Cultural Satellite Account (CSCU).

8 Knowledge Assets

A vast amount of information on the Culture sector has been gathered under Latin America’s JPs, owing to initiatives such as Costa Rica’s Cultural Information System (SICultura), the updating of Ecuador’s Integrated Social Indicators System (SIISE), the develop- ment of cultural indicators in Honduras, the establishment of Nicaragua’s Cultural Indicators System focusing on Indigenous and Afro-descendant Groups (SICPIA) and Uruguay’s Cultural Information System (SIC). Furthermore, strong cultural content has been generated, comprising information on Costa Rica’s cultural industries and stakeholders posted on the SICultura portal by some 18,000 users, Ecuador’s Anti-discrimination and Anti-racism Plan and its publication of indigenous dictionaries, Honduras’s Guide on the Economic Dimension of Culture in Indigenous Communities, Nicaragua’s 1,520 systematized cultural studies, the establish- ment of Uruguay’s virtual culture portal (www.portaluruguaycultural.gub.uy), its Cultural Satellite Account (CSC) and the catalogues of its publishing and music industries.

Under the five JPs in Latin America, 104 different kinds of products have been generated. Some products were in different languages, such as Ulwa, Mayangna, Miskito, Creole, Panamahka and Kriol in Nicaragua and, in Ecuador, Pai Coca for the Secoya people, A’ingae for the Cofán people, Wao terero for the Wao people and Shuar for the Shuar people. These products can be classified into the six main categories below.

Tools and methodologies for action and/or training50% This category comprises outputs relating to training, namely workshops, manuals or production/updating of educational and institutional programmes, and includes systems designed to improve cultural management such as databases, indicator reports and regulatory frameworks. Examples include the training of national workers in intangible cultural heritage and public intercul- tural and gender policies in Ecuador, training in the economic dimension of culture for indigenous peoples and people of African descent in Honduras and the training of community cultural workers in Nicaragua.

Research, studies and diagnostics25% This category includes theoretical and reflective documents on various aspects of culture, in particular crafts, cultural consump- tion, cultural economics and cultural tourism. It also includes cultural mapping, pre-action research, strategic plans, feasibility studies and final reports. All such content constitutes considerable intellectual capital that has boosted the sector’s institutions and has facilitated the establishment of cultural information systems in various countries. Examples include the cultural mapping carried out in the urban area of Parque La Libertad in Costa Rica and in nine regions of Honduras, and the 1,520 systematized cultural studies on the Caribbean coast of Nicaragua.

Project and result dissemination, communication and profile-raising instruments; awareness-raising and/or social education documents 21% This includes publications in various formats, including books, leaflets, catalogues and brochures. The main themes are cultural rights and gender equality. This category also includes video clips on the JPs or their activities, such as those promoting cultural volunteering in Honduras, cultural diversity in Ecuador and gender equality in Uruguay.

Recommendations, proposals, inputs and facilities4% This category includes recommendations and proposals made in order to influence public policymaking. In addition, inputs and facilities refer to initiatives boosted by the JPs, such as infrastructure facilities previously planned but halted owing to budgetary restrictions before the JPs were drawn up and implemented. Examples include Costa Rica’s Parque La Libertad, eight new public fora in Honduras and the modernization of cultural centres in Honduras.

9 CAPACITY BUILDING The importance of capacity building

The experience gained under all five JPs shows that work was required at the political level and within public admin- istrations and collectivities as part of the groundwork for appropriate action in the field of culture and development, tailored to each country’s context and institutions. Capacity-building was therefore a common priority in order to empower and link groups, raise participation and influence public policy.

Specifically, the JP implemented in Costa Rica has trained 1,061 communal leaders and officials in interculturality and ethnoscience, the Ecuador JP has trained some 1,000 people in public policies to combat racism and narrow the social gap between ethnic groups, Honduras has organized training courses in business management (80) and implemented 60 youth initiatives, Nicaragua has trained 504 persons in responsible cultural tourism, 416 in cultural management and 72 in cultural revival, and Uruguay has delivered capacity building on cultural management (44), trained 80 craft- workers in design and implemented an initiative to train young cultural mediators. Other topics broadly addressed by the JPs were gender equality, artistic skills and intercultural policies.

It should be pointed out that such training required the involvement of experts, evaluators and researchers in various disciplines, and contributed to the sustainability of the JPs given that past trainees now contribute to the enrichment of their countries’ culture sector by direclty or indirectly transmitting their newly acquired knowledge.

Furthermore, owing to capacity-building endeavours, publication of cultural content (studies, research, reports and com- munication materials) has been boosted locally, regionally and nationally, thereby increasing the visibility of the culture sector and its distinct branches. This cultural content constitutes substantial intellectual capital that has strengthened the sector’s institutions and facilitated the establishment of cultural information systems in the various countries.

OwnershipNational ownership

Numerous partners were involved in participatory processes, thereby highlighting the special effort made by Latin America’s JPs to achieve national ownership and ensure the sustainability of activities undertaken. The main partners are listed below.

PUBLIC INSTITUTIONS In addition to the Ministry of Culture, other public institutions also participate in all JPs and usually include the Ministries of Agriculture, Education, Economy, Health, Tourism, Planning, Labour, Foreign Affairs and Justice. Similarly, all projects are generally designed by public institutions, which play a key role in establishing public-private partnerships.

10 LOCAL AND REGIONAL AUTHORITIES The participation of local and regional authorities has been crucial to the JPs. Specifically, the Parque La Libertad Governing Board comprises members of the town halls that fall within the remit of Costa Rica’s JP, and the Board has in turn taken part in institutional coordination meetings held by Desamparados Cantonal Council to align inter-institutional activities to the canton’s interests. Under Ecuador’s JP, provincial monitoring committees have been formed and attended by many local community representatives. Under Honduras’s JP, 40 local cultural councils were convened to oversee and monitor projects, while under Nicaragua’s JP, local cultural revitalization committees have been formed and community cultural managers, who now run activities in their communities, have been trained. Lastly, local and regional leaders involved in Uruguay’s JP have actively participated in the implementation of key projects such as the cultural factories.

CIVIL SOCIETY Civil society has been highly involved in and has substantially taken ownership of JP activities. In Costa Rica, community associations and networks, including the Parque La Libertad Youth Culture Network, have been formed. In Ecuador, support for cultural enter- prises was subject to project ownership by participants and the inclusion of a sustainability plan. In Honduras, civil associations, local cultural councils and a national volunteers’ network have been formed. In Nicaragua, community heritage has been identified and protection plans have been implemented through community-led research and workshops. In Uruguay, neighbourhood representatives and local leaders have helped to establish cultural factories and cultural production plants.

PRIVATE SECTOR Private sector actors involved in the design and/or implementation processes of Latin America’s JPs belong to the trade, tourism and cultural industries sectors. Generally speaking, there has been little private-sector involvement in the JPs, possibly because priority had been given to other sectors (such as the public and education sectors). There have, however, been some specific activities of note, including Costa Rica’s Parque La Libertad and its significant partnerships with the private sector such as its environmental hub, the ‘Dos Pinos RL’ milk producers’ cooperative, the Technology and Visual Arts Centre (CTAV) and various technology companies, the holding of two business fora for the cultural and creative sector in Honduras and the establishment of music and publishing clusters in Uruguay.

BENEFICIARIES The JPs in Latin America have had a direct impact on PUBLIC ADMINISTRATION, made up of local, state and 217,840 beneficiaries in the region, nearly 50% of whom national authorities, public education centres and the were women, and an indirect impact on 2,551,300 relevant Ministries. beneficiaries. Action has been geared, in particular, to the following groups: CIVIL SOCIETY ORGANIZATIONS, comprising civil and community associations, community and neighbourhood POPULATION groups, mainly comprising minority leaders, training centres and non-governmental organiza- groups such as indigenous peoples and persons of African tions (NGOs). descent, pupils from remote areas, youth, microentrepre- neurs and women. PRIVATE SECTOR, including artists, designers, craftwork- ers, cultural promoters, academics and cultural industry representatives.

11 SuccessSuccess factors The JPs identified 20 success stories which can be found in the dedicated booklet at the end of this publication. Within the framework of the knowledge management project, a success story aims to identify positive societal change and the process leading to that change. The elements of a success story, namely its context, methodology and results, are detailed below.

Thematic trends can be found in the success stories selected by the JPs, such as customs of indigenous peoples and persons of African descent, culinary traditions, strengthening of State institutions, establishment of cultural information systems and the training of cultural managers.

The CONTEXT section of the success stories firstly highlights the need to protect some endangered cultural practices or customs. Secondly, it mentions the need to reform or reorganize the culture sector, at both the institutional and private levels. Thirdly, it highlights the lack of capital and capacities to boost enterprises. Lastly, the JPs mention the need for (1) access to and promotion of cultural products, (2) environmental protection and (3) dialogue between the State and the private sector.

The common features of the METHODOLOGY followed to identify JP success stories are:

participation and training, two major values that run through all JP success stories and include meetings, workshops and theoretical/practical training courses, with emphasis on active participation by women and youth, while prioritizing implemen- tation by civil organizations, non-governmental organizations and local, national and international institutions;

documents and technical assistance for the production of material such as analyses, manuals and operational plans for a specific cultural sphere or issues identified within the sector; technical assistance also takes the form of advice by external technicians and support in handling issues within the sector or within a sociocultural group;

dissemination, defined as all activities geared towards communication and information on action taken under the JPs, the content thereof and the achievements of beneficiaries.

Lastly, in terms of IMPACT, the following characteristics were singled out by the JPs in Latin America :

sustainability, through the strengthening of beneficiaries, who are viewed as the main project stakeholders;

participation, through the development of active citizenship, social networks and contacts among beneficiaries such as local and regional Cultural Councils in Honduras;

greater visibility of culture and cultural outputs, owing to media campaigns and publications;

innovation in institutional cultural reform and cultural management, and the cultural products manufactured, as a result of new management models and legal initiatives taken locally and nationally;

gender equality and respect for cultural diversity, owing to the implementation of appropriate public policies (intercultural health, for instance) and support for male and female entrepreneurs belonging to ethnic minorities;

cultural revival of items at-risk, owing to the safeguarding of traditional practices such as the Aja Shuar;

training in the form of workshops and conferences for local cultural stakeholders.

12 OPERATIONAL CHALLENGES

According to the information provided by the JPs implemented in Latin America on lessons gleaned from the MDG-F ‘Culture and Development’ experience, the following points can be highlighted:

Coordination Inter-ministry and inter-agency coordination was unanimously reported as the main challenge faced by participating JPs, owing to the large number of institutions and agencies involved. In that regard, JP officials have suggested that coordination be maximized through coordination committees in order to specify the responsibilities of each agency and harmonize procedures. Ideally, such committees would conduct a pre-implementation feasibility study of the JP and cultural mapping and diagnostic reviews before taking action on the ground. They have also suggested that such a committee could engage in monitoring, communication and evaluation programmes and set optimum lead-times for logistical adjustments, particular regard being had to the autonomous regions’ financial capacities.

Inclusion The second point highlighted among the lessons learnt under all JPs concerned the inclusion of local stakeholders in the design, implementation and monitoring of proposals. Also mentioned was the mainstreaming of gender equality in all planned activities, from the project design stage onwards.

Sustainability The third lesson learnt under all of the region’s JPs was the need to ensure the sustainability of the activities carried out. It was accordingly suggested that a sustainability plan be drawn up and that public policies be approved by at the executive level in order to guarantee continuity. It was also suggested that ‘solidarity agencies’ with local and national experience and the willingness to make voluntary contributions to programme activities be identified.

While sustainability is a common challenge for all JPs, all JPs have taken steps to ensure project continuity. For instance, under Costa Rica’s JP, an agreement has been brokered between the Ministry of Culture and Youth (MCJ) and the Ministry of Economy, Industry and Trade (MEIC), requiring each Ministry to institute a sus- tainability strategy; under Ecuador’s JP, agreements have been concluded with the National Secretariat of Planning and Development (SENPLADES), the Ministry for Heritage Coordination (MCP) and the Institute of Popular and Solidarity Economy (IEPS), and the Inter-agency Monitoring Committee and Provincial Monitoring Committees have been established; under the JP in Honduras, support was provided for the Cultural Development Act and local cultural councils have been formed; under Nicaragua’s JP, Culture Secretariats have been established in the Autonomous Regions of the Caribbean Coast; and under Uruguay’s JP, an agreement has been signed with the Ministry of Industry, Energy and Mining (MIEM), and clusters and networks featuring public, private, academic and civil stakeholders (such as the Southern Network and Women in Music Network) have been formed.

13 14 Costa Rica Costa Rica Costa Rica Oxherding and oxcart traditionsin M
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JP 39

The JPteamhas identifiedthefollowingfoursuccess stories,detailsofwhich canbefoundattheendof publication:

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231 915 cohesion (suchastheP curricula; formationofnetworks as ameansof such astheintegrationofculture intoformal enterprises. the JPboostedculturalandenvironmental ownership duringtheimplementation stage,as Policy. Lastly, the Ministry ofNationalPlanningandEconomic Ministry ofEconomy, IndustryandTrade and Agriculture andLivestock,MinistryofHealth, Ministry ofPublicEducation, ministries: MinistryofCultureandYouth, through theactiveparticipationoffollowing public culturalinstitutions associations, youthnetworksandNGOs,while civil society Municipality ofDesamparados).Inaddition, Council forInter-institutional Coordinationinthe and locally(AnnualWork PlanoftheCantonal both nationally(NationalDevelopmentPlan) incorporated theJP'sstrategiclinesofaction and economiccapacities,whilelocalauthorities strengthened thebeneficiaries’administrative WHO/PAHO, UNDP, UNESCOandUNICEF) played akeyrole.Internationalagencies(FAO, agencies) and International partners institutions, civilsocietyorganizationsandNGOs. national authorities,theprivatesector, cultural byinternationalpartners,local and achieved inception andimplementationstageswas National ownershipoftheJPatdesign, NATIONAL OWNERSHIP JP sustainability SUSTAINABILITY Revival ofFood Traditions SUCCESS STORIES SUCCESS Costa Rica’sCultural InformationSystem Parque LaLibertad Incubator Intercultural ‘Food ofour Land’Festival was involvedthroughcommunity local andnationalauthorities private sector is initiallyensuredbyfactors arque LaLibertadYouth (United Nations were involved took significant BENEFICIARIES mental MSMEs. order tosustainablyfosterculturalandenviron- and MediumsizedEnterpriseswascreatedin and aGeneralDirectorateforSupporttoSmall Ministry toinstituteasustainabilitystrategy, Economy, IndustryandTrade, requiring each Ministry ofCultureandYouth andtheMinistry of level, an National DevelopmentPlan.Attheinstitutional (SICultura), whichispartofthe2010-2014 Network) andtheCulturalInformationSystem Parque Libertad,alongwith La tion processforculturalandenvironmental venturesinthe companies. Furthermore, and Visual ArtsCentreoftheartshubandvarioustechnology ment hub,the‘DosPinos RL’milkproducers,theTechnology various hubsintheParque Libertad,suchastheenviron- La sectorprimarilybenefittedfrompartnershipswiththe private direct beneficiariesand graphical areasandpupils groupswereyouth,peopleinspecificgeo- beneficiary graphical areas,youthandindigenouspeoples.Themajor schoolpupils,populationinspecificgeo- secondary dations, culturalSMEs,artists,craftworkers,ministries, The mainJPbeneficiarieswerecommunityleaders,foun- agreement wassignedbetweenthe 176 80,000 385 MSMEs werepartoftheincuba- . Therewerealmost artists, creatorsandartisans. indirect beneficiaries.The 20,000

AlbaniaEcuador 17

© Ministerio Coordinador de Patrimonio de Ecuador, Fotografía: Denis Torres Denis Fotografía: Ecuador, de Patrimonio de Coordinador Ministerio © © UNDP Brazil UNDP © people. 9,000 cultural enterprises were ’ Ecuador We are building a Plurinational and Intercultural are We State in which all peoples, nationalities and communities of peace, respect can live together in an atmosphere the and celebration of our diversity riches. Perhaps continent wealth of Ecuador and our entire greatest is cultural diversity María Fernanda Espinosa, Minister of Heritage Coordination María Fernanda ‘ DIVERSITY AND SOCIAL INCLUSION sustainable cultural enterprises and benefiting Presidential Decree in 2009. 28 boosted, thus strengthening Ecuador’s Cultural Diversity and Development Programme (PDC) was particularly conducive to social inclusion owing two lines of action, namely (1) recognize and exercise the rights of peoples and nationalities (2) generate sustainable ways life through the revival of ancestral cultural practices, a key element for the safeguarding peoples, aim being to formulate public policies in order narrow existing social and economic gaps. Special attention was therefore paid to developing and strengthening public policies for ethnic minorities. indigenous and Afro-Ecuadorian peoples the JP Furthermore, helped to strengthen Ecuador’s Integrated System of Social Indicators (SIISE) and imple- ment the Multiyear Plan for elimination of racial discrimination and exclusion on cultural grounds, promulgated by a which included the The JP contributed to the implementation of an intercultural public health policy, Culturally Appropriate Childbirth Care (2008). Under the Cultural Guide For publication of the Technical Diversity and Development Programme, indigenous Afro-Ecuadorian FOR POVERTY REDUCTION FOR POVERTY DEVELOPMENT AND CULTURAL AND CULTURAL DEVELOPMENT October 2008 – April 2012 USD 5.5 million UNICEF and UN WOMEN UNFPA, UNESCO, UNDP, UNWTO, FAO, Ministry of Heritage MinistryMinistry of Tourism, of Labour, Coordination, Ministry of Culture, Ministry of Education, Ministry Health, Ministry of Public of Justice, Human Rights and Religion, Social Movement and Civic Participation, Secretariat of Peoples, National Development and Planning Secretariat, of Ecuador, Development Council of the Nationalities and Peoples Afro-Ecuadorian Development Corporation, Ombudsman of Ecuador Esmeraldas, Sucumbíos and Chimborazo 3 Provinces: Cultural rediscovery and dialogue to combat discrimination against exclusion of indigenous and Afro-Ecuadorian communities Direct: 151,300 people – 50% women Indirect: 1,753,700 people – 50% women TARGETED TARGETED DURATION BENEFICIARIES TOTAL BUDGET TOTAL UNITED NATIONS UNITED NATIONS PARTNER AGENCIES PARTNER OVERALL OBJECTIVE OVERALL GEOGRAPHICAL AREAS de Cuenca GOVERNMENT PARTNERS GOVERNMENT POPULATION CAPITAL GDP PER CAPITA PROPERTIES ON THE UNESCO LIST WORLD HERITAGE LIST OF THE ELEMENT ON THE UNESCO REPRESENTATIVE OF HUMANITY HERITAGE CULTURAL INTANGIBLE WEB SITE FOR MORE INFORMATION 13,7 million Quito USD 4,277 M
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A< L MDG 3- MDG 2- MDG 1- MDG 8- MDG 7- MDG 4- MDG 5- Develop aglobal partnership: Environmental sustainability: Gender equality: Reduce childmortality Eradicate extremepoverty Improve maternalhealth Universal education: L L L institutions MAJOR ACHIEVEMENTSANDACTIONS L L L nous peoplesandpersonsofAfricandescent Strengthening ofpublicpoliciesforindige- 1 3 2 a socialimpact enforcing thesepeoples’rightsand achieving Government, withaviewtodiscovering and betweencivilsociety andthenational dialogue descent, whichopenedupopportunities for of indigenouspeoplesandpeople ofAfrican Development ofpublicpolicies complex), makingasocialimpact (small-scale fishingintheCevicangre tourist through therevivaloftraditional practices marginalized urbanandruralcommunities and social impact treatment model, resulting in aninstitutional appropriate childbirth‘maternal andneonatal health policy, which hashadan institutionalandsocialimpact the Anti-discrimination andAnti-RacismPlan, supporting thedrafting andimplementationof institutional andsocialimpacts in medicalcentres,whichtogetherhave appropriate treatmentandimprovingfacilities medical staffbyprovidingtraininginculturally institutional andsocialimpact autonomous governments,thusmakingan dimensions inpublicpoliciesofdecentralized Strengthening Strengthening theintercultural public Strengthening of nationalpublic Generation oflinks Strengthening Improved cultural policies Greater socialcohesion Cultural capacity-buildingofpublic 28 beneficiaries Cultural DiversityandDevelopmentProgramme adaptation ofhospitals Guide onculturallyappropriatechildbirthand Public interculturalhealthpolicy Publications inindigenouslanguages Anti-discrimination andAnti-racismPlan sustainable culturalenterprises. RESULTS ANDOUTPUTSOFECUADOR’S JOINTPROGRAMME through support forthe‘culturally of thegenderandinterculturality of theMinistryHealthand and integrationof for theinclusion policy by 9,000 L view L areas ofdevelopment L L L L
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Concretely, there were more than Concretely, cultural enterprises financed under the Cultural Diversity and Development Programme (PDC) include environmental, institutional and organizational considerations that have a significant impact on this objective. Secretariat of Planning and Development (SENPLADES) to mainstream gender and intercultur- ality in planning instruments and the agreement between the Ministry for Heritage Coordination and Solidarity (MCP) and the Institute of Popular Economy (IEPS) to include those approaches in economics; popular and solidarity-based 4. Knowledge management, of terms reference for the hiring consultants to systematize best practices gleaned from the Cultural Diversity and Development Programme (PDC); 5.Dialogue mechanisms between government and society, for the provincial monitoring committees and identification of institutional stakeholders to coordi In addition, the sustainability plans of 28 beneficiaries and more than The main JP beneficiary groups were secondary sc The main JP beneficiary groups were secondary pupils, ethnic minorities, indigenous peoples, people of African descent and people located in specific geographical areas. At least half of the beneficiaries were women. It should be mentioned that secondary school pupils were trained in human rights and in anti-racism anti-discrimination matters, while indigenous, Afro-Ecuadorian and other ethnic minority groups support were given entrepreneurial and capacity-building and better access to intercultural health services, in particular women through the culturally appropriate childbirth model. BENEFICIARIES , local indigenous , and including a public including modules on cultural institutions international partners is ensured because its activities endorsed the participation of local Implementation of Chacra Shuar Ajá among the people pursuant to the agreement with National Policy on Gender and Interculturality Policy SUCCESS STORIES NATIONAL OWNERSHIP NATIONAL National ownership of the JP during design, inception and implementation stages was achieved by cultural institutions, local authorities, civil society actors, (United Nations agencies) and the the most strongly As noted earlier, private sector. involved stakeholders are Institutional local authorities and civil society. involvement is spearheaded by Ministries includ- the Ministry of ing the Ministry of Labour, the Ministry of Heritage Coordination, Tourism, the Ministry of Culture, Education, the Ministry of Public Health and Justice, Human Rights and Religion. Participating civil society organizations comprised and Afro-Ecuadorian associations authorities the private community representatives. Lastly, sector has been involved to a smaller extent. SUSTAINABILITY JP sustainability are aligned to national cultural policies, thereby ensuring project monitoring after the JP has terminated. The sustainability plan for the Cultural Diversity and Development Programme (PDC) contains the following lines: 1. policy implementation, Public policy on Gender and Interculturality the estab- Monitoring lishment of an Inter-institutional Committee; 2. of public officials, Training and legal collective rights for the Armed Forces officials, and the technical report in favour of establishment of the Master’s degrees in and Intercultural Health; Intercultural Public Policies 3. Inclusion of interculturality at all levels govern- ment, Cevicangre Community Tourist Complex Cevicangre Community Tourist Implementation of an Intercultural Health System through Culturally Appropriate Childbirth

100

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50 Experts and academics ᮡ ᮡ ᮡ ᮡ

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80 828 Population Population in specific geographical areas, indigenous and afro-ecuatorean groups Representatives 150 Community leaders 20 Honduras www.unesco.org/new/mdgf Guatemala andNicaragua) Garifuna (sharedwithBelize, Languages, dance andmusicofthe M
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The JP in Honduras was particularly conducive to the enhancement of citizenship owing to community organization for civic participation, the strengthening of cultural institutions and the development of cultural economic activities. Its main achievements include the strengthening of Culture Houses, through the training of their administrative staff and the refurbishment of their premises. At At refurbishment of their premises. were boosted through two national business fora and the provision of technical and finan- cial support for held to raise public awareness of cultural was formed and promote culture in rural areas through the Cultural Information System.

Particular attention was paid in Honduras to the legal framework for culture and public policy. Indeed, Honduras’s JP is the only one in Latin America that has explicitly addressed the need for a General Law for the Promotion of Culture to ensure long-term project sustainability. Accordingly, the JP contributed to strengthening local and regional cultural councils, in turn enabling the development of the formulation of a General Law for the Promotion of Culture.

45

municipal cultural plans,

400

50

cultural enterprises. Furthermore, a nationwide media campaign was

cultural information centres were

8

regional culture strategies, FOR Honduras

the same time, the crea LOCAL DEVELOPMENT ‘ the first‘ImaginingHonduras’businessforum Edie Barahona,DirectoroftheLaFragua Theatreandparticipantin currently underwayinHonduras. aware ofthevariousculturalactivities enterprises andprivateinitiativetobecome

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© UNDP Brazil 1

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A468>=B Mapping of cultural resources Cultural Enterprises Fund 40 Capacity building in business management ( 300 100 60 2 Methodological guide for training craftworkers 8 8 Improved cultural policies Strengthening of the cultural dimension Capacity-building Drafting of the General Law for Strengthening of Organization of two business forums for the which facilitated the drafting of achieving institutional, social and network impacts Promotion of Culture cultural plans, 8 regional culture strategies and the General Law for Promotion of Culture, which had institutional, social, economic and network impacts cultural and creative sector entitled ‘ Honduras creative and cultural industries, creating a social and economic impact through a seed capital fund and soft loans, giving rise to a social and economic impact 3 4 L of development L L L ONDURAS’ PROG JOINT and provision , which has had volunteer networks of the project to enhance par- 8 RESULTS AND OUTPUTS OF H RESULTS with the Lenca ethnic group, Municipal Cultural Plans Culture Houses strengthened Cultural Information Centres in rural areas cultural research studies supported Cultural Development Plan Regional Cultural Strategies Strengthening of cultural institutions Drafting of the General Law for Promotion of Culture 1 8 45 24 50 Cultural Information System Development of cultural indicators 21 of Formation National cultural awareness-raising campaign ‘Honduras: Shared Homeland’, a travelling exhibition Publications Greater social cohesion Cultural capacity-building of public Cultural management processes cultural enterprises strengthened through technical assistance, workshops and training, which all had institutional and economic impacts Strengthening Generation of links and integration Cultural centres and local regional cultural processes through support for the Centre Craft Training and Design, thus achieving a in Technology social impact ticipatory citizenship, which had a social impact councils strengthened through the of training and equipment institutional, social and network impacts 1 2 L L MAJOR ACHIEVEMENTS AND ACTIONS institutions L L Universal education: Eradicate extreme poverty Gender equality: Environmental sustainability: Develop a global partnership: MDG 1 - MDG 2 - MDG 3 - MDG 7 - MDG 8 - L 
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the numberofrelatedactorsinvolvedinJP The sizeofeachnodeisproportionalto

managers

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networks networks

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ns 10 JP

The JPteamhas identifiedthefollowingfivesuccess stories,detailsofwhich can befoundattheendof publication:

S

ᮡ ᮡ ᮡ ᮡ ᮡ CESSTORIES UCCESS

academics Experts and 23

Representatives entrepreneurs Culture and SocialCohesion:

Culture and Entrepreneurship: Culture andPublic Policies: Culture andPublic Policies: Culture andEntrepreneurship: ent

and artisans

authorities

of regional of

epreneurs and local and creators

Artists, Art

MSME 400

377 48 to culturalenterprisesboostedbytheJP. during theimplementationstage,largelythanks the the NationalCentreofLabourEducation.Lastly, National AutonomousUniversityofHondurasand Institute ofAnthropologyandHistory, the Planning andExternalCooperation,theHonduran Secretariat ofEducation,the of theSecretariatCulture,ArtsandSports, directly involvedthroughtheactiveparticipation networks. participation restedoneightregionalvolunteer and regionalculturestrategies. an activeroleindraftingmunicipalculturalplans economic capacities. to strengthenthebeneficiaries’administrativeand enhancing itssustainability. UNagencieshelped the participationofallrelevantactors,thereby regional councils),theJPsuccessfullyencouraged played apredominantrole(throughmunicipaland cultural institutions.Althoughlocalauthorities private sectoractors,internationalpartnersand achieved bylocalauthorities,civilsocietyactors, inception andimplementationstageswas National ownershipoftheJPduringdesign, NATIONAL OWNERSHIP private sector SUCCESS STORIES SUCCESS Strengthening of culturalcentres Building anactive citizenshiparoundculture Cultural volunteeringin Honduras Public culturalinstitutions Don Goldón’s ‘ElTrapiche’ business venture Guide fortraining craftorganizationsinproduct development achieved significantownership Local authorities Civil society were played BENEFICIARIES strategies, the founding of for thePromotionofCulture, public policyframework,suchastheGeneralLaw and actiontakenunderthemedium-tolong-term the Fund tofinance JP sustainability SUSTAINABILITY to local,regionalandnationalpartners. outcomes, knowledgeandfacilitiesaretransferred plan contributestothecontinuityofitsactionsas unteers network.Inaddition,theJP'ssustainability for thePromotionofCultureandculturalvol- opportunities. valuably contributedtoMDG1byincreasing incomeandjob seed capital and soft loansfor seed capitalandsoft fora (attendedbymorethan 531,700 Culture. of geographical areas,culturalMSMEsandtheMinistry groupswerepeopleinspecific the majorJPbeneficiary and peopleinspecificgeographicalareas.Asnotedearlier, ofEducation,universities local authorities,theMinistry academics, experts,civilassociations,trainingcentres, groupsincludeculturalMSMEs, The mainJPbeneficiary there were Honduran communities, There were indirect beneficiaries(53%women). Specifically, 2,885 5 associations ofculturalenterprises, 45 municipal culturalplans,thePlan is firstlybeingensuredthrough interventions inindigenousandAfro- interventions 400 3,941 8 municipal fairs,2nationalbusiness Honduran MSMEs,the 100 400 direct JPbeneficiariesand cultural enterprises)and 8 nepie,allof which enterprises, regional culture

AlbaniaNicaragua 23

en la Costa Caribe de Nicaragua de Caribe Costa la en © Programa Conjunto de Revitalización Cultural y Desarrollo Productivo Creativo Productivo Desarrollo y Cultural Revitalización de Conjunto Programa ©

’ © UNDP Brazil UNDP © Groups (SICPIA), the systematization of My family’s life has changed a lot, as we have sold more and I have had to hire more staff. more and I have had to hire more Julio López, Garifuna craftworker with entrepreneurial training ‘ ON NICARAGUA’S CARIBBEAN COAST ON NICARAGUA’S Nicaragua ultural development plan for each of the peoples, introduction gramme for community cultural promoters, the Cultural Indicators System cultural studies of the Caribbean regions and training enterprises financed bilitation of heritage sites, curriculum reform for bilingual intercultural education, the strengthening Nicaragua’s JP was particularly conducive to social inclusion and cultural revitalization as a motor for socio-economic development and key factor the protection of Caribbean peoples. In that regard, special emphasis was laid on building the capacities of indigenous and Afro-Nicaraguan peoples. Among the most significant JP contribu- tions are the c a training pro focusing on Indigenous and Afro descendant 1,520 and the Revolving Credit Fund. by the ProCulture Fund The JP has also contributed to the formation of networks cultural promoters and volunteers, reha of cultural industries and the revitalization expressions, including recovery traditional significance of various celebrations and rituals reinterpretation thereof by new generations. PRODUCTIVE DEVELOPMENT CULTURAL REVIVAL AND CREATIVE AND CREATIVE REVIVAL CULTURAL March 2009 – August 2012 USD 8,464,000 UNESCO and UNICEF UNDP, UNIDO, UNWTO, ILO, Ministry of Education, Ministry Affairs, Autonomous Regional of Foreign Government of the North Atlantic Region, Autonomous Regional Government of the South Atlantic Region, Nicaraguan Institute National Institute of Culture, Nicaraguan Institute of Tourism, Development Information, Secretariat of the Caribbean Coast Development Council. Autonomous Regions of the Caribbean Coast reduce the inequality affecting indigenous peoples and of To African descent, through cultural revitalization and support for micro- projects Direct: 12,200 people – 52% women Indirect: 72,500 people – 54% women TARGETED TARGETED DURATION BENEFICIARIES TOTAL BUDGET TOTAL UNITED NATIONS UNITED NATIONS PARTNER AGENCIES PARTNER OVERALL OBJECTIVE OVERALL GEOGRAPHICAL AREAS Garifuna (shared with Belize, Guatemala and Honduras) GOVERNMENT PARTNERS GOVERNMENT POPULATION CAPITAL GDP PER CAPITA PROPERTIES ON THE UNESCO LIST WORLD HERITAGE LIST OF THE ELEMENT ON THE UNESCO REPRESENTATIVE OF HUMANITY HERITAGE CULTURAL INTANGIBLE WEB SITE FOR MORE INFORMATION www.unesco.org/new/mdgf 5,8 million Managua USD 1,125 M
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At least half Culture, the craftworkers improved their skills and was involved to a smaller extent. is ensured through factors such 72,500 377 people enhanced their artistic skills and people were trained in cultural tourism and sus- 40 500 private sector Institute of Tourism, the National Information Institute of Tourism, Development Institute and the Secretariat of Development Council for the Caribbean Coast. Lastly, the associations, which helped design the JP and carry out its activities. The JP had a significant institutional impact, owing to the participation of Ministry Affairs, the Education, the Ministry of Foreign Nicaraguan Institute of SUSTAINABILITY JP sustainability as cultural heritage revitalization and protection plans formulated and implemented by beneficiary communities, action taken by graduates of the training programme for community cultural promoters, enterprises boosted by the ProCulture and the and the Revolving Credit Fund, Fund formation of the Network Cultural Promoters, which is linked to the network of cultural and tourist enterprises in the Autonomous Regions of the North and South Atlantic, thus forming a broad grouping for the economic and cultural develop- ment of the Caribbean coast. The main JP beneficiary groups were Afro-Nicaraguans, adults, population in specific geographical areas, ethnic minorities, indigenous people and public education centres. there were more than Specifically, Fund. cultural enterprises were supported by the ProCulture tainable tourism, of the beneficiaries were women. The JP also had a significant economic impact on the arts, crafts and tourism sectors. For instance, gained greater access to the national market through fairs and exhibitions, ries and more than BENEFICIARIES on in and communi- , who crafts market in cultural management, Local authorities participated of local cultural revitalization training programme for organizations involved in the JP were ProCulture Fund for the promotion and appreciation of artistic cultural practices ProCulture Fund Entrepreneurial capacity-building, specialized technical training, assistance and the Entrepreneurial capacity-building, Cultural revitalization of Ulwa dance and music in the Karawala Community, South Atlantic Cultural revitalization of Ulwa dance and music in the Karawala Community, SUCCESS STORIES to identify their heritage and launch plans for its Strengthening of the cultural dimension Revitalization of vulnerable cultural groups Establishment Completion of a study on the Capacity-building Creation of a Awareness-raising of cultural workers such as endogenous cultural research and children’s workshops with the support of cultural managers and promoters through the rediscovery of ancestral traditions and practices, such as legends, myths stories in indigenous languages, and surviving celebrations and rituals committees the Caribbean coast community cultural promoters contribute to the implementation of activities in their respective communities creative production and cultural tourism, through support for enterprises relation to the contribution of culture devel- opment policies and the impact of culture on the MDGs, through public policy workshops. This had institutional and economic impacts 7 L L L
L
L
OWNERSHIP NATIONAL The stakeholders most closely involved during the design, inception and implementation phases are local authorities, cultural institutions, civil society actors. via regional governments and councils. Community leaders played a major role by taking ownership of In that JP activities implemented on their territory. regard, impressive action was taken by ties protection, by conducting research and workshops themselves. Owing to all of the above, legends, myths and stories in indigenous languages were rediscovered and ancestral traditions were revived. Civil society universities and indigenous Afro-Nicaraguan of development L

586 377 345 Y Youth, Artists, artisans children

and pupils

92 MSMEs creators and Culture and Entrepreneurship: Culture and Entrepreneurship: Culture and Social Cohesion: UCCESS STORIES

training centres,

public education ᮡ ᮡ ᮡ

civil associations,

centres and NGOs

Representatives of S

5 Ministries The JP team has identified the following three success stories, details of which can be found at end publication: expressions of people African descent and indigenous peoples on Nicaragua’s Caribbean Coast provision of loans. Autonomous Region. JP 1 760 People of People

84

Network analysis: JP beneficiaries 9 African descent

99 Representatives of State, regional and local authorities / community leaders

1049 Indigenous peoples 7 9 7 984 Population in specific geographical areas The size of each node is proportional to the number of related actors involved in JP 26 Uruguay http://www.vivicultura.org.uy/ M
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© UNESCO/Montevideo AlbaniaUruguay 27 , improved cultural man- 44 Uruguayan craft- 6 of cultural products and cultural factories for the cultural plants for between the country’s through owing to non-formal educa- activities such as the ‘Cultural Better access to cultural goods 18 implementation of cultural projects 11 audiovisual production of junior cultural Training mediators Urban cultural space project for the needy and imprisoned cultural ventures both in craftworkers, which had an export social and humanistic values 25 80 Strengthening of the cultural dimension Cross-cutting impact of culture on other Incubation of Better cooperation Capacity-building Support for the includes a map of creative and cultural industries, research findings and content on sector-specific Uruguay’s cultural production government, private and civil agencies owing to the creation of clusters with strategic plans to strengthen their competitiveness content, through improved access to interna- tional markets. As a result Montevideo and in the provinces economic impact agement courses for entrepreneurs and training in design for workers were granted UNESCO’s 2010 Award for Excellence in Handicrafts Links between culture and education Awareness-raising and strengthened tion provided by the cultural factories and production plants, which had a social impact content and the media’ forum seminars on ‘The construction of knowledge in culture’ and ‘Towards the implementation of Cultural Satellite Account (CSC)’ Development of owing to the implementation of urban cultural space project for the homeless, which had a social impact Colombia, 4 5 entrepreneurs L of development L areas of development L L L L L projects 44 25 craftworkers trained in to Development of creative and cultural industries 1 music cluster 1 publishing cluster 1 incubator – trained and selected 80 design and participation of the crafts sector in interna- tional exhibitions ( Mexico, Israel) France, among youth for the National entitled ‘Cultural content of the Crafts Division of the National Cultural of the Management of the national public theatre network. , which had a social impact equipment RESULTS AND OUTPUTS OF URUGUAY’SRESULTS JOINT PROGRAMME studies (DINAPYME) taluruguaycultural.gub.uy), which of Uruguay’s cultural portal statistics Stengthening of cultural insttitutions Cultural Information System (SIC) Cultural Satellite Account (CSC) Southern Network and the Network’s Documentation Centre Support for the National D;CDA0;
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persons displaced students and areas, school geographical in specific Population 27 318

authorities

of State State of

Representatives Representatives 16

artisans and creators Artists, 2 329

entrepreneurs

New New 288

JP beneficiaries Network analysis:

29

9 c a l l

JP Representatives The JPteamhas identifiedthefollowingfoursuccess stories,detailsofwhich canbefoundattheendof publication:

S

of Ministries

ᮡ ᮡ ᮡ ᮡ ᮡ

CESSTORIES UCCESS

and community and

Re Representatives Culture and Entrepreneurship: Culture and Entrepreneurship: Culture and Entrepreneurship: Culture andEntrepreneurship:

Professionals,

associations,

professional

academics and NGOs and

i

collectives

MSMEs

323 323 grouped 9

experts

of civil of

179 504 and urban andruralareas. conducted forchildrenandyouth inmarginalized challenges, andculturalactivities and workshops that raisedthegeneralpublic’sawareness ofMDG factories, culturalproductionplants, roundtables tions playedakeyroleinprojects suchascultural market dynamics.Lastly, of fragmentedactioninviewcurrentglobal risk-control strategies,thusbreakingwiththelogic context, nationalandinternationalmarkets business modeladaptabletotheirimmediate The associativeapproachthereforeconstituteda clusters andthepromotionofculturalventures. ownership wasachievedthroughtheformationof Furthermore, substantial factories andproductionplants. out JPactivities,mainlyrelatingtothecultural Local authorities Broadcasting, RadioTelevision andEntertainment. Planning andBudgettheOfficialServicefor Industry, EnergyandMining,theOfficeof Ministry ofEducationandCulture,the characterized bytheactiveparticipationof ties. Theinvolvementof beneficiaries’ administrativeandeconomiccapaci- UN Agencies stakeholders, therebyenhancingitssustainability. fully encouragedtheparticipationofallrelevant actors. Ascanbeobserved,theJPteamsuccess- authorities, theprivatesectorandcivilsociety by internationalpartners,culturalinstitutions,local inception andimplementationstageswasachieved National ownershipoftheJPatdesign, NATIONAL OWNERSHIP SUCCESS STORIES SUCCESS Cultural enterpriseincubator Cultural factoriesandcultural production plants Music cluster Handicrafts: Quality designandfosteringcompetitiveness contributed instrengtheningthe actively participatedincarrying cultural institutions civil society private-sector organiza- was BENEFICIARIES 300 the SouthernNetwork’(attendedbymorethan and Workers’ andthe‘InternationalConferenceof the ‘FirstNationalMeetingofCulturalIntellectuals national andinternationalseminars.Accordingly, coordinate andconductitsactivities,notably Cultural IntellectualsandWorkers hasstaffto ventures supported.TheSouthernNetworkof formed (musicandpublishing)thecultural as theCulturalSatelliteAccount,variousclusters strengthen thecraftssector, culturalnetworkssuch partnership withtheMinistryofIndustryto JP sustainability SUSTAINABILITY policy atthenationallevel. to culturalmanagement,diversityand Idea VilariñoMediaLibraryandisviewedascrucial documentation centre,whichincludesthenew tional experts,andopenedits‘SouthCentral’ attended bynationalpublicofficialsandinterna- Network convenedaseriesofmeetingsonculture, addition, itprovidedtechnicalandeconomic supportto agement capacitiesof agement whom werewomen.The JPalsostrengthenedtheman- of ment andincomeopportunitiesforthe population. ofculturalnetworks andopenedup formation the to entrepreneu Specifically, therewere industries andcreators(artistscraftworkers). cultural schoolpupils, groupswereprimary beneficiary JP Ministries anddisplacedpersons.Asnoted,themajor public educationcentres,pupils,NGOs,government groupsincludeculturalindustries, The mainJPbeneficiary people) wereheldin2010.In2011,the rs. TheJPhadagreateconomicimpact, asitled is firstlyensuredthrougha 2,329 30,900 artisans, creatorsandartists.In JP beneficiaries–45% employ- 288 The MDG-F Culture and Development Joint Programme (JP) teams in Costa Rica, Ecuador, Honduras, Nicaragua and Uruguay have identified success stories which tangibly illustrate how each JP has contributed to specific national needs and priorities, while at the same time generating added value for the region. CULTURE AND DEVELOPMENT The majority of these stories stand out for their multisectoral contribution, their measurable impact on the MDGs and the inclusion of marginalized or SUCCESS STORIES vulnerable groups, particularly indigenous peoples and people of African descent. The stories also reveal a high degree of involvement and ownership by the beneficiaries, especially young people, who have spontaneously MDG-F Joint Programmes implemented in established their own social networks (e.g. via Facebook), as in the case of the Latin America Parque La Libertad Youth Network in Costa Rica and the official network of arts administrators in Honduras, which, in the light of social network analytical principles, bodes well for their long-term sustainability.

Under the MDG-F Culture and Development Knowledge Management project, a success story has been defined as ‘a set of activities resulting in a desired Costa Rica outcome based on collectively supported values that can be easily replicated in different contexts.’ Its purpose is not only to communicate and showcase specific JP components, but also to serve as a tool to crystallize memory and transfer knowledge in order to improve future culture and development programmes. The success stories can be understood as acts and/or activities that illustrate the added value and complementarity of culture in the implementation of development activities. Furthermore, knowledge manage- ment is extremely useful for compiling information on the three key stages ofEcuador identifying a story, namely (1) the context,which is particularly important given that proper understanding of the story leads to more effective and efficient cooperation, (2) the methodology (process), which makes it possible to document the activities and processes in order to achieve valuable results and Honduras is crucial to building a strong body of knowledge for use in future development programmes and (3) the change (results) brought about by the story, in other words, positive changes in relation to the original context.

The following success stories based on the above definition have been chosen by the Joint Programme teams to illustrate their activities and results. Nicaragua Uruguay Costa Rica CULTURE AND PUBLIC POLICIES Costa Rica’s Cultural Information System (SICultura) CULTURE AND FOOD SECURITY Revitalization of Food Traditions CULTURE AND ENTREPRENEURSHIP Intercultural ‘Foods of Our Land’ Festival CULTURE AND ENTREPRENEURSHIP Parque La Libertad Incubator Ecuador CULTURE AND PUBLIC POLICIES Policy on Gender and Interculturality CULTURE AND TOURISM Cevicangre Community Tourist Complex CULTURE AND THE ENVIRONMENT Shuar Aja (Gardens) for the Shuar People CULTURE AND HEALTH Implementation of an Intercultural Health System through Culturally Appropriate Childbirth

CULTURE AND ENTREPRENEURSHIP HondurasGuide for Training Craft Organizations in Product Development CULTURE AND PUBLIC POLICIES Building on Active Citizenship around Culture CULTURE AND PUBLIC POLICIES Strengthening of Cultural Centres CULTURE AND ENTREPRENEURSHIP Don Goldón’s ‘El Trapiche’ Business Venture CULTURE AND SOCIAL COHESION Cultural Volunteering in Honduras

CULTURE AND ENTREPRENEURSHIP ProCulture Fund for the promotion and development of artistic and cultural practices and expressions of indigenous peoples Nicaraguaand people of African descent on Nicaragua’s Caribbean coast CULTURE AND ENTREPRENEURSHIP Entrepreneurial capacity-building through coaching, specialized technical training, technical assistance and provision of loans CULTURE AND SOCIAL COHESION Cultural Revitalization of the Karawala community’s Ulwa Dance and Music in the South Atlantic Autonomous Region Uruguay CULTURE AND ENTREPRENEURSHIP Handicrafts: Quality Design and fostering competitiveness CULTURE AND ENTREPRENEURSHIP Music Cluster CULTURE AND ENTREPRENEURSHIP Cultural Factories and Cultural Production Plants CULTURE AND ENTREPRENEURSHIP Cultural Enterprise Incubator Costa Rica’sCulturalInformationSystem(SICultura) ᮡ ᮡ Culture and CULTURE ANDPUBLICPOLICIES the artsandculture. persons workingin conditions forall provides equal there isatoolthat For thefirsttimeever, Public Policies ©Ministerio deCultura©Ministerio yJuventud 
 ? P C ONTEXT ROCESS resources requiredtodeveloptheproject. mation wasprovided,however, ontheeconomicandhuman of theircommunitiesactiveinthecultureindustry. Noinfor- on artinstitutions,musicgroups,dramaschools ormembers the generalpubliccouldbe‘publishers’andupload content tions, organizationsandgroups,throughawebsite onwhich education, aswellthecountry’sartisticandcultural institu- and culturalworkers,irrespectiveofage,sexand/or levelof for thatpurpose.Theproject,wasdesignedtohelp allartists policy. Aprojectandaroadmaphadalreadybeendrawnup use thatinformationasthebasisforguidingpublic cultural sectorinorderto ascertainthestateofsectorand culture scientific informationaboutthebehaviourof the artsand In CostaRicatherewasaneedforsystematized, up-to-date in threesections: all country-level culturalindustries, whichhavebeenclassified professional orvocational,individual orcollective,covering has 300categories relatingtoallthe culturaltrades,bethey to developthetechnology forthatprocess.SICulturanow guidelines setoutinthe CategoriesManual.Ittooktwoyears tem fromanywherein the country, by complyingwiththe wished couldtherefore ‘publish’ andaddcontenttothesys- uploading reliableinformation tothesite.Anyonewhoso had receivedthenecessary trainingandwerecommittedto providedthattheyweremorethan 15 yearsold, persons, develop auser-friendly interfaceforuse byallinterested and communicationtechnologies (ICTs) wereharnessedto In ordertoovercometheproblemidentified, information ot iaCosta Rica Costa Rica (1) Who? tions, inventoriesandcompendia. (3) What? ture andvenues; (2) Where? heritage value,music,tangibleandintangibleheritage; information, literature,infrastructureofcultural, historicalor audiovisual media,culturalmanagementand promotion, disciplines suchasvisualarts,design,performing arts,film,

policies inthefield ofculture. statistics and indicatorstoguidethe formulationofpublic SICultura will provetobeastrong system yieldingdata, the information. Inthemediumterm, itishopedthat allows thegeneralpublic toparticipateactivelyandown Resultsprecedent forfuturegovernment policies.Thisinitiative which ensuresitssustainability andestablishesitasa covered bythe2010-2014 nationaldevelopmentplan, advice fromArgentinian and Mexicanexperts.SICulturais cultureanddevelopment thematicwindowand MDG-F in recordtime,owing to supportreceivedunderthe sector forinternationaldissemination. Itwasestablished measure thebehaviourofCostaRica’sartsand culture Central Americaestablishedinordertoascertain and firstculturalinformationsystemin SICultura isthevery – withculturalstakeholdersbeingidentifiedunder – providingdetailsaboutculturalheritagecollec- – identifyingthelocationofculturalinfrastruc- Culture and Food Security ᮡ Revitalization ofFoodTraditions ᮡ CULTURE ANDFOODSECURITY usually excluded. knowledgeable but in whichtheyare now involvedinareas initiative, womenare Owing tothis © SNU-CR/DRamirez 
 ? P C ONTEXT ROCESS population in thisactivitywasvery important for, although restorative steps weretaken.Theparticipation ofthefemale weakest phase wasidentifiedand specificremedialand the and (4)consumption. Oncompletion ofthestudy, phases: (1) obtaining inputs;(2)storage; (3)preparation; population groups’food patterns,identifiedthroughfour based onastudythat coveredallaspectsofthevarious tions intoaccount.The JPactivityproposedwastherefore sum totalofallthe variouscommunities’othertradi- exhibiting typicalandtraditional dishes,withouttakingthe fective becausetheyhad focusedrepeatedlyonmerely to ously At theoutset,itwasfound thatactivitiescarriedoutprevi- cantons inthegreaterSanJoséarea. communities inDesamparados,oneofthemost populous towards theindigenouspeoplesandruraldwellers inseven tional dietsderivingfrompopularknowledge’ andgeared activity entitled‘Promotionofunder-used foodsandtradi- being lost.TheJPthereforeprovidedfortheconduct ofan to culture,theeconomy, nutritionandsustainabilityarealso native foods,theassociatedtraditionsandtheircontributions attention onthenationalmarket.Inadditionto thelossof below foreignplantsthatcompetitivelyattract consumers’ monoculture andurbanization.Localplantsare ratedwell planting andharvestingareastherisingdeforestation, because ofthedeclineagriculture,loss traditional Consumption ofmanyCostaRica’snativefoods isfalling protect foodtraditions in CostaRicahadbeeninef- various phasesofsecuringtheircommunity’sfood. ing inputs.Themalepopulationalsobecameinvolved inthe they areknowledgeablebutusuallyexcluded,such asobtain- to thisinitiative,womenarenowinvolvedinareas inwhich food preparationhashistoricallybeenawoman’s task,owing

advantage ofthosethat havebeenstrengthened. the weakfood-tradition phasesandaretakinggreater communitiesarenowworking efficientlyon participating Results disciplinesandinstitutions inCostaRica.The several benefits ofrevitalizing foodtraditionswasraisedin Furthermore, asaresultofthisactivity, awarenessofthe tional informationgathered inthesevencommunities. Traditions Collection basedonethno-botanicalandtradi- publish ninebookletsintheUnder-used Foods andFood of thecommunitiesinvolvedinagri-foodtechniques and knowledge intheDesamparadosregion,train20 members activity wasusedtosave andrevitalizeagri-food this The knowledgegeneratedbythestudyconducted for ᮡ CULTURE AND ENTREPRENEURSHIP ? 
 Intercultural ‘Foods of Our Land’ Festival

C ONTEXT Agricultural fairs are the main channels for the retailing of agricultural produce in Costa Rica. They have traditionally been held every Saturday and Sunday throughout the coun- exchanges among them were quite substantial. It was then try and 80 fairs are currently held and managed by institu- the turn of the public, who came regularly to the fairs and tions such as the cantonal agricultural centre, the municipal made purchases there, to be surprised at the infinite culinary government or a local development association. The fairs possibilities inherent in the country’s various food identities are linked to the national marketing board, on which repre- and the cultures that they represent. The link between cultural sentatives of farmers, agricultural centres, market adminis- roots and healthy eating styles was thus highlighted, impart- trators and the national production council sit. Under Costa ing economic sustainability to small-scale production and the Rica’s JP, the fairs were regarded as a venue for intercultural people’s food security. dialogue, a fundamental aspect that culturally enhanced the value of the commercial activity. In that connection, it was proposed that agricultural fairs be viewed as opportu- nities for cultural enjoyment by society and as a means of The Intercultural ‘Foods of Our Land Festival’ strategy boosting the country’s agricultural sector economically. has enhanced the cultural and commercial viability of Costa Rica’s agricultural fairs and traditions and has

© SNU-CR/DRamirez triggered cultural market networks, innovation and the P ROCESS expansion of micro-enterprises. The participating farmers The strategy rested on winning recognition for farmers have learnt from experiential exchanges with other who sell their produce regularly at fairs, with emphasis on farmers and a varied artistic and cultural programme, their daily lives, their families, their forms of production and including cultural revitalization workshops for attendees, Owing to the success reproduction and the way in which they prepare the food has been scheduled for each fair. Owing to the success of of this strategy, a new that they produce. Such recognition was embodied in the this strategy, a new cultural management model has been cultural management Intercultural ‘Foods of Our Land Festival’ (FICONUTI), held in various municipalities as an opportunity for farmers and their devised for the agricultural fairs and is now being model has been devised families to display their produce, explain their production exported to the country’s other fairs. for the agricultural fairs methods, transport to fairs, culinary use and preparation in Results the region of origin, times and means of consumption and and is now being side dishes. Handicrafts, music and traditional clothing, too, exported to the were marketed at the fairs. The first to be surprised by the country’s other fairs. events were the farmers themselves, when the value of their work and knowledge was acknowledged, and the cultural

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Culture and Entrepreneurship Costa Rica Costa Rica Culture and Entrepreneurship ᮡ Parque LibertadIncubator La ᮡ CULTURE ANDENTREPRENEURSHIP SMEs inthe park. General for Support to the Directorate- opening ofanoffice been ensuredbythe the incubatorhas The sustainabilityof © UNESCO/San Jose 
 ? P C ONTEXT ROCESS ensured bythe port fromthe JP. Thesustainability oftheIncubator hasbeen and Trade andwithfinancial, technicalandconceptual sup- Ministry ofCulture andtheMinistry ofIndustry, Economy inconjunction withParque LaLibertad, the institutionally examined thoroughly. Theinitiativewaspromotedinter- value addedtoproducts whilealsogeneratingincomewere specific culturalcontent, productprocessingandspecial formed intosustainablebusinesses. UndertheJP, each project’s third stage,eightwere chosen tobeincubatedandtrans- the secondstage,30ventures wereselectedand,duringa culturally andenvironmentally orientedenterprises.During 200 entrepreneursandan incubationmodelwasdevisedfor that basis,trainingandcapacity-building were arrangedfor tion beingpaidtotheireconomic andculturalpotential.On and venturesintheareaaroundpark,withspecial atten- nation withParque LaLibertad,toidentifyculturalresources Action wasthereforetakenunderCostaRica’sJP, incoordi- La Libertad. urban communities,suchasthoseintheareaaround Parque population anddonotincludeprojectstailored topoor micro-enterprises donotusuallyreachthesesegments ofthe cultural content.Furthermore, officialprogrammesfor entrepreneurs donotoptimizethevalueoftheir products’ Moreover, owingtoalackofknowledge ortraining,those context characterizedbylittleornobusinessmanagement. tion. Manyoftheseactivitiesareperformedbywomen ina living fromcommercialactivitiesrelatingtocultural produc- Costa Rica’surbancommunitiescomprisepeople who earna opening, inParque La Libertad, of an officeof urban areas. and incubationofculturalbusinessventuresindisadvantaged (DIGEPYME)thatwillspecializeinthepromotion Enterprises the Directorate-GeneralforSupporttoSmalland Medium

environmental venturesinlow-income urbanareas. continue to promote thedevelopment ofculturaland Support toSmall andMediumEnterprises, whichwill opening ofanofficeby theDirectorate-Generalfor region. Lastly, aremarkableachievementhasbeenthe which willlaythefoundations forfutureventuresinthe Resproducts. Thus,eightcultural venturesareinincubation, enhancement ofthevalue oftheculturalcontenttheir has ledtoanimprovementofprocesses andthe which now haveanewconception ofbusinessmanagement, Unión,Desamparados andCurridabat palities ofLa ultsFurthermore, 200culturalentrepreneursinthemunici- immediate sphereofinfluenceParque Libertad. La mapping andevaluationexercisescarriedout inthe been thegenerationofknowledgethroughvarious One ofthemostimportantresultsthisactivity has ᮡ CULTURE AND PUBLIC POLICIES ? !  Policy on Gender and Interculturality

C ONTEXT Established under the Constitution in February 2007, the Heritage Ministry is responsible for coordinating intangible heritage policies and activities conducted by institutions such Cultural Diversity Programme’, in which they analysed, as the Ministry of Culture, the Ministry of Sport, the Ministry debated and agreed to implement the sectoral gender and of the Environment, the Department of Peoples and Civic interculturality policy. Participation and the National Cultural Heritage Institute. Thus, owing to the Heritage Ministry, the public sector is adapting structurally to a new form of institutional manage- ment that incorporates ethnic and cultural diversity and gender equality. This is the context in which the gender and intercul- Without a doubt, the most important factors in the turality policy was formulated for the Sectoral Heritage Council formulation of the sectoral gender and interculturality in order to halt the racism, ethnic and gender exclusion and policy were the integration of the ‘gender’ and ‘intercul- social inequality that deprive indigenous peoples, Afro- turality’ approaches and acknowledgement of the need Ecuadorians, peasants and poor mestizos of opportunities. for commitment to improving the living conditions of

© UNESCO/I. Fernandez people belonging to the country’s most disadvantaged

ults ethnic groups. Programmes and activities devised under P ROCESS this policy will therefore be required to factor in inter- The Ministry of Culture, the Ministry of Sport, the Ministry linked gender and interculturality considerations and to of the Environment, the Department of Peoples and Civic Programmes and prioritize Ecuador’s minority and marginalized popula- Participation and the National Cultural Heritage Institute all tion groups. The direct beneficiaries will include not only activities devised participated in the formulation of the public gender and in- terculturality policy. This policy, a trailblazer in Latin America, the specific target group but also the general population, under this policy will Res also takes the demands set out in the agenda of Ecuador’s which will be made aware of these pressing issues owing therefore be required indigenous women’s associations into account. Drawing on to various media (press, radio and television) campaigns to factor in interlinked a wide variety of bibliographical documents on the stark in- and improvements in the implementation of future projects. gender and intercultur- equalities that mainly affect indigenous and Afro-Ecuadorian women, the country’s female peasants, tenant farmers, ality considerations coastal peasants and poor mestizos, and pursuant to the and to prioritize ‘2009-2013 National Plan for a Good Life’ which calls for the Ecuador’s minority and construction of a pluralist, inclusive, fair, cooperative society, the country’s various heritage-sector bodies held a series of marginalized meetings, under the Heritage Ministry’s ‘Development and population groups.

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Culture and Public Policies Ecuador Ecuador Culture and Tourism ᮡ Cevicangre CommunityTourist Complex ᮡ CULTURE ANDTOURISM have risenby50%. nity touristcomplex Cevicangre commu- the earningsof provided undertheJP, As aresultofsupport !  ? P C ONTEXT ROCESS provided underthe JP. Itshouldbe pointedout thatthetourist ture. Lastly, arevolving fundforthe purchaseof blue crabwas families’ foodsecurity andasupply ofvegetables fortheven- backyard vegetable gardeningwasencouraged toensure identify thecauses ofmortalityblue crabsincaptivity, and from intermediaries. JPsupportwasalso providedinorderto for thegrowth ofbluecrabs)inorderto eliminatepurchases vided topurchase landfortheplanting ofmangroves(ideal reduce touristcrowdsatkey points,andassistancewaspro- including thelounge,kitchen andtoiletfacilities,inorderto infrastructure development indifferentpartsofthecomplex, To solvetheidentifiedproblem,Ecuador’sJPcontributed to becoming increasinglyscarce andcostly. customer infrastructurewas insufficientandbluecrabswere water. Owingtothehighdemandforcevicangre, theexisting with crab(fattenedincommunal pens),servedwithcoconut ceviche, aportionofrice,friedplantainandcoconut stew where peoplestillmakecevicangre,consistingof a shrimp members ofthecommunity. Thisisthelastplaceincountry centre, andvisitorsareinvitedtostay inthehomesof this swampsandartisanalfishingareorganizedin mangrove the localflora,faunaandgastronomy. Excursionstothe lished inthecantonofRíoVerde forresponsibleenjoymentof programme (PRODERENA),arecreationalcentrewas estab- Environment throughitsdecentralizedmanagement support governmental organization–andEcuador’sMinistry ofthe by theEcuadorianPopulorum ProgressioFund (FEPP)–anon- sound environmentalmanagementofsolidwaste designed environmentalprojects.Underthe projectforthe sustainable National Park, butitalsopromotes thedevelopmentof Ecuador ishometomajornaturereserves,suchas Sangay boosting thelocaleconomy. improving thequalityoflifeorganization’sworkers and fairs andeventswithexcellentcommercialresults, thus have takenpartinseveralprovincialandnationalgastronomy complex ismanagedmainlybylocalcommunitywomen, who © Victor Ortega, consultor FAO© VictorOrtega, Interculturalidad

Ecuador. entrepreneurial women,bothinside andoutside fairs andevents. Thisinitiativeis an incentivefor has beenraised throughtheirparticipation invarious Resultssea fishing, and theawarenessofEcuador’s people tions ofRíoVerde canton,suchasartisanal riverand and revivedthevalueof thegastronomyandtradi- sustainability. Furthermore, the complexhassaved from theventure’srevenue, whichwillensureproject planned. Suchdevelopments willbefinancedinpart areasandanewmangroveplantationhasbeen visitor have risenby50%and theconstructionofanew ofCevicangrecommunity touristcomplex earnings As aresultofsupport provided undertheJP, the ᮡ CULTURE AND THE ENVIRONMENT ? !  Shuar Aja (Gardens) for the Shuar People

C ONTEXT Interculturalidad © Victor Ortega, FAO consultor The aim of this initiative was to revitalize the agricultural biodiversity of the Provincial Federation of the Shuar Nation in Zamora Chinchipe, Ecuador. With the passage of time and been collected through unstructured qualitative interviews, as the effects of globalization have grown, many of the a group of young people interested in sustainable farming Shuar people’s customs have been dying out, including their systems was given training, complemented by topics relating aja – native conservation-species seedbeds. Generally, the to business management and product marketing. men till the land (clearing, ploughing, burning vegetation and felling trees), while the women and children plant and harvest the crops. Tinned foods have now displaced plants This project’s main achievements include the generation of and products specific to the Shuar people, who used to grow knowledge gathered and compiled by the government of up to 120 different plant species on a single hectare. A Sucumbíos Province. Other achievements were the empow- typical Shuar aja (garden) today contains no more than five erment of 50 beneficiary families and the planting of 65 species of edible and medicinal plants. An agricultural bio- species of edible and medicinal plants in each aja (garden). The methodology diversity revitalization project was therefore implemented The success of this project is now being replicated by other was based on under the JP in Taruka and Wampuish, two Shuar communities in the cantons of Lago Agrio and Shushufindi. Ecuadorian peoples. It can therefore be concluded that knowledge the activity conducted under the programme has led to transmitted effective linkages of the families in the aja by generating during talks with employment and income, revitalizing intangible heritage, P ROCESS cultural identity and protecting the agricultural biodiversity the elders. In order to revitalize the sustainable ancestral Shuar aja way heritage of the Shuar people, thus contributing to Ecuador’s

of life, the JP team first worked to preserve traditions linked Results economic and social development. to this practice. To that end, it turned to the communities’ elders, who have thorough knowledge of species-cultivation rituals and traditions, seeding technology and the combina- tion of both factors to produce a successful harvest. The Shuar people were therefore actively involved through mingas, or communal work parties, and traditional chonta ceremonies, which further strengthened the process. More specifically, the methodology used consisted in transmitting knowledge through talks with the elders. Once such information had

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Culture and the Environment Ecuador Ecuador Culture and Health ᮡ through CulturallyAppropriateChildbirth Implementation ofanInterculturalHealthSystem ᮡ CULTURE ANDHEALTH health. staff inintercultural to trainmedical made itpossible Sucumbíos Province programme in by thejoint The studygenerated !  ? P C ONTEXT ROCESS neonatal health. identify steps to betakeninorderimprove maternaland and Secoyawomen associationswere involved inorderto the Association ofWomen ofKichwa Nationality(AMNKISE) Public Health, throughtheIntercultural Health Department, study. Oncethe studyhadbeenapproved,theMinistryof employees andpatientsinmedical centrescollaboratedinthe the variousmedicalunits in theareaanddoctors,nurses, appropriate childbirthcare. SucumbíosHealthDirectorate, knowledge ofinterculturalhealthandculturally doctors’ (Lago Agrio,Cascalesand Shushufindi)inordertogauge surveys wereheldinthree cantonsofSucumbíosProvince care providedforpregnant womenintheregion.Moreover, study toidentify, forthe purposesoftheJP, the stateofthe identified, aconsultancyfirm wascommissionedtoconducta Ecuadorian womenlivinginSucumbíosProvince)had been In thiscontext,oncetheJPbeneficiarygroup(pregnant propose solutionsaccordingly. the JPtodeterminegeneralsituationinregion and model intoeffect,adiagnosticreviewwasproposed under Province lackedtheclearinformationrequiredtoput the health modelforpregnantEcuadorianwomen.AsSucumbíos Public Healthhasimplementedaninnovativeintercultural endeavour toremedythisstateofaffairs,theMinistry of expectations’ (MinistryofPublicHealth,2008).Inan or discrimination, ashealthservicesdonotmeettheir needs butespeciallybecauseofgender,reasons, ethnicandcultural health care,owinginparttogeographicalandeconomic In Ecuador, ‘indigenouswomenhavelessaccesstoquality

supported by aspeciallytrainedmedical team. useroomsequippedfor thatpurposeandbe childbirth, choose thetype ofcarethattheyreceive during to was thusstrengthenedto enableEcuadorianwomen Putumayo andShushufindi.Intercultural medicalcare JP, equipmentwasinstalled athealthunitsinCascales, Resultscultural health.Asaresult of theimplementation Sucumbíos Province, medical staffweretrainedininter- In addition,owingtothestudy conductedfortheJPin a protocolonculturallyappropriatechildbirth care. and mendations onculturally appropriatechildbirthcare Public HealthinAugust 2008. Theguidecontainsrecom- of Childbirth Care’publishedbytheEcuadorianMinistry as the‘Technical such Guide toCulturallyAppropriate anddisseminationthrough publications production This project’smainachievementsincludeknowledge UNFPA de Esmeraldas" Dirección Provincial deEsmeraldas - ReproductivosDerechos delaPoblación enlaProvincia © "Proyecto deAtenciónyPromoción delos ᮡ CULTURE AND ENTREPRENEURSHIP ? ! Guide for Training Craft Organizations in Product Development

C ONTEXT Although Hondurans produce extremely beautiful handi- crafts, craftworkers are not usually business-minded, which raised two challenges: firstly, the need to help craftworkers to optimize their production quality and marketing processes; and secondly, responsibility for promoting the beauty of Honduran crafts internationally. Training for craftworkers, linking craft improvement to business management, was therefore proposed under the joint programme. In imple- menting this strategy, handicraft producers who had pre- viously been linked to institutions in the sector were identified in order to guarantee the project’s long-term sustainability.© Yovanny Argueta

P ROCESS The main beneficiaries have been men and women from The JP strategy consisted in providing technical and method- indigenous groups, such as the Lenca, Maya Chorti and ological support in order to improve the craft item, contribute Garífuna. It is important to note that the majority (more The majority (more to an increase in production and to higher quality products, than 50%) of the businesses supported are managed by devise new working methods, generate new product lines and composed of women craftworkers who produce than 50%) of the and open up markets (both nationally and internationally) earthenware, textiles and jewellery. This project’s most businesses supported for the sale of those products. As a supportive measure, significant achievements include: (1) economic and are managed by and the ‘Guide for Training Craft Organizations in Product Development’ was published to assist craftworkers in logistical support for 56 handicraft businesses in the composed of women drawing up their own handicraft development plans. The country, their associations and eight local institutional craftworkers. guide is used as a methodological instrument by selected craft partners under the technical assistance programme businesses to implement their plans and to improve and raise for applying the steps of the Guide for Training Craft their productivity. In addition, training workshops were Organizations in Product Development; (2) the planning, Results held for trainers in various parts of the country, involving key organization and holding of group workshops at the sectoral stakeholders (craftworkers, associations and members national level; (3) the signing of a letter of agreement of NGOs). The workshops facilitated experiential exchanges with the Biological Corridor of the Honduran Caribbean among the participants, elucidated the methodology contained in the guide and afforded opportunities to secure (PROCORREDOR); and (4) the creation of high-quality individuals’ and associations’ commitment to implement the handicraft ‘collections’ as a result of the handicraft guide for a one-year period. revival. These achievements have contributed to devel- opment of the national handicraft sector.

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Culture and Entrepreneurship Honduras Honduras Culture and Public Policies ᮡ Building onActiveCitizenshiparoundCulture ᮡ CULTURE AND PUBLICPOLICIES operational plan. now hasanannual cultural council and municipal Each regional ! ? P C ONTEXT ROCESS A regional culturalstakeholders.Thefollowingregions purpose offinancingartprojectsandinitiativescarriedout by councils, towhichtheministrytransferredresourcesfor the (DCAS), whichsupportedtheestablishmentofregionalcultural the initiativeofDepartmentCulture,ArtsandSports The decentralizationofcultureinHondurasbegan2008, on drawing onspecialist advice.The regionaland municipal ties’ technical, administrative and organizational capacities, field of culture.The JP teamstrengthened those municipali- in whichcitizenship-building actionhas been takeninthe regional council hasselectedfivemunicipalities initsregion, became thebasis fororganizingtheregional councils.Each strengthening ofmunicipalculturalcouncils, whichthen wastherefore providedfortheestablishment and support were somemunicipalrepresentatives. Joint-programme The councilsinitiallytookaregional approach,althoughthere Comayagua, LaPaz andFrancisco Morazán)and Choluteca andValle), (department ofIntibucá), (departments ofCopán,OcotepequeandLempira), (departments ofAtlántida,Yoro andColón), programme, councilswere formed in lished. Later, in2009,withsupportprovided underthejoint (departments ofOlanchoand ElParaíso) werethereforeestab- was established. Francisco Morazán),andasubdivisionof the CentreAregion palities ofGraciasaDios)and in (departments ofCortésandSantaBárbara), (6) CentreA (5) South Centre B La Mosquita (departments of (departments of (municipalities of (2) NorthB (3) West A (4) West B (1) North (7) Eas (munici- © Yovanny Argueta t the fieldsofculture,developmentandculturalmanagement. annual operationalplan(AOP).Lastly, trainingwasprovidedin Each regionalandmunicipalculturalcouncilnowhas an ment, anddrawupanannualcapacity-building workplan. their vision,mission,structure,keyalliesandlinkstodevelop- assessments designedtoascertainthestateofart,identify councils’ capacitieswerebuiltonthebasisoforganizational

is aware ofthelinkbetween culture anddevelopment. Honduras now hasaculturallyactivegeneral publicthat result ofthe establishment ofthecultural councils, mation network andabusinessincubation system.Asa formu Results partnerships andthe government-business-citizen grammes, budgets,ventures, theestablishmentof capacity forleadershipin decision-makingonpro- drafted. Theculturalcouncils havedemonstratedtheir these policytools,thefirst generallawonculturewas grated intothenationalcultural plan.Inadditionto regional culturalstrategies whichwere,inturn,inte- asinputstotheeight plans. Thesecalendarsserved for aten-yearperiod,with biennialimplementation Forty-five municipalculturalcalendars were developed lation ofpublic policies,allsupportedby an infor- ᮡ CULTURE AND PUBLIC POLICIES ? ! Strengthening of Cultural Centres

C ONTEXT The cultural centres are entities to which cultural policy action has been decentralized in the departments and municipalities of Honduras. Over time, they have become providers of cultural services in their own right, mobiliz- ing local social stakeholders for culture. However, they had limited economic resources and their staff had little management skills. Furthermore, during the JPdesign

phase, a problem was identified in the infrastructure of© UNESCO/Antena proyecto cultura F-ODM, Honduras the cultural centres. The first JP step was therefore to hold a series of training courses for the administrators of the cultural centres, which were also attended by local authority personnel, council representatives and staff from the Cultural Department. Action was then taken, in coordination with sectoral leaders, to improve conditions The situation has improved because the cultural centres in those centres. The cultural centres have devised a self-sustainability strategy under which have devised a they implement a local cultural policy meaningfully, self-sustainability through a programme tailored to the public’s interests strategy under P ROCESS and needs. The cultural centres have used the sustain- The first action taken was to install basic equipment in ability strategy to optimize joint-programme inputs, in which they 14 cultural centres, including the headquarters of the turn creating new resources for the development of their implement a local regional cultural councils, and to draw up annual opera- cultural programmes. Specific noteworthy outcomes tional programmes (AOPs). As the effects of the failure to cultural policy include non-formal training modules that can be repli- implement the AOPs and to use installed equipment to cated in other bodies because of their straightforward meaningfully. the full became apparent, it was decided that the working tools offered should link cultural centres’ resources to language and interpretation.

other cultural production activities and AOPs. A diagnos- Results tic review was therefore carried out and it resulted in the provision of training in sustainable management to the centres’ staff to ensure that the knowledge was used to design cultural products and programmes and to incor- porate a cultural-rights approach. That was achieved through training modules and workshops. Furthermore, as the beneficiaries had been involved in the use of train- ing tools, their feedback was taken into account in order to improve those tools. Additional training modules were also devised on issues relating cultural heritage manage- ment and cultural volunteering.

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Culture and Public Policies Honduras Honduras Culture and Entrepreneurship ᮡ ᮡ CULTURE AND ENTREPRENEURSHIP ? ! Don Goldón’s ‘El Trapiche’ Business Venture

C ONTEXT The JP team identified Celán Goldón Aguilar, a sugar cane producer in Taulabé, president of Cooperativa de Productores de Caña Taulabé Ltda (the cane producers’ cooperative) and promoter of ecological practices and technologies in the community, as a potential beneficiary. It was noted that Mr Goldón’s environmental philosophy had not been accepted by the other members of the cooperative, which prevented him from doing business in accordance with his values. Joint-programme support was therefore provided for the conduct of an analysis of his initiative, which proved to be particularly relevant from an ecological and socially responsible standpoint. This Honduran entrepreneur wished, in particular, to have the burning of tyres eliminated from the cane-sugar production process and be replaced by an envi- The company's ronmentally friendly process. Thus, with the specialized technical support provided under the JP, he secured the enact- income is now higher ment of a municipal by-law prohibiting the burning of tyres, and steadier, which which is a highly polluting activity. However, after the by-law has made it possible was passed, Mr Goldón encountered new problems, both personally and professionally – his mill was burnt down, he © Yovanny Argueta to make improvements lost market share and had no legal backing. to the mill and raise the quality of the Owing to JP support, ‘El Trapiche’ has managed to place product. its product in a leading supermarket chain and has there- P ROCESS fore increased its output considerably through year-round The JP team decided to back the creation of a family business production. Moreover, it has had a multiplier effect, as when it saw that the other members of the cooperative had not another producer has joined the initiative and works with only rejected Mr Goldón’s ecological proposal, but also disap- the family to meet larger orders, using Mr Goldón’s eco- proved of the use of new technology; it took into consideration logical technology. The company’s income is now higher the potential impact of the productive activity, the backing pro- vided by the University of Vermont, the commitment and support and steadier, which has made it possible to carry out of Mr Goldón’s wife and children and Mr Goldón’s own deter- improvements to the mill and raise the quality of the mination. That marked the advent of the company ‘El Trapiche’, product. In addition, a new product created by Mr Goldón which received technical and legal assistance under the joint (the ‘easy break’) is being patented, which will increase programme, and collaborated in a committed and participatory support for and the security of this family undertaking. Results manner in each of the meetings scheduled. The first step was to draw up an organizational chart, comprising Mr Goldón, his wife and their three children. Then, each member’s concerns and opinions regarding the company’s name, the design of the brand, process documentation, the preparation SWOT analyses and action plans were taken into account. ᮡ CULTURE AND SOCIAL COHESION ? ! Cultural Volunteering in Honduras

C ONTEXT Argueta © Yovanny In Honduras, there were already volunteers who dedicated their time to sharing their country’s arts and culture with alternative media (television, print media, bulletins and others, but they did so sporadically, as a guitar teacher, pho- social networks, among others), before and after each tographer or dance teacher, for example. In this context, the activity; (4) involvement of public and private sector institu- challenge taken up under the JP consisted in organizing those tions; (5) fundraising for cultural activities; and (6) ongoing cultural volunteers into groups and networks in the country’s recruitment of cultural volunteers, as volunteers’ commit- eight regions, namely North A, North B, West A, West B, ment may fluctuate for various reasons relating to venues, South, Centre A, East and La Mosquita. However, in There are eight work, studies, private life, illness and time constraints. addition to specific profile or age considerations, emphasis groups of cultural was laid in the volunteer selection process on people keen volunteers, one in to enhance the communities’ cultural activities, without each of Honduras’ expecting any financial compensation in return. regions, which have There are now eight groups of cultural volunteers, strategic plans and P ROCESS one in each of the country’s regions, which have an average of Eight field technicians (volunteer coordinators) were tasked strategic plans and an average of 20 volunteers. 20 volunteers. with recruiting, organizing and consolidating the groups of These volunteers have been trained and carry out in participants. They began by giving talks and holding workshops their municipalities cultural and artistic activities at various venues (education centres, organizations, etc.) in order to raise awareness of the value of cultural volunteering such as photograph exhibitions, recreation days, and find out people’s concerns on the subject. Once formed, cultural afternoons, plays, literature and poetry small groups of volunteers were trained by the technicians, and workshops, murals, environment days, festivities to specific responsibilities were assigned to each volunteer. mark the national identity day, traditional dance Various kinds of cultural activity, organized either on their own evenings, drawing competitions, puppet shows and initiative or by the municipality, were then initiated. The aims of traditional-games festivals. The network of volunteers those activities were to raise the visibility of culture and attract thus contributes to the visibility and promotion of

more cultural volunteers to the network. During programme Results national culture. execution, exchanges were organized among participants and the following activities were conducted: 1) design of a logo to identify the network at the national level; (2) drafting of a volunteering, culture and development training and methodology handbook; (3) publicity and promotion of the work of the cultural volunteers both in traditional and in

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Culture and Social Cohesion Honduras Nicaragua Culture and Entrepreneurship ᮡ of AfricandescentonNicaragua’sCaribbeancoast and culturalpracticesexpressionsofindigenouspeoplespeople ProCulture Fund forthepromotion and developmentof ᮡ CULTURE ANDENTREPRENEURSHIP women. and priorityfor criterion ofinclusion following the the outset, was assuredfrom A genderfocus   ! ? P C ONTEXT ROCESS music andoralculture. visual arts,embroidery, dance,gastronomy, traditionalmedicine, are womenandmenactiveinareassuchashandicrafts, programmes tailoredtotheirneeds.TheFund’s beneficiaries previ needs anddemandsofthetargetcommunities,which initiative takentomeetthecultural,tourismandsocial opportunities. TheProCultureFund wasthusan innovative to optimizetheircommunities’economicandproductive indigenous peoplesandpeopleofAfricandescentinorder by preservingandpromotingtheartstraditionsof team thereforeproposedtostrengthenandrevitalizeculture people ofAfricandescentontheCaribbeancoast.TheJP available forventuresdesignedbyindigenouspeoplesand Before actualimplementationoftheJP, nofundingwas itization ofwomen whosubmittedproposals. proposals, under thecriterionrequiringinclusion andprior- ensured from the outsetduringshortlisting ofproject should bepointed outthatthegender approach was which tookafinaldecision ontheselectedventures.It submitted tothejoint-programme steeringcommittee, shortlisted byamultisectoral committee.Theshortlistwas tions waslaunchedintheregions, andprojectswerethen toring mechanisms.Inthesecond phase,acallforapplica- project submissionformatsand venturesupportandmoni- the ground.Training wasprovidedinfinancialmanagement, project, fundmanagement,monitoring andevaluationon handbook containedanexplanation ofthestructure in ordertobenefitthetarget groups,wascompiled.The ating handbook,settingoutthe procedurestobefollowed To facilitatetheoperationsofProCultureFund, anoper- ously hadnoaccesstocredit,owingthedearthof artistic Caribe deNicaragua © Programa Conjunto Cultural deRevitalización Productivo yDesarrollo Creativo enlaCosta family andcommunity. nuity ofthistraditionandtheeconomic well-beingofher to teenagersandotherwomen, thusensuringtheconti- neur istransferringsomeofher bread-makingknowledge Resultsfreshly-baked breadfor2córdobas.’ Nowthisentrepre- loaves inonego.Inthecommunity, Iselleachloafof with anoventhat’sbigenoughtobake24coconutbread lifehaschanged greatly.family’s I’veboughtagasstove ProCulture Fund beneficiary. Inherownwords:‘My coconut breadtosupportherfamilyandhasbeena illustrate theimpactofFund. Shemakesandsells North AtlanticAutonomousRegion,isdescribedbelowto Cabo GraciasaDios,inthemunicipalityofWaspam inthe The caseofAuroraOrtega,aresidentthecommunity ᮡ CULTURE AND ENTREPRENEURSHIP ?   ! Entrepreneurial capacity-building through coaching, specialized technical training, technical assistance and provision of loans C ONTEXT Before actual implementation of the JP, no funding was available for ventures designed by indigenous peoples and people of African descent on the Caribbean coast. The joint- programme therefore proposed to strengthen and revitalize culture by preserving and promoting the arts and traditions of indigenous peoples and people of African descent in order to optimize their communities’ economic and productive opportunities. The ProCulture Fund was thus an innovative initiative taken to meet the cultural, touristic and social needs and demands of the target communities, which previously had no access to credit, owing due to the dearth of pro- grammes tailored to their needs. The Fund’s beneficiaries are

women and men active in areas such as handicrafts, visual y Desarrollo de Revitalización Cultural Conjunto © Programa de Nicaragua Caribe en la Costa Creativo Productivo arts, embroidery, dance, gastronomy, traditional medicine, music and oral culture (stories, legends, myths).

Coaching and The case of Julio López, who lives in the community of training were Bluefields, in the municipality of Bluefields in the provided to improve P ROCESS South Atlantic Autonomous Region, is described below During roll-out of the ProCulture Fund, the decision was taken to illustrate the impact of the Fund. He makes wooded the entrepreneurs’ to provide coaching and training to improve entrepreneurs’ sculptures to support his family and, as a beneficiary of business skills. business skills, through modules on cultural management and the Fund, has been trained in business administration marketing techniques. That was combined with specialized and techniques to improve his designs and wood assistance to prepare the small enterprises to receive a finishes. Moreover, Mr López has received credit to revolving micro-credit that would enable them to increase their sales. Selection criteria based on the programme’s improve his workshop and thus raise his output. In his general requirements were drawn up to guide the conduct of own words: ‘My family’s life has changed greatly, as those activities. In addition, funding rules were drafted and we’ve sold more and I’ve had to hire more staff, approved for the allocation of financial resources to applicant because demand for our product is high.’ This entre- Results entrepreneurs. Issues raised during the training courses and preneur is now transferring his knowledge by training the provision of technical assistance concerned the young people in his workshop. improvement of internal business administration, specializa- tion techniques and the promotion of micro-credit schemes for businesses. Entrepreneurs were then invited to draw up a proposal and to apply to the Fund for review and possible approval by the specialized inter-institutional committee.

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Culture and Entrepreneurship Nicaragua Nicaragua Culture and Social Cohesion ᮡ Ulwa Dance and Music in the South Atlantic AutonomousRegion Ulwa DanceandMusicintheSouthAtlantic community’s Cultural RevitalizationoftheKarawala ᮡ CULTURE ANDSOCIALCOHESION ago. more than40years group, whichdiedout music ofthe‘Tiwilis’ traditional dancesand in revivingthe The projectconsisted   ! ? P C ONTEXT ROCESS accordance withtheirindigenousformsofself-organization. government oftheSouthAtlanticAutonomousRegion,in posed ofrepresentativesthecommunityand ficiaries haveestablishedamultisectoralcommitteecom- people guidanceandsetsocialrules.Theprogramme’sbene- times past.TheWatyu officiatedduringhealingrituals,gave mâk pau,theUlwapeople’sspiritualadviser, whoexistedin sion waslinkedtothefirsteventinhonourofWatyu Kung its dancesandmusic.Thepromotionofthisculturalexpres- ments andotheritemsusedancestrallyintheperformanceof dances andmusic,clothing,jewellery, artisanalmusicalinstru- died outmorethan40yearsago),throughitstraditional community consistedinrevivingthe‘Tiwilis’group(which The projectsubmittedtotheProCultureFund bytheUlwa authenticity and personality must be pr to those culturesand formsof expression of their edge must begenerated andlocalcultures, valuesinherent mustbepromoted inaspiritofpeace;(9)knowl- peoples appreciation of culturesandunderstanding among zation ofexchanges andmeetingsconducive tothemutual knowledge generation andpeace-building;(8) theorgani- itsindicators,especiallywithregard toparticipation, in approach; (7)clear socialcommitmentmust bereflected ect; (6)emphasismustbe laidontheintercultural local/regional effortsmustnot besupplantedbytheproj- cultural diffusionmustbe promoted;(5)potential item specifictoapeopleorgroup; (4)artisticcreationand the revitalizationofadeclining orendangeredcultural ensuring genderequality;(3) theprojectmustconcern African descentmustbeindirect beneficiaries,while ing genderequality;(2)indigenous peoplesandpeopleof nous peoplesandpeopleofAfrican descent),whileensur- activities musttargetspecific populationgroups(indige- Decision-making restsonthe following criteria: basis ofcriteriaestablished in theoperatinghandbook. be grantedsupportivefinancialandtechnicalresourcesonthe of eightrepresentativeswhobasetheirselectionventuresto ProCulture Fund decisionsaremadebyacommitteecomposed omoted. (1) project Nicaragua © Programa Conjunto Cultural deRevitalización Productivo yDesarrollo Creativo enlaCosta Caribe de

of itsculture. opening upnewcoursesofaction fortherevitalization Resultsof identityandempowerment oftheUlwacommunity, intellectually, italsohadapositiveimpactonthenotion stimulate localculturalstakeholders spirituallyand munities inthemunicipality. Notonlydidtheproject community, italsoresonatedwiththeothersevencom- this initiativewasextremelyimportant totheKarawala ties concernedparticipatedtoagreatextent.Although and Walang Wingkagroupsandthecommunalauthori- tion oftheUlwapeople,Tiwilis, Ukumh,Saudah While workwasinprogressontheculturalrevitaliza- ᮡ CULTURE AND ENTREPREUNEURSHIP ? !!! # Handicrafts: Quality Design and Fostering Competitiveness

C ONTEXT Under the joint programme, the national situation was characterized by: (1) few signs of a culturally recognized traditional crafts sector and of secure markets; (2) relatively recent craft activity in the country; (3) highly fragmented handicraft production; and (4) few opportunities to show- case products inside and outside the country. The following joint-programme challenges were identified during the second© UNESCO/Montevideo phase: (1) lack of markets for handicrafts produced, partly because of the poor quality of the products and the lack of a market-centred approach; (2) handicraft produced primarily as ornamental items; (3) low craftworker pro- ductivity; and (4) difficulties encountered in gaining access to markets. Other obstacles comprised craftworkers’ individualism, resistance to serialization, resistance to the pro- duction of utilitarian items, diverging points of view with This project’s most noteworthy results include: (1) the designers during working groups and difficulties in ascertaining holding of three ‘Design Workshops’ attended by some results achieved in designing new product lines. Lastly, the joint- A public call had programme team designated craftworkers throughout the 80 craftworkers, whose activities have been registered by the organizers; (2) the showcasing of items at national been made for country as beneficiaries. and international events; (3) craftworkers’ participation applicants for the in previously inaccessible high-level national bodies; and seats on the advisory (4) greater presence of craftworkers and handicrafts in panel, all three of P ROCESS various parts of the world, thus opening up more markets which had been Owing to public calls for proposals, the joint-programme for craftworkers and raising awareness of aspects of team identified beneficiary craftworkers throughout the Uruguayan culture in places such as Bogotá (Colombia), won by women. country and launched the following activities: (1) organiza- Paris (France), Mexico City (Mexico) and Jerusalem (Israel). tion of ‘Design Workshops’ for the design of new product

lines by craftworkers or groups of craftworkers, led by an Results advisory panel composed of two designers and one hand- icraft specialist – a public call had been made for appli- cants for the seats on the advisory panel, all three of which had been won by women; (2) raising awareness of handi- craft production by holding exhibitions in various parts of the country; (3) opportunities for those who attended the workshops and created new lines to take part in the DINAPYME marketing programme; (4) strengthening of the DINAPYME handicraft marketing programme through participation in fairs held under the Viví Cultura project, thus raising the level of participation in events and in the showcasing of Uruguayan handicrafts on new interna- tional platforms. JP decisions were implemented through public calls for proposals to ensure democratic access to activities.

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Culture and Entrepreneurship Uruguay Uruguay Culture and Entrepreneurship ᮡ Music Cluster ᮡ CULTURE ANDENTREPREUNEURSHIP international outreach. catalogue toextendits an in-builtconstructed constructed, featuring music portalwas In 2011,theUruguayan !!! # ? P C ONTEXT ROCESS with thoseofprivateoperators. Culture DirectorateoftheMinistry ofEducationandCulture) Budget; CreativeIndustriesDepartmentoftheNational Competitiveness ProgrammeoftheOfficePlanningand Energy andMining;ConglomerateProduction-Chain aligning theinterestsofState(MinistryIndustry, sectors; (2)littlecollaborativeexperience;and(3)difficultyin identified thefollowingobstacles:(1)greatdispersionof mation ofamusiccluster. Inthatconnection,theJPteam Producers andManagers,supportwasprovidedforthefor- Musicians, theAssociationofAuthorsand Association ofPerforming Artists,theAssociationof industry stakeholderssuchastheRecordChamber, the umbrella institutionsandinitiativesforthevariousmusic sector’s competitiveness.Consequently, inviewofthelack marketing contextshadimposednewmeansofincreasingthe recent years.Atthesametime,currentglobalizationand In Uruguay, themusicindustryhasbeengrowingsteadilyin consensus decisions, wasestablished. tees), inwhichall representedpartieswererequired tomake Lastly, amanagement group(madeupofworking commit- was drawnup for useasadiagnostictooland roadmap. the study, astrategic operationalplanforthe musiccluster opportunity. Oncetheinformation hadbeengatheredfrom the currentstateofsector, itsstrengthsandareasof ported theproject.Astudywas thenconductedtoidentity lar UNESCOandUNIDO, participatedinandconstantlysup- the process,UnitedNations agencies involved,inparticu- body tocoordinatejointendeavours. Inaddition,throughout entailed theestablishmentof a permanentpublic-private To operationalizeUruguay’smusiccluster, JPassistance © UNESCO/Montevideo

the entiresector. international outreach,wasconstructed toshowcase portal, featuringanin-builtcatalogue toextendits lishing sectors.Lastly, in2011,theUruguayanmusic between threefirmsintheaudiovisual, musicandpub- technicians; and(3)ArtSonora –anassociativeproject work ofmusicproductionand promotionfirmsand American children’smusicstore; (2)Dinámica–anet- Azul –awebsiteandonline UruguayanandLatin associative projectswereimplemented: (1)Papagayo Resultscluded withothersectorsand institutionsandthree founded, networkswereformed,agreementscon- Association ofMusicProducers andManagerswas ‘Creation ofaMusicExportAgency’wereheld,thefirst ‘Preparation ofaStrategicPlanfortheSector’and Music Fair (BAFIM).In2010,twoconsultationsentitled officials participatedintheBuenosAiresInternational competitiveness ofthemusicsector. Moreover, cluster by internationalguests,wereconvenedtodiscussthe In 2009,fourworkshopsandconferences,attended ᮡ CULTURE AND ENTREPREUNEURSHIP ? !!! # Cultural Factories and Cultural Production Plants

C ONTEXT Many groups in Uruguay face varying degrees of social vul- nerability. In recent years, the gap between the middle class and the poor has widened. In this context, the JP team, in collaboration with the National Cultural Directorate of the Ministry of Education and Culture, supported the establish- ment of ‘cultural factories’ and ‘cultural production plants’. The aims of cultural factory projects are to strengthen human and productive capital, by creating training and venture development opportunities, and to train young people and women excluded from the formal work and education sys- tems, by providing them with tools designed to enhance their opportunities in the labour market, while also raising their self-esteem and sense of belonging to a group. The cultural production plants, for their part, are recording centres and sound, photography, production and video studios established for the purpose of developing the creative skills of those who have the least opportunities for access. The main obstacles encountered under the joint programme included the country’s population-distribution imbalance (approximately 40% of the population lives in the capital), The cultural which results in many provincial dwellers being excluded from such opportunities. production plants focused on © UNESCO/Montevideo MDG-related gender-specific P ROCESS To operationalize Uruguay’s cultural factories and production content. plants, the JP team sought to implement the initiatives in The cultural factories have strengthened the country’s diverse settings accessible to the greatest number of people human and productive capital by creating opportunities possible, such as on the outskirts of Montevideo and in for training, skills development and cultural ventures. provincial towns. During the first phase of execution, Furthermore, the cultural production plants have been announcements were made in various media inviting those equipped to provide people living far from production interested in participating in the various project activities. Care was also taken to involve local social stakeholders in the centres with musical and audiovisual training and design and conduct of the activities. It is noteworthy that, in production opportunities. This has generated audiovisual order to enrich the project, the beneficiaries were consulted productions, music recordings and the formation of music about their specific needs and the various groups’ traditions and video-production groups (many of them relating to and local identities were taken into account. Moreover, the the MDGs), which are now being disseminated on a cultural production plants focused on MDG-related gender- larger scale. specific content, while the cultural factories promoted the

participation of women who were not in formal employment. Results

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Culture and Entrepreneurship Uruguay Uruguay Culture and Entrepreneurship ᮡ Cultural EnterpriseIncubator ᮡ CULTURE ANDENTREPREUNEURSHIP support. receive incubator were selectedto (61% ofthemwomen) and 32entrepreneurs 25 projects © UNESCO/Montevideo !!! # ? P C ONTEXT ROCESS of access. of their projectswinnosupportpreciselybecauseofthelack who live in Indeed, manygoodideasaremootedbyentrepreneurs divide betweenthevariousgeographicalregionsofcountry. Moreover,aspects. considerationmustbegiventothe economic larly inregardtoorganizationalandculturalmanagement insuff the developmentofculturalindustriesarelinkedto belonging. However, someofthefactorsthathavehindered employment andstrengtheningUruguayans’senseof expanding thedomesticmarket,generatinghigh-quality toimprovinginternationaleconomicintegration, contribute In thiscontext,thepromotionofculturalindustriescan and strengthenthecountry’ssocialintegrationcohesion. industries canplayapositiveroleineconomicdevelopment It isgenerallyagreedinUruguaythatculturalandcreative provinces anopportunity toparticipate. various regions ofUruguay, thusgivingentrepreneurs in the graphical participation, thecallforproposalswas senttothe demonstrated. cial, economic andfinancialsustainability hadbeen implementation oncetheventure’stechnical, commer- entrepreneur; (c) coachingofentrepreneurs inproject nary teamon thebusinessplandrawnup bythe agement; (b)personalizedadvice fromamultidiscipli- 80-hour trainingcourseinbusiness formationandman- processes consistedofthreedistinct stages:(a)aroughly nical andfinancialsupport.The entrepreneurselection group ofshortlistedentrepreneurs bygivingthemtech- bator’. Thepurposeoftheincubator wastostrengthena the establishmentofa‘Remote culturalenterpriseincu- implementation. Theprojectwas implementedthough and (2)havingtherequiredentrepreneurial profileforits and sustainableideatodevelop withintheculturalsector holders whomettwoconditions: proposals thatwasopentoall Uruguayanculturalstake- supportfor culturalventuresthroughapubliccallfor viding The proposalmadeundertheJPthereforeconsistedinpro- icient capacitiesofstakeholdersinthesector, particu- marginalized partsofthecountryand,regrettably, It mustbenoted that,toensurefairgeo- (1) havinganoriginal

women) wereselectedtoreceive incubatorsupport. which 25projectsand32entrepreneurs (61%ofthem Resultssubmitted projectsforthesecond selectionphase,in neurs completedtrainingincultural managementand incubator project,werethenselected. Thoseentrepre- preneurs, for36proposalsthatcould beincludedinthe proposals invariousfieldsofculture. Forty-four entre- reply tothecalls,atotalof139 peoplesubmitted100 provincialpopulation. In which targetedthecountry’s public callsforproposalsinthevariousmedia,twoof programme indesigningandimplementingthethree In particular, assistancewasprovidedunderthejoint 33 (0)1 46 24 10 09 RectoVerso UNESCO/ Kamal Raftani. Printed by UNESCO/CLD. Design Design Kamal UNESCO/CLD. Raftani.UNESCO/ by Printed © Arab States Arab

Culture can clearly facilitate economic growth through job creation, tourism and the cultural industries, Moira Welch; Moira Welch;

as an important economic sector for production, consumption and access. Furthermore, Culture provides ©

‘the social basis that allows for stimulating creativity, innovation, human progress and well-being. Africa In this sense, culture can be seen as a driving force for human development, in respect of economic growth and also as a means of leading a more fulfilling intellectual, emotional, moral and spiritual life. Excerpts from the Terms of Reference of the MDG-F Culture and Development Thematic Window ’ Ministerio Coordinador de Patrimonio de Ecuador/Denis Torres; Torres; de Ecuador/Denis de Patrimonio Ministerio Coordinador © Latin America Latin Yvon Fruneau; Fruneau; Yvon © South East Europe

http://www.unesco.orgPublished by the Culture Sector of the United Nations Educational, Scientific and Cultural Organization (UNESCO). 7, Place de Fontenoy, 75352 Paris 07 SP, France http://www.mdgfund.org Liang Quankang; © © UNESCO 2012 All rights reserved CLT-2013/WS/6 This publication exists in Spanish (original language), English and French on our website: www.unesco.org/new/mdgf

For further information please contact: Dorine Dubois: [email protected] Maria Gropa: [email protected] Caroline Munier: [email protected] Cover Photos : Asia Photos Cover