HIGHER EDUCATION AND TRAINING IN CULTURAL MANAGEMENT AND CULTURAL POLICIES IN SOUTHERN MEDITERRANEAN COUNTRIES

Technical Assistance Unit of the Med Culture Programme for the promotion of culture as vector of Human, Social and Economic Development in South Mediterranean Countries. EUROPEAID CONTRACT: ENPI/2013/335-088 by MILENA DRAGICEVIC ŠEŠIC and NINA MIHALJINAC with the contribution of MOHAMED AMINE MOUMINE 2016

www.medculture.eu

Hydea S.p.A. Via del Rosso Fiorentino, 2g. 50142 Florence – Italy This report has been produced with assistance of the European Union. The content of this report is the sole responsibility of the Technical Assistance Unit of the Med- Culture Programme. It reflects the opinion of contributing experts and can in no way be taken to reflect the views of the European Commission.

The Med-Culture Project is implemented by the Consortium led by HYDEA S.p.A. (Italy) in partnership with: TRANSTEC SA (Belgium), L’ INSTITUT NATIONAL DE L’AUDIOVISUEL (France) and the ROYAL FILM COM- MISSION OF JORDAN (Jordan).

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1 Scope, aim and the method of the stud 4 2 State of the art in higher education 7 State of the arts in continuous professional development 3 21 (vocational education and training - life-long learning centre 4 Regional Capacity building agencies – actors and training centres 32 5 Training centres which function on the national and local levels 35 6 Cultural professionals – managerial abilities and skills 38 7 Obstacles and Opportunities 41 Recommendations for the development of capacity building programs in 8 47 the MENA region 9 Annexes

A - List of interviewed practitioners, professors and trainers 52

B - Questionnaires 54

C - International MA in “Cultural Policy and Management”, Université Hassan II, Casablanca 62

Higher Education and Training in Cultural management Page 3/70 and Cultural Policies in Southern Mediterranean countries 1 SCOPE, AIM AND THE METHOD OF THE STUDY

The goal of this research is to identify and meet the expectations of students as well as provide comprehensive information on consistent with the needs of the job market. available cultural management and cultural development (animation/mediation) training The research took into account the different programs for professionals and students educational and capacity building programs interested to work in the creative and cultural in the MENA region implemented in the last sectors in seven MENA countries: Israel, two years, briefly mentioning the initiatives Palestine, Jordan, Lebanon, Egypt, Algeria, that took place before if important for a better Tunisia and Morocco. understanding of the current context of education/training for this field: Main tasks of the research were to gather information on different actors involved • University undergraduate and master’s in cultural policies and education/training programs; management; to map and evaluate the • Programs in life-long learning for cultural existing models, formats and contents of practitioners: managers, curators, training and education in the field of cultural animators, etc. (training in project management; to give a precise overview of management and other skills); Higher Education and lifelong learning for • Trainings in organizational development cultural policies and management in 7 MENA – for NGOs, enterprises and cultural countries and to give recommendations to institutions; different actors in the field. • Cultural leadership programs for recognised “actors of change”; The research identified what is at stake in • Entrepreneurial and specific trainings for each country including: policies towards new, emerging cultural operators and lifelong learning and existing educational enterprises. frameworks that focus on raising competences and skills of cultural operators Besides mapping, the content of this and managers in the region. Simultaneously, research -relevant to the issues of expertise the research has specified what is lacking and methods of capacity building- include: and what will be useful for cultural operators Overview of concepts and structures of the working in this field. programs as well as the use of different methods; Identification of modes and forms Gathered information should allow all of training programs and the certification interested local, regional and international they grant; Elaboration on conclusions with operators to develop, create or improve recommendations/guidelines for improving their vocational training programs in cultural the situation; Elaboration on general management and complement gaps in recommendations/guidelines for the regional existing programs by relying on existing aspect by proposing initiatives and ideas on capacities and introducing new initiatives (e.g. how to maximise efficiency on a regional level training of trainers). It should also contribute that advocates for complementarity, including to raise awareness amongst representatives possible joint initiatives & approaches, further of universities and ministries of higher development of already existing regional education on the priorities to address in the initiatives and the involvement of international framework of universities in order to attain actors such as EUNIC, EU med programs, better offerings in terms of cultural policies Open Society Foundation, etc. and cultural management education; ones that

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1 World-Wide Cultural The results of this research will be presented MENA / EUROPEAN TRAINING IN CULTURE E-Resources, http://www. in the framework of regional seminars and AND CREATIVE SECTOR MANAGEMENT culturelink.org/dbase/ discussed with national and local players 2014 / 2015, Med Culture Reports http://www. links.html, accessed 15 involved in educational policies as well as medculture.eu/library/reports, Development December 2015. with cultural practitioners. Recommendations of Clusters in Cultural and Creative industries of the study will offer the basis for advocacy in the southern Mediterranean, UNIDO http:// 2 Cultural professionals work and will contribute to define and www.cci- clusters.org/sites/default/files/ that participated in the implement concrete actions to contribute to CCI_%20Mapping_Results%20english.pdf, survey have different the development of a better reality for the field Country reports Preparatory Action ‘Culture training experiences: of training/education in cultural policies and in the EU’s External Relations’, Mohamed from master’s degree cultural management. Said Omar, Culture et management en education obtained abroad Algérie, Margaret A. Majumdar, Mohammed (like Paris III, Barcelona, METHODS AND DYNAMICS Saad, Transition and Development in Algeria: etc.), foreign vocational OF THE RESEARCH Economic, Social and Cultural Challenges, education (Goethe Institute Cultural Policies in Algeria, Egypt, Jordan, Cultural management Desk research included: Lebanon, Morocco, Palestine, Syria and 6-week-program, British Tunisia, Culture Resource, ECF, Najib Harabi, Council Leadership • Collection of available data per country on Creative Industries: Case Studies from Arab initiative) through different lifelong learning for cultural practitioners; Countries, etc). short sporadic trainings of • Statistical reports from UNESCO including UNESCO (devoted to the implementation reports of 2005 UNESCO INTERVIEWS WERE DONE WITH implementation of 2005 Convention; IDENTIFIED KEY ACTORS IN EACH convention), UNESCO • Country records of European Training SPECIFIC COUNTRY: Germany, foreign institutes Foundation; (French Institute, Instituto • Overview of existing literature, which • Leaders of training centres and trainers Cervantes, etc.) to long and covers training and educational (regional trainers and EU trainers active in short term regional training experiences in the domain of culture; the field); programs organised mostly • Public policies that address increasing • Cultural professionals by Al Mawred, Racines, but employment opportunities, regulating • Experts, researchers also by numerous NGOs labour markets in the previously • Cultural practitioners2 to fulfill their own capacity mentioned countries; • Policy-makers and other officials (who building needs and needs • Cultural policy of each country regarding were open to share their experiences of the cultural operators lifelong learning for cultural practitioners; and answer our queries); in local environment. It is • Mapping the key actors – internet survey • Academics (leaders of MA programs and indicative that within Al (universities, training centres, lifelong professors of relevant subjects covering Mawred and few other learning providers) art management, cultural policy, copyright training programs organised laws, heritage management, cultural by foreign institutes, cultural Desk research combined literature overview, tourism, creative economy, creative professionals had firstly the as well as an overview of different statistics industries...). participated as trainees and regarding cultural and educational sector The number of interviewees differed from then as trainers. development1. Many studies and reports country to country as there were great have been done for different international discrepancies among countries. For example, organizations and have been taken into the number of academic interviewees is account, as well as available evaluation and higher in Lebanon, Morocco and Tunisia, assessments of training programs… (e.g. whereas the number of trainers was bigger in Dr. Antje Klesse, Evaluation Report, THE Egypt.

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3 Training of trainers, Al The study included 81 interviewees from the 2015. The study also took into account the Mawred & ECF, 2005-2006; MENA region - Algeria (3), Egypt (9), Lebanon relevant interviews done during other research Training for researchers in (14) among which 3 interviewees were projects in the MENA region, including cultural policy Al Mawred & Syrians, Morocco (19), Tunisia (7), Palestine discussions with university professors and ECF 2008-09; EUNIC Pilot (7), Israel (11), Jordan (3) and Europe (8). rectors in Morocco, Tunisia, Lebanon and Casablanca 2015, etc. Majority of the interviewees (around 70%) Egypt. consisted of established cultural professionals 4 European Diploma - artists, curators, activists, leaders of cultural Since I am a participant of many different in Cultural Project organizations, the remaining 30% consisted capacity building programs in the region3, Management (since 1991 of university professors and trainers. It should and I work as a trainer in European till today); French Ministry be noted that some cultural professionals programs attended by many MENA region of Culture Program for worked as university professors or as trainers professionals4, then utilising the participant- World Cultural Operators interchangeably, accordingly they answered observation empirical research method, as (1993/1998), ECUME Dijon, the corresponding questionnaire according to well as other ethnographic research methods etc deeply analyse several the more dominant professional experience and the case study method were the most courses as types of different they had in the MENA region or they convenient and most communicative to educational strategies (i.e. answered both questionnaires). both my experience and research for this Abarra; St Joseph University study to eventually select and Beirut, etc.). Besides survey, numerous open interviews and focus group discussions have been organised during the 5th conference of the cultural policy research in Beirut in December

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5 Those factors are: The reasons why it is important to understand It is important to know that on the list of 1. Theoretical background of processes and problems in higher education ranking of the 100 best African universities the profession; 2. Complex are twofold: (web rankings of universities in Africa abilities and skills needed; www.4icu.org), the first three from the region 3, higher education • Higher education is an important are Cairo, Mansura and Alexandria universities programs; 4. Professional factor for diminishing or perpetuating (positions 6,9 and 11 respectively) and then association; 5. License to social inequalities (depending on the Ain Shams, American University in Cairo perform the profession accessibility and offer/lack of equal and Asiut University (positions 13,14 and 15 6. Ethical code of the opportunities); respectively)., On the list also Moroccan and profession; 7. Professional • Higher education is one of the main Algerian universities made it, whereas Tunisian culture and vocabulary. factors to raise the “occupation status” universities are at the end of the list. of the profession5 – and only those occupations that are “studied” and Even those universities that made it to the top researched within higher education of the list do not have developed education in systems, can get not only status in humanities (with the exception of antiquities society, but enough knowledge, abilities and archaeology etc.) Universities in the region and skills to raise the quality of its only sporadically and on the margins of their products and services, and finally, to courses are introducing cultural management contribute to the quality of life and deeper or similar teaching programs (socio-cultural social changes. Studying education for animation and mediation, cultural tourism, cultural management in the region, we heritage management). have to take into account the profiles of courses offered at university level, in arts As for Middle Eastern university systems, and other vocational schools in the region. Israeli universities (Hebrew University of Jerusalem and Tel-Aviv University) are on the Education and public universities in the 54th and 56th position of the list of 100 best MENA region are under direct control of state Middle Eastern universities. Israeli universities educational policies and governance, thus they are amongst very few universities from the have very limited budgetary, managerial and region, which were listed in the world ranking. pedagogical independence. In many cases, Besides those, American university in Beirut is like in Tunisia, they are directly managed by listed among the first 1000 world universities. the government, which means that their autonomy in terms of launching new programs Generally speaking, both in North Africa and is extremely limited… On the other hand, in the Middle East, universities have a low private (mostly foreign) universities are market ranking amongst the world’s best universities. oriented (thus their freedom is also limited Also, these statistics are showing disparities by market demands). The number of private of university development in the MENA universities has significantly risen after the region. In an editorial of the Journal Academia Arab spring, but nevertheless, the quality and (Manouba, Tunisia), which stated: “professors diversity of educational programs has not are all persuaded of the need for autonomous been developed. Specifically programs related universities as the only way to break to cultural professions, which have not been bureaucracy and excessive centralised power.” instituted, neither within public nor private This is confirmed by the fact that the master’s universities. program in Morocco, which was instituted by Al Mawred, a regional resource centre for

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6 We will use this term that cultural development (see pages 7-10 & 18) comes to education for professions in culture UNESCO has introduced and Hildesheim University, has not yet gotten – it’s mostly linked to heritage, archaeology, to cover a variety of the final approval to start operating, although preservation and conservation (rarely approaches in educating it has secured funding, has been verified by associated with management) or only to art future cultural professionals. the committee of accreditation, has organised practices. See: Training in Cultural admission exams and selected and enrolled However, Lebanon and Israel have developed Policy and Management, students. some “contemporary” types of courses which International Directory of are more connected to cultural economy, Training Centres, UNESCO Types of study programs in cultural building managerial capacities in different 2003. Inspite of the title, management: domains, such as cultural tourism, event Katerina Stenou, director There is a remarkable difference in studying management, etc. In Egypt and Palestine of Cultural Policies and cultural development6 programs in the there are few emerging initiatives in art Intercultural Dialogue region. In Tunisia and Morocco, as well as in colleges and universities. Algeria and Jordan stated in her introduction: Lebanon and French speaking universities, haven’t introduced any relevant programs for “The training of cultural there are numerous bachelor’s and master’s cultural development professions and there is development personnel programs linked to socio-cultural mediation. no mentioning of cultural management even has continually been on In other countries in the region, when it as an elective subject.

UNESCO`s agenda since the mid 1970s”. 2.1 BACHELOR’S DEGREE PROGRAMS

Bachelor’s degree courses in this domain are ISAJ tries to tailor classes (modules) to very important as only through undergraduate students’ needs – i.e. Sociology of enterprise programs, a large network of cultural focuses on entrepreneurship; Psychology professionals for the whole country can be focuses on children psychology and group educated. Those programs can be identified dynamics; etc. Every year students do three only in Israel, Tunisia and Morocco. arts practice subjects, choosing amongst music, dance, fine arts, applied arts, etc., as In Morocco, several BA programs exist well as taking classes in French and English. such as. (I) ISAJ (Institut Superieur The first year is straight theoretical, second de l’Animation pour la Jeunesse et la year includes 5 days’ work placement/ Culture) has 180 students per year – in experience with some visits to cultural three departments: social animation, cultural institutions, and in the 3rd year a three month animation and touristic animation, where most internship – done as a co-production (thesis of them work in regional and local cultural plus professional supervisor, student chooses centres. Students are selected on the basis topic and has to find his/her own placement). of school performance, as the admission to university is centrally performed by the In Marrakesh, (II) Cadi Ayyad University Ministry of Education. They usually get offers a Professional licentiate in “cinema, students with an average score of 12, and audiovisual, and mediation” launched in sometimes less (higher achieving pupils go 2007 at the Faculty of Arts and Human to the sciences or architecture). The same Sciences. This university also offers a “B.A. goes for students who aim to do postgraduate in Arts and Culture”, a “B.A. in multimedia studies – as they often have relatively low entrepreneurship”. marks in their first degree (12).

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7 Le partenariat entre (III) Institut Nationale Supérieur d’Art In Tunisia only (VI) the Institute of Dramatic l’Université Ibn Tofaïl et le Dramatique et d’Animation Culturelle Arts (ISAD) has a program for management site Kénitra de l’Institut in Rabat has a 4- year Bachelor’s degree in and production in Drama Arts (La licence français du Maroc se Cultural Mediation, but also has a special appliquée en gestion de la production traduit par la mise en program for educators, sociologists, therapists dramatique). They have 40 professors, 12 place d’actions conjointes and so on. of which only are full time employees. They qui peuvent prendre la used to have 4 ‘professional’ BA programs, forme de stages, de Furthermore, (IV) Al-Mohammadia College in puppetry, lighting, sound and production, séminaires, d’ateliers, de offers Professional Licentiate in cultural but they encountered problems with getting cours, de conférences, mediation. funding from the Ministry in addition to d’habilitation ou toute problems with employing competent staff autre forme décidée par (V) Ibn Tofail University (Kenitra) has a (and finding suitable students), hence all les deux partenaires. Elles program in Médiation Culturelle, which is those courses were terminated. The only one concernent prioritairement organised in the following manner: after undergraduate program related to culture : La formation des two years of studying a bachelor’s degree, running at ISAD has two streams: acting and enseignants de l’université students can apply for a third year of Cultural youth theatre and the program’s graduates en didactique des Mediation, to get a Diploma. Ibn Tofail get jobs as drama schoolteachers. It is worth langues et des cultures; University partnered with the French Institute mentioning here that in recent years, drama L’appui spécifique aux in ESCAT bis program7, to boost the cultural has been officially added to the school Masters de didactique environment at the university level, to oppose curriculum. At ISAD we heard strong concerns du français et aux filières ideological movements (Islamic), and for about the degree of interference from the professionnalisantes qui ont further laicisation of universities. This took Ministry of Higher Education, the rigid nature recours au place from 1990 till 2000 and involved many of pedagogy and the lack of autonomy of français de spécialité; exchanges with practitioners from France. educational institutions, all of which meant Le soutien à ‘animation But since the program has been stopped, the that a Master’s program at a university du centre de langue; Le drop of cultural interest of the university could would not be able to address the needs of développement de la be witnessed. The argument that was not students in the best possible way. “University culture scientifique et used successfully for the continuation of the education is too theoretical - even at design technique : appui aux program was that this program had “added school, workshops are not workshops colloques, conférences, et value” – it was not just cultural activities and students are not allowed out to visit manifestations scientifiques; at the University campus, it contributed to real working environments”. Mourad Sakli, Le développement des the training of future cultural entrepreneurs Professor of Musicology, argued that students pratiques artistiques : and future cultural professionals that were should study ‘animation culturelle’ as part of organization conjointe de educated at different departments. all performing arts study/arts degrees, so they manifestations culturelles have proper skills base in at least one specific telles que des spectacles At the Ibn Tofail University School for art field, prior to management and animation vivants, des expositions Humanities, besides diplomas linked to knowledge. ou des stages de pratique French and English language, there are the artistique (http://if- maroc. following relevant degrees: BA les metiers In Israel, (VII) Sapir College is the only org/kenitra/IMG/article_PDF/ d’animation territorial: valorisation, animation university that has a BA program ‘Culture Universit-Ibn-Tofail_a188.pdf, et mediation des territoires (prof. Ahmed - Creation & Production’. The college accessed 23 January 2016). El Kihel); Mediation culturelle (prof. Sanae started at first in the field of literature and Ghouati); le SIG et la gestion de l’espace (prof. publishing, but now they work in more realms: Mohammed Laatiris). “predominantly in film, since they have a film school, also performing arts– but everything in general” (Diti Ronen).

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8 Conversation with Dr Sami (VIII) Lebanese American University LAU8 some courses exist which might be relevant Baroudi, interim-chairperson should also be mentioned here because of to those interested in cultural management. of the Department of an emerging initiative to introduce cultural For example within Hospitality studies and Communication Arts, Dr management courses at BA level. LAU has Management of non-profit organizations there Mona Knio assist. Prof., and five schools: Arts and Sciences, Natural are the following courses: Introduction to Lina Abyad assist. Prof. sciences, Computer sciences, Sociology and NGOs; Strategic Planning; Fundraising plan Psychology. Department of Communication and development; Working with volunteers; Arts has several areas amongst which are Financial Management; Social Media and Arts (comprehensive, all arts) and Design and E-communication; Social marketing; Writing Architecture. The diploma granted eventually is a concept paper. They used to have a holistic as general as possible in order to attract more approach to teaching especially at BA level students. The department is now proposing where arts, management and technology to divide the diploma of communication arts courses were taught. But there is more into a diploma of theatre, television or film art. interest in the arts now, and if students study Professors think that it will endanger theatre the same program for three years, why would studies as nothing can compete with the somebody graduate as a lighting technician popularity of film and television. or a manager when they can have a diploma as a theatre director? Therefore, there is only New BA program in performing arts offers ONE professor employed to teach cultural (or intends to offer) a course in management. management. For numerous other courses However, they think that within the university they are engaging practitioners as teachers.

2.2 MASTER’S DEGREE PROGRAMS

In Tunisia and Morocco, master’s degree accepts 40 MA students distributed on three programs in socio-cultural mediation MA programs each year: Research Master’s and animation are usually developed in in Cultural Science, Professional Master’s partnership or with the support of French in Animation of the youth and a Master’s universities such as Paris III Censier, Grenoble in Cultural Project Management. At post- 3 (Lebanese university), University d’Aix- graduate level, they teach different courses Marseille (St Joseph University Beirut), in French, English and Arabic, though the University I Sorbonne (French University majority of courses are in Arabic. (They used Egypt), ISAJ (Lyon 2 and Creteil, but in to have a Master’s degree in socio-cultural social work sciences)… One important animation in challenging environments non-university actor in this area is German (quartiers difficiles), which ran for only two UNESCO Commission that within the cohorts of graduates, as, in spite of the program: CONNEXIONS created specifically real needs, there were no jobs to employ one session to advocate for and support the graduates. development of master’s programs for cultural professionals in Tunisian universities. ISAJ would like to introduce a Master’s degree in Educational Animation whose graduates TUNISIA should find jobs in secondary schools, to help schools boost their performance through (I) ISAJ (Institut Superieur de l’Animation art practices (reduce drop outs etc.) and are pour la Jeunesse et la Culture), Tunisia, working with the Ministry of Education on

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9 Six years ago, a program this. Present MA students also do their own doctoral degrees in Langage et societe and for book-related professions projects & theses – i.e. a case study analysis Amenagement de l’espace et development was founded in Ben M’sik of issues within an organization or a heritage territorial. There are also University programs College in Casablanca site, and are proposing solutions through in Public Policy primarily focused on Social (Professional Licentiate) that those projects. Policy. qualifies close to twelve candidates yearly (stationery In an interview prior to this research with (IV) M`Sik, Hassan II University, Casablanca personnel, librarians, or the president of the University of Manouba, The University campus has 4500 students out publishers). Mr Mabkhoutin was very keen to help the of which around a 1000 are studying arts and creation of a professional master’s degree in cultural management/cultural mediation. Staff Cultural Management at the Business School has a variety of relevant backgrounds – arts, – Ecole de Commerce, helped by professors sociology, literature, American studies etc. from other schools and departments such Most do not only work as academics, but also as: Media-audiovisual dept., Journalism, and run and direct cultural projects and institutions ISD - Institut Superieur de Documentation linked to the university. The faculty runs an (archival training). The University of Manouba international theatre festival, a video festival is involved in a Design Festival (financed by (the biggest festival in the region), has its own the World Bank) – which appears to be an theatre and a community museum on campus interesting initiative, focusing on good design and is responsible for a cultural centre for the techniques, entrepreneurial culture and (mainly working class) community next to the personal development. This is the only (public) University campus. school in the Arab world that specialises in design, whose end-of- year- student-show MA in “cultural and artistic engineering” - attracts lots of international visitors especially the faculty has already established an MA in from the Gulf. Outside the Festival, Ingeniere culturelle et artistique in 2010, as a general Master’s in cultural management, current design teaching is very isolated covering a wide range of topics9. The 2-year- from the needs of the market, old fashioned master’s degree is accredited according to and not linked to the real practice (lack of Bologna standards. The students get involved workshops). in managing associated arts and cultural projects and use them as training to gain MOROCCO practical experience in cultural management. In addition, students have to do an internship In Morocco, a new post-graduate course in a cultural institution. The main aim of the exists at (II) L’Institut National Superieur program is to combine theory of arts and de l’audiovisuel (public institution), cultural sciences with students’ own artistic Rabat – “which should absolutely be taken of the accumulation of these experiences is into account”, although focusing on film to gives cultural management students the management (Mr Hassan El Nefali, A ability to “create” and be creative in curating Consultant of the Minister of Culture). and designing festivals, events and cultural projects. At the (III) Ibn Tofail University School for Humanities, Kenitra there are MA The master’s degree consists of the degrees in Sciences des territoires, Gestion following modules: “Connaissance des arts”, environmentale des territoires and also “Connaissance des domaines de la culture”,

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10 However, due to the “Methodology de projet”, “Techniques D were held to set up this MA programme. difficulty of launching ´expressions/communication et langues”, In 2015, the project was submitted to this MA at the Hassan II “Pratiques plastiques/expressions artistique”, Moroccan Ministry of Higher Education for University – the programme “Les institution politique et pratiques accreditation10. has not started yet in 2016 culturelles et l´economie de la culture”, - the organisers are looking “Techniques de gestione de la culture”, The proposed programme aims to develop for another university to “Techniques et outils d´analyse”, “Esthetique a new generation of researchers, cultural host it. et ses implications sociales”, “Analyse managers, culture policy makers and culture de la culture et enjeux de la mediation”, professionals who can contribute to cultural “Strategie du developppement culturel practices in their country and in the MENA et communication”, “Methodology”, Stage region, introducing a more strategic approach professionnel et projet professionnel”. in the public cultural sector, creative industries and the independent non-profit cultural sector. It is obvious that the course offers a wide The general goal of the programme is to build range of general knowledge on the cultural capacity within the cultural sector that would sector; it offers strategies and tools in cultural enable it to play an active part in promoting management, analyses of students’ own and supporting freedom of expression, practical work and projects, and some kind of wider access to culture, intraregional and a reflection on cultural policy. As the faculty international cultural collaboration, and has a big network of partner courses in professionalism. The programme falls within different countries, students can also study at the scope of two academic disciplines: cultural partner universities or do internships in other policy and cultural management. countries. This programme trains students who will be International MA in “Cultural Policy able to: and Management”. Following the • Design and implement cultural policies recommendations of the few research and cultural projects, projects investigating cultural policies in the • Create links across cultural components Arab region (see Bouquerel and El Husseiny*, nationally and internationally, 2009 and Al Mawrid, 2012*) and after having • Design and run cultural events such as organized a series of workshops to train young festivals, concerts, exhibitions etc., at the Arab cultural leaders in cultural management local, national, and international levels, and cultural policy since 2005, Al Mawrid • Master standards of cultural production Athaqafi decided in 2013 to conduct, with and activities and thus develop cultural the help of a number of UNESCO experts, policies, contributing to social and cultural a feasibility research on establishing an MA integration within their countries and programme in cultural policy and cultural societies, management in the Arab region. The findings • Raise the importance of intangible of this research confirmed that Hassan II heritage, University, Morocco, is more qualified to host • Market cultural events and thus contribute this postgraduate programme. In 2014, a to the growth of the country. number of meetings between representatives of Al Mawrid Athaqafi, Hassan II University The courses will be delivered by an and University of Heldesheim, Germany, the international teaching team consisting of European academic partner in the project, university professors and art and culture

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professionals from the Arab region and Management of Cultural Heritage, Cultural Europe. The project steering committee, industries, Cultural Trends in the Arab Region, including representatives of three partners, Financial Management and Budgeting and Culture Resource, Hassan II University and Audience Development. Hildesheim University, is assigned the task For more details, see Annex C. to select professional experts in the field to teach, lecture or advise on specific subjects, The private (V) University Cadi Ayyad of as needed. Each module has a Moroccan Marrakesh offers several relevant master’s coordinator who is responsible for the programs: “Specialised Master’s in the pedagogical follow-up (see section eight for Art Market and Heritage Highlighting”, more details). Video conferencing is also “Specialised Master’s in multi-media available for professors who cannot travel and project management, and the “Master’s in teach onsite. Management through Design”.

This MA programme prepares students to It would also be important to note that there become: are many relevant bachelor’s and master’s • Culture professionals (managers, programs at the (VI) Faculty of Social marketers, etc.) who can create wealth by sciences, Law and Economy, such as: running culture projects, Marketing; Gestion compatible; HR; Politique • Freelance agents who can operate locally, economiques et development: Project nationally, and internationally in culture Management. projects, • Decision makers who can contribute to ISRAEL refining and improving cultural policies, • People who are knowledgeable about the From 2011, (VII) Bezalel academy has an laws, copyright issues of their respective MA program in Arts theory and cultural countries, and who can advocate good policy, nevertheless, there are no subjects practices and professionalism in cultural discussing neither the topic of cultural policy matters, nor cultural management (available subjects • Managers or officials of non-profit are: art criticism, critical writing, museology, organisations whose major activity is to curation etc.). Each year, 25 BA students run and promote culture matters, graduate in architecture, arts, design, etc. • Consultants and professionals who are There is also a program in urban planning and able to investigate culture issues and design, which was launched in the same year provide research based recommendations. and includes subjects like cultural mapping and community work etc... In the future, This master’s degree includes the following programs could overlap to some extent – that modules: Cultural Management, Cultural would be a recommendation, since they see Policy, Cultural Development Planning & their students operating in government bodies Cultural Rights, Cultural Mediation and Cultural (municipality, local communities)... Bezalel also Diversity, Human Resources Management has an MA program in Arts and public space, in Culture and Cultural Entrepreneurship, but this program may be closed. Cultural Activism and Animation, Strategic Planning, Economy and Marketing of Culture (VIII) Tel-Aviv university used to have a (with Fundraising), Cultural Legislation, master’s program in cultural management, in

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11 M. Élie Yazbeck, Director Recanati business school, but the program They can also choose courses that are the of the Institut d’études was closed after its dean left at that time in most professionally relevant to them: Cultural scéniques, audiovisulles et 2008. Some former students of this program policy2; Cultural economy and fundraising; cinématographiques IESAV, organised similar courses independently in foreign language + obligatory workshops: and Ms Ghada Sayegh, their own cultural organizations. presentation skills, critical writing, project program coordinator methodology, work of art and its audience... (conversation) Furthermore, in Rothberg summer school, (IX) Hebrew university of Jerusalem, there The second semester is designed in the is an MA program ‘Management of NGOs’, same manner. At the University of St Joseph which is more focused on business studies students have very general subjects, such as: and students specialise in business. Within Sociology of cultural production; Semiology; this program, there is a course on cultural Art and aesthetics; Founding myths of theatre management and cultural policy led by Diti and film, etc., as for electives, they are usually Ronen. This course has 33 postgraduate taught at the department already such as: students enrolling each year, but “they also Drama theory; Methodology, Semiology 2... want to close it down now” (D. Ronen). In Marseille they have a more practical LEBANON course developed for the second semester (often under the same name as in the (X) Saint Joseph university USJ, Beirut11, 1st semester, which was the usual way Lebanon has several relevant master’s to teach for European universities during programs: “Bologna transition” which created “one- semester courses”: Cultural Policy 1 and 2, a. 2-year-MA program in Gestion et mediation or Aesthetics 1 and 2; the same course but culturelle in Partnership with University with the addition of the skills aspect, so for d’Aix Marseille. Students study one year in example there are Presentation skills 1 and 2. Beirut and the second in Marseille. Program is accredited in Lebanon, but still needs to The third semester is devoted to the be finally confirmed in France. At St Joseph, elaboration on the research project, with few students study general subjects in the 1st elective subjects. Again in Lebanon courses semester in art theory and criticism, such as: are mostly those which already exist for contemporary artistic practices, methodology, students of other domains – thus proposed philosophical approach to film and theatre, elective courses are: The Middle East from and they can also choose 15 elective courses 1970-the present; Wars in Lebanon from 1975- among which subjects are already taught in 1990; Art in Lebanon and the Middle East. the department such as: Theatre anthropology, Theatre and memory, Contemporary Lebanon The third semester in France is devoted to theatre; Film theory, Cinema Archives; transversal seminar and many methodological Aesthetics. courses: (How to make a survey), or global issues such as Arts, context and globalization. At the same time, the French students in This program is packaged from the already Marseille study the following in the 1st existing courses at the University, but do semester: Mediation aesthetics; Cultural not contribute to the development of the approaches to population (access to culture); profession of cultural mediators, more so , and Cultural practices. do not contribute to the development of the

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research and teaching in cultural management the region in order to be capable of working in the region, as, paradoxically, the “cultural“ on projects. This is an important statement and the professional part of the curriculum that shows awareness of the underdeveloped is left to Marseille University to decide on, institutional systems in the Arab countries although they do not have the expertise in and that more and more initiatives are created Middle East cultural specificities (cultural through projects within private and civil sector. policy, legislation, cultural practices, models of financing, marketing, communications etc.). This program is taught in three languages: French, English and Arabic, and is more linked b. “Evénmentiel et tourisme“– professional to cultural management than “mediation master: This master’s degree is done within culturelle“ as it has the following subjects: faculty of humanities and literature with the Approaches to contemporary art; Heritage, aim to educate future professionals for event Museology, History of exhibitions; History management (both in culture and tourism). of modern art; Art in the Arab World; Besides general art subjects and their history: Introduction to Contemporary Lebanon there are subjects in Street arts; Art of the Arts; Cultural Management; Cultural spectacle; Visual arts; Art history; Film history, Policy; Art market; Production of art Introduction to photography, Heritage, etc. projects; Audience and Mediation; PR and There are more subjects linked to practical institutional communications; Conception issues like Audiovisual of events, Cultural and production of events, communication, policy, Cultural mediation, Scenography ideology and ethics; Law and Arts; Seminar of cultural events, Communication skills, of Methodology; Internship, Training of Conception and production of events 1 & 2, Observation- a- hundred- hour- internship Art direction (mis-en-scene), Rights to culture in a cultural structure. It allows students to and the arts (in Arabic), Risks regarding become familiar with the issues related to the events, Cultural tourism and events. in existence and functioning of the Lebanese addition to a wide array of subjects that are cultural institutions, and implement the elective and can be useful for researching learning acquired during the different courses and preparing specific event concepts offered during the program. What is obvious in such as: Sociology of events, Urban socio- this program is that the less developed course anthropology, etc. Students can do internships is the one related to culture policy (7-hour- in different organizations, and choose lectures course of 1 credit) compared to 48-hour- from different departments including Italian contemporary-artistic-practices- course, to language 1 and 2, but also Audio-visual 28 hours of Arts Management (12 of which Communication in Arabic Language, which is are field work), to Events Conception and useful regarding the fact that the majority of Production (28 hours-4 credits and 12 field the students’ later work will be done in Arabic. work), and to Law of Culture and Arts course (21 hours-3 credits- 9 hours for case studies). c. MA in Curation and art criticism – professional master’s (Faculté des lettres et What is well noticed through in this program des sciences humaines- Université Saint- is the business approach of the arts, an Joseph) http://www.usj.edu.lb/admission/dipl. approach that is gradually growing in Lebanon, htm?cursus=838 regionally and internationally. The following description of the arts management course The aim of this program is to educate future (delivered in English in this francophone critics and specialists in the art and culture in university) is very relevant to this point.

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12 Liliana Swaydane, director of Master en Mediation MANAGEMENT DE L'ART (EN ANGLAIS) culturelle which has started FACULTÉ DES LETTRES ET DES SCIENCES HUMAINES last year and Jamil Basma, head of theatre and cinema department in the Faculty of This is the core-marketing management course for the USJ students in Arts. The aim of Fine Arts. the course is to provide a rigorous and comprehensive introduction to the business of arts providing the contemporary marketing practice and principles. Content: Lecture on the 13 For the proverb “Nobody definition of arts and entertainment. - A Brief historical overview of management and an arts is laughing to warm bread“... manager job. - Defining the marketing process for the Arts. - Understanding the marketplace few „expressions“ in and customer needs. - Designing a customer-driven marketing strategy. - Customer different media had been Relationship management. - What is a mission statement? - Planning a Business portfolio- developed. The BCG matrix. - Marketing Strategy and marketing Mix in the Arts. - Marketing Analysis, planning, implementation and Control Human Resources and the arts - Leadership and group dynamics. - Market Segmentation and Target Marketing. - Definition of competitive advantage. - Creating a financial business plan-feasibility study. - How to calculate Cash flows, EBIT (Earning before Interest and Taxes), benefits, etc. - Fundraising.

(XI) Lebanese University LU - Faculté des project (21 hours - 5 credits) appears. It Lettres et Sciences Humaines12 cultural includes courses of methodology of research, mediation and a Curatorial master’s. legal and ethical issues of information, digital environment, creating websites, layout, a. Master de mediation culturelle was design and Photoshop. Practice as well as created in 2012, as a degree with two acquiring concrete expertise are taken into “parcours“ (tracks) – one in mediation and consideration through workshops, seminars, the other in applied linguistics. The first case studies on the ground, or internships. semester comprises general subjects such The final cultural project is presented after an as Methodology of teaching, Research internship of 1 to 2 months (20 credits) in an methodology (with emphasis on needs educational, social, or media context. when researching and writing for the field of cultural mediation and linguistics). In Fourth semester is devoted to the internship the second semester besides the two and the creation of a final mediation project. subjects that are more linked to linguistics As an example of a final project: One proverb (Elaboration d’une séquence didactique for each day – done in different media13, was complète and Interlangue et analyse des very successful... In the first year (2012-13) erreurs), other subjects are connected to this program accepted 15, then (2013-14) mediation, but mostly around book and 13 students, and (2014-15) 11 students. The literature (Goncourt des étudiants etc.) school has very successfully developed a Optional subjects proposed are those linked network of cultural institutions, which are to Lebanese cultural environment (Heritage accepting students for their internships. and art and Literature...). It is only in the This program is focusing on “accessibility third semester that subjects such as the of the arts“, mostly literature and books Conception and management of a cultural within the community. It is done as a set

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of seminars for each module lasting no Fundraising; Cultural Policy, Graphic design more than three days... Students therefore (which could easily be developed) and have time to develop their projects and to Curation of cultural programs. do their research (observation placement). Still – more emphasis on management and b. Curatorial master’s. This department is marketing expertise is needed. Partnership aware of the need for special courses in is developed with Paris 3 – Censier, and Cultural management and cultural policies. with Grenoble 3 (Marie-Christine Bordeaux, It has connections with some French Nathalie Rannou, etc.), which brings universities. contextual (socio-economical) and cultural Opportunity: Dean of the faculty of Arts is policy expertise via the French professors, the current President of the Union of Arab Art but managerial expertise is still lacking. The Universities, and this school (Hadath) is now a program is supported by AUF (Association University focal point. of universities francophone), using video- conferencing. (XII) University of Balamand is the only university we visited which was situated This program has been developed in outside of Beirut, in the North of Lebanon, a French language and according to French few kilometres away from the city of Tripoli. standards. The public cultural system in It is a well-established university with a large France is extensively developed, and posts campus. Theoretical Education at BALAMAND of cultural mediators exist throughout the evolves around 4 axes: cultural and the educational system, while this is not the case in Lebanon, neither in • Axis of interrelated history and Religion any other Arab country. Training specificities • Axis of philosophy in the large sense: (entrepreneurship, leadership, PR, marketing, sociology - ethics – aesthetics – etc), which would be more important to science- philosophy tackle in the Lebanese context and expertise • Axis of social sciences (psychology, lack adequate staff in this department of the sociology) university. Common core in the first semester • Axis of the Arab World: sciences, can be seen only as a guarantee of high level literature, philosophy, music, of education – but does not contribute to architecture…etc. the professional profile of cultural mediators (i.e. Linguistics and education; Teaching The applied sciences are learned through methodology, etc). Even “teaching“ as part of group research in “Laboratories” and they are: cultural mediation in museums for example, Lab of Epidemiology, Lab of applied education, is completely different from “teaching Lab of scholar psychology, Lab of physical methodology in schools“ – as much as there education, Lab of environment. At Faculté des are crucial differences in formal and non- lettres research is done individually. The efforts formal education. that are deployed to develop course Techniques However, this program is developed and of research in fine arts, face some resistance headed by someone who has passion and and opposition from the artists’ side. commitment, and readiness for further development and improvement. Liliana Balamand University programs do not Swaydane identified some of their weak include any culture management or culture points: Lack of courses in Law (culturally policy program, and do not deliver elective relevant legislation), Project management & courses dealing directly with those issues.

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In fact a program on public governance is EGYPT being discussed since few months to be (XIII) University of Cairo, (Faculté des implemented at Balamand University and some Lettres, Department for the French Literature) programs related to cultural management field has launched a professional diploma, two- are given or are close to be introduced. year-program in Cultural Development – Cultural management and cultural policies. The Balamand University is strongly Major subjects are: Cultural management, oriented toward the interactive communicative Cultural economy, Cultural legislation, Cultural learning: the Library Learning Centre is very policies, Cultural Animation, International representative of what it is called DIGITAL cultural relation, Museum management, HUMANITIES, a term that reflects the highly Library management, Theatre management, digitised character of all learning in social Data-base management, Cultural project sciences and humanities. The online diplomas management. The program started in 2014 and (unrecognised by the Lebanese government) it had two cycles. They had 11 students in the provided at Balamand University prove this first year and the second year, they had 23. tendency. The new technology is considered as an essential tool of communication: tools such (XIV) French University Cairo has developed as videoconference and Moodle are regularly a master’s program that is only partially related used to ensure constant communication. to cultural management. There is a Heritage management program developed in 2012, but offers only a French diploma from University Paris Sorbonne, as the program does not meet the requirements of the Supreme Egyptian council of universities (two-year- program for master’s diploma is obligatory).

CONCLUSIONS – STATE OF THE ARTS IN HIGHER EDUCATION

SOCIAL RELEVANCE OF PROGRAMS culturelle in the Lebanese University has many subjects linked to linguistics and to Lebanese It is important to understand why scarce art and literature (as it is developed within courses that exist in this field do not attract this department), while topics such as project a large number of students. It seems that management appear at the very end of the there are several reasons for that: cultural program schedule, and some more specific professions as such have lost their prestige, subjects such as financial management, thus they are not much respected among contracting, or marketing – are not included potential students and their parents. On at all. The third reason might also be the fact the other hand, curricula of the programs that- concluded clearly from the survey- in and contents and methods of courses are many ways and sometimes higher education dependent on the general department (faculty) programs are not offered through a university policy where programs are situated (Law body such as ISADAC (Institue Supérieur school, Linguistics and Literature school, d’art dramatique) and is not recognised as a Economy, Arts, Sociology etc.) which is not university or a part of it, but mostly viewed necessarily linked to the best interest of as a vocational centre, and this may be the students, the profession or for the cultural reason why potential students don’t appreciate field itself. For example, Master de mediation master’s courses offered by those institutions.

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14 The Akademia review These modules that need “training” (skill with universities from Europe and USA, there (n. 24, Dec. 2013) notes learning), such as leadership, entrepreneurship, are no mutual regional university programs, collaboration between PR and marketing are also lacking, as partner projects etc. to connect universities three film schools (Tunis, universities as such do not have adequate from North Africa and the Middle East. Marrakech and Beirut), teaching staff. Regional collaboration, if exists at all, is mostly University of Manouba and linked to festivals (i.e. university of Manouba University of Gafsa. For example, St Joseph University of Beirut links with three film schools from Tunis, Beirut master’s program is linked to film and and Marrakesh as well as with the university of theatre studies, so during the 1st year they Gafsa to collaborate in a student film festival). learn more about philosophical approaches, Also, in our research we have not identified contemporary artistic practices, aesthetics, important contracts of relevant university theatre anthropology, etc. Thus, students are departments with the public, private and civil only receiving practical training in Marseille cultural institutions except small, nearly private during the 2nd year, which is pedagogically initiatives, not recognised by the university wrong from several angles. First they would administration, to create an informal network have to learn the economic, legal and other of cultural organisations which would welcome important socio-cultural conditions of their own interns. country, and that can only be learned locally, while aesthetics, anthropology, semiotics etc. The Problem of the current curricula offerings could be learned in France in the second year, is that they are mostly linked to departments to prepare them for research methodology and of arts and humanities lacking the possibility master’s thesis work. to involve professors of economy, marketing, law etc. On the other hand, foreign universities Academics at all institutions have collaborative that depend on the market demands are relationships with foreign colleagues in opening elitist programs like MA in curation their fields and in some cases, institutional and art criticism (ST Joseph, Lebanon) or linked collaborations, ex. ISAJ and universities of to cultural tourism and event management. Lyon II and Creteil, but this seems limited and Ibrahim Awad from the American university in was not really in the field of cultural policy Cairo said: “Cultural management MA degree or management (more in cultural mediation would be possible if a feasibility study would and arts)14. All the academics we interviewed prove that there would be students capable to felt there was a clear need for a network of pay 12000 dollars and study only in English.” researchers in the area – to build capacity in That clearly shows why private universities will cultural diplomacy as well as cultural policy and not start such a program with its curriculum management. In some countries (Tunisia) there linked to cultural management, and why it was a concern that universities were rather was necessary for Al Mawred to fundraise for ‘closed’ to the outside world, both toward the the students’ grants and to negotiate with a region and elsewhere (international research public university to launch an MA in cultural project was mentioned only once). Another management. Additionally, state universities concern relates to the lack of autonomy of lack “initiators”, competent faculty members both universities and departments specifically, (Ph.D. holders) that could lead the process. therefore most of the international connections Even professors specialising in other fields but are individual and linked to attendance of willing to fight for a new cultural policy and conferences. management program, they would not have the freedom to add new programs without Although there are collaborative programs undergoing huge administrative processes and

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internal battles. management.

PROFESSORS’ COMPETENCES LINKAGE WITH PRACTICE

Professors who are teaching disciplinary Everywhere where MA programs are subjects related to the cultural domain, might organised, students have internships, usually be linked to international research community in local cultural institutions. Moroccan (historians of arts, theatre studies etc). These universities are creating their own cultural connections depend on the professors’ and artistic programs and events that are academic background. None of them is engaging students; in Tunisia, interns mostly attending cultural management, cultural policy work in public cultural organizations, while or other related conferences (cultural economy in other countries, students are obliged to etc.) and none is publishing relevant academic find internships by themselves. In Lebanon, journals. project-making is part of the curricula, not only conceptualization but also realization.“One It is clear that academically, cultural proverb per day” was a successful example management discipline is practically non- of multimedia students’ project, involving existent in the MENA region, although art students of different departments to numerous university professors try to choose one proverb and create artwork (The introduce some aspects of it in their study Lebanese University, Mediation culturelle). programs, or to launch specific courses. In the This MA program has succeeded to establish Academic world, there is a hierarchical system a network of cultural institutions in Beirut, of professor ranking – in Tunisia it concerns: which welcome interns. In this respect, it Professors A, B and C. Only ‘A’ professors are has to be emphasised that the new program allowed to make decisions about hiring staff, activity of Al Mawred, whose experiences technical assistance, research links, pedagogy with capacity building programs (especially etc. In cultural study or arts departments, there long term ones as Abarra) and with “national may only be a few ‘A’ professors, which are cultural policy” groups in Morocco, Tunisia, not necessarily specialised in the main area of Egypt, Jordan, Palestine, Lebanon, Algeria, studies, which means that decision-making is brought them to the clear decision that a very slow, non-competent and cumbersome. long-term comprehensive cultural policy and management education is needed, to be LACK OF RESEARCH conceptualised and designed for the whole In most of the countries where they’re MENA region. In many countries, especially being taught, master’s studies in cultural Algerian and Moroccan university professors management and mediation are organised are part of those national cultural policy as professional (vocational) master courses, groups, participating in research and in raising and there are no possibilities for research the level of knowledge necessary for further master’s programs and PhD courses (as academic development. So, the group of neither cultural policy nor cultural management cultural policy and management experts in the are recognised as academic disciplines). That region has grown, but their mutual links are on the long run prevents development of new sporadically endorsed, depending mostly on academics, a new competent generation some financial possibility of Al Mawred to organise of who might enter academia as professors meetings and to bring them all together. of different subjects related to cultural

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15 ALESCO - The Arab The great lacking in the university system in degree (academic) program and felt that the League Educational, the MENA region is the absence of centres greatest need was for Continuing Professional Cultural and Scientific for continuous professional development Development short courses. This view was Organization (ALECSO) is within universities. We have not identified echoed by other interviewees- including late a Tunis- based institution any of such centres which could be devoted Mr Gannoun director of the el Hamra theatre of the Arab League, to the cultural sector, nor specific programs and Youssef Ben Brahim, the Ministry of established in accordance for different professionals in culture, Culture’s legal advisor. with article 3 of the Arab among them cultural managers, marketing Cultural Unity Charter by experts, curators, public administrators, This approach is the same in Lebanon, an announcement made etc.). Only in Tunisia, one Institute, ISAJ, is where even academic staff at the Lebanese in Cairo, Egypt, on 25 July intending to develop an incubator: a Centre American University LAU suggested that Art 1970. It works in the domain of Entrepreneurship (trying to develop management education should be developed of coordination of cultural, cultural industries entrepreneurship with more as a BA diploma or within Continuous educational and scientific cross disciplinary teaching). It will not grant Professional Development department as activities. www.alesco.org, diplomas. This is now a project in the first “First of all, even the vocabulary should be accessed 10 December phase of a 3- year-pilot, with some funding developed...” 2015. from the Tunisian/American Development Fund. ISAJ is trying to run it as an independent Thus, continuous professional education 16 ISESCO – Islamic organisation (outside of the School), but to appears in the region only by independent Educational, Scientific do so, they need to create an association of actors, such as Al Mawred, but also through and Cultural Organization, citizens to keep the money from going back foreign cultural centres, and since 2000 http://www.isesco.org.ma/, to the state (but then it would not be part through efforts of the EU, ECF, UN and accessed 1.12.2015. of the school). Thus, the “entrepreneurial UNESCO (the contribution of ALESCO15 and university unit” and this association, will both ISESCO16 is nearly non-existent. sign a convention; an agreement on how to operate together. Basically, they were proud Most of the cultural professionals that we to say that each of the professors has different have interviewed had attended different engagements in the practical world, and that types of continuous professional education this experience, through different formats, is on national, regional and international levels. used in their teaching. In their responses they have underlined both positive and negative aspects of these In Morocco, Ibn Tofail University has a kind sporadic programs, focusing more on of a Continuous professional development positive aspects of regional capacity building department, which has programs mostly programs, which offer more than training in accounting, management and auditing experiences. On the other hand, the majority and marketing. In the field of research they of the training programs offered by foreign cover economics, organisational studies, actors are considered by these interviewees Management, Gender, Sociology, Literature relevant and needed in bringing new and languages. theoretical knowledge and insights (cultural policy, cultural development issues etc), but Otherwise, a need was accentuated evaluating them as irrelevant in their practical everywhere, even when exploring possibilities part - related to financial management, for the development of a regional MA. legislation, risk management and HR… In Tunisia, Sana Tamzini (Design) was unconvinced of the need for a full master’s

Higher Education and Training in Cultural management Page 21/70 and Cultural Policies in Southern Mediterranean countries 17 It is important to 3.1 EUROPEAN POLICIES AND TRAININGS 3.1.1 European Cultural Foundation from underline that these REGARDING CAPACITY BUILDING IN THE Amsterdam programs have succeded in ARAB REGION raising awareness among As an independent organisation, was the first cultural professionals in the Diversified sporadic programs devoted to to enter the region in the domain of capacity region about the necessity cultural project management and fundraising building for the arts and culture, developing to create their own exist in the region targeting two clearly a contract with a pan Arab organisation Al organisation – Al Mawred distinct groups: cultural professionals and Mawred Al Thaqafy (based at that time in with representatives in the youth interested to develop cultural projects Cairo) since 2004. It’s important to say that Advisory board from all Arab within civil society activism. (Cultural training Al Mawred was registered in Brussels as an countries (from Morocco to after the Arab spring is often part of programs NGO, but as a limited company in Cairo (as it Emirates) for civil society development and the fight for was the only local possibility), fulfilling its local democracy). role by organising festivals and cultural events and promoting cultural collaboration among Both the EU and European Cultural Arab cultural operators. The contract between Foundation have been developing numerous Al Mawred and ECF was an exemplary programs regarding cultural cooperation in contract, very different from all previous the Mediterranean region. To enable those training experiences that happened in the programs to be effective, it was necessary region supported by foreign cultural centres to define the state of the arts regarding and American foundations (that included independent cultural sector in the MENA only one-way knowledge transfer North- region and to formulate adequate training South)17. These were mostly traditional cultural programs to strengthen capacities of arts management training programs (project, and cultural organisations. The results of financial and HR management, marketing, preliminary research which started to be fundraising etc.), that are “still an important developed in the beginning of 2000 have dimension of cultural professionalisation as it shown weaknesses of independent cultural provides the basis for cultural professionals sector due mostly to political factors that to lead or operate effectively within their prevented the creation of real independent organisations” (I. Schwarz). organisations (specifically in Egypt, Algeria, But ECF partnered with Al Mawred launching Syria etc.), but also numerous weaknesses the first Training of trainers (ToT) program of public cultural systems (rigidity, lack of in the Arab region, regrouping twenty autonomy, lack of interest for audience experienced cultural professionals who have development etc.). shown a desire to further develop themselves as trainers. The purpose of the program The interest of the private cultural sector was to enable people with local knowledge in education for creative industries started and practice to become the first generation to be developed in the region only since of trainers who would be able to conduct 2010, partially due to the efforts for the trainings in Arabic, to codify practice-based implementation of the UNESCO Convention knowledge appropriating (adapting) from 2005, but also due to the recommendation of the western know-how that could be useful, different agents that saw film, and specifically and further transfer this “new” cultural documentary film as an excellent tool in management knowledge to cultural operators promoting human rights and democracy. in the Arab region.

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18 See annex. Seminar The program was developed in a comprehensive the region (task force) to continue research program manner realised in a series of three seminars but also to enhance the capacities of cultural with specific tasks for each participant in professionals in the region to discuss 19 ECF developed close links between. The final result was a strategic priorities, instruments and the results of with program designers plan that they had to develop for their own cultural policies. and trainers before and organisations thus not only learning how during the program delivery, to make it, but how to train other people The Arab spring that started in 2011 in Tunisia being involved in various in their organisations to do it as well, as gave an enormous push to those processes ways: “facilitator, listener, strategic planning should always be based on throughout the region as for the first time it trainer, evaluator, etc” (I. teamwork. Accordingly, they learned together became possible to involve a large number of Schwartz). 20Published in with their organisations how to use local stakeholders in public debates. That was also a book: Cultural Policies resources and knowledge in developing their the moment when the EU, specifically through in Algeria, Egypt, Jordan, own strategic approach. This capacity building EUNIC, wanted to engage more deeply in Lebanon, Morocco program incorporated training for raising capacity building processes of the civil society .(Palestine, Syria and Tunisia”, awareness and for skill development on how culture in the region. published by Al Mawred to research cultural policies of their own Al Thaqafy / European countries, how to engage with communities ECF continued its presence and continuous Cultural Foundation and stakeholders, including all other necessary support to Al Mawred Al Thaqafy; supporting / Boekmanstudies, skills for strategic management, from a very complex capacity building scheme: Amsterdam 2010 planning to fundraising, evaluation, audience Abarra, unfortunately only for countries that development and PR, etc.18 experienced the Arab spring revolutions21 20 Published in a book: (Tunisia, Syria, Libya, Yemen, Egypt and Cultural Policies in Algeria, The program was very successful and today Sudan). The scheme “offered a rare possibility Egypt, Jordan, Lebanon, numerous former participants are active to apply as non-registered groups (this was Morocco .(Palestine, trainers in the region.19 In spite of the fact that the only program giving institutional funding Syria and Tunisia”, at the beginning, trainees heavily objected to without asking organisations to be officially published by Al Mawred the trainings and demands linked to the notion registered). Another important aspect of Al Thaqafy / European of cultural policy (because they didn’t think the program was to help in constructing the Cultural Foundation cultural policy existed in their countries). It new body of knowledge, not linked only to / Boekmanstudies, was only at the end of the program that they strategic planning but also to governance, Amsterdam 2010 got the knowledge and awareness about its administration, financing, contracting, etc. importance in the region, and the desire to be ”The program consisted of training sessions 21 Milena Dragicevic involved personally in cultural policy research. realised always in different countries where Šeši> The Abarra program That is why a new program was created, at least two members of each organization evaluation, Executive again in partnership with ECF and Al Mawred: participated thus enabling the development summary, September, 2015. Training for the cultural policy researchers of the skills of most of the participants to Unpublished text for Al based on public call. Twenty researchers from produce strategic development plans for their Mawred. eight countries have been selected for the organisations until the end of the grant/training training and fifteen successfully finished the period (one year). In four rounds, within program producing cultural policy national a total of forty-one organisations that got profiles of Algeria, Egypt, Jordan, Lebanon, complete support and ten more participated Morocco, Palestine, Syria and Tunisia. After in preparatory trainings, but have not been a presentation of those profiles in 2010 in selected for a grant. According to Ammar Beirut conference20, it was decided to create Kessab, this program plays an especially a cultural policy group in every country of important role in the region (Tunisia).

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22 Tandem – Cultural During this process a necessity for another public space, sociology, ecology (14), music Managers Exchange, in: type of capacity building became evident: (5), theatre (7), visual/digital arts (5), writing/ Another Europe, Capacity/ linked to international networking and literature/language/calligraphy (5). The program building Programs with EU collaborative project making. As there are no is raising the capacities of cultural sector by neighborhood, 1999-2014, mobility schemes for cultural operators ECF informing them and asking for high standards ECF, Amsterdam, 2015., pp. launched in 2012 a Tandem Shaml (a cultural in cultural project management, reporting and 162-173 management exchange program between evaluation (hands on cultural management the EU and the MENA region countries). training) This program enabled 200 organisations from 28 countries22 out of which 14 from the 3.1.3 European programmes MENA region to be trained to cooperate with organisations from the EU and other European 3.1.3.1 Anna Lindh foundation – Dawrak countries including Turkey and Serbia. Program

In conclusion we can quote Isabell Schwarz It brings people together from across the words that “ECF capacity building expertise Mediterranean to improve mutual respect is an innovative mix of training contents, between cultures and to support civil society. approaches and methodologies. It combines The Anna Lindh Foundation runs the largest hands-on arts and cultural management Network of civil society organisations involved subjects, reflections on cultural policy issues, in the promotion of intercultural dialogue and local cultural development strategies. across Europe and the Mediterranean. See more at: http://www.annalindhfoundation. 3.1.2 A similar program to enhance cultural org/about#sthash.0YPifslA.dpuf http://www. collaboration was developed by Roberto annalindhfoundation.org/news/announcing- CImetta Fund (www.cimettafund.org) call-anna-lindh-foundation- intercultural-actions

It organises a call for applications for the Regarding cultural management, one of the Upline. This funding line aims to promote most important project is “CIN - Cultural cultural and artistic initiatives lead by Arab Innovators Network” (see: 3.3.7.) artists and cultural operators developing local projects (venues, networks, platforms). In 3.1.3.2. EUNIC 2015, applications for this fund were sent from 14 countries (Algeria, Egypt, Iraq, Israel, It organised the Euro-Mediterranean Forum Jordan, Lebanon, Morocco, Palestine, Saudi on Creative Industries and Society, at the Arabia, Somalia, Syria, Tunisia, Turkey, Yemen). Dead Sea, in Jordan in May 2012 within the The countries where the actions of the 50 framework of a long-term EUNIC Middle eligible projects are taking place: Algeria (2), East and North Africa (MENA) Project, which Egypt (14), Iraq (2), Jordan (1), Lebanon (6), addresses Democratic Empowerment, Morocco (8), Palestine (5), Syria (2), Tunisia Cultural Policy and Creative Economy. The (9), Turkey (1). 6 projects are from rural areas aim is to support the creative sector in the only, 27 in urban areas, 7 in suburbs, 3 in MENA region to redefine cultural policies refugee camps and 7 in a mix of rural and that respond to the changing socio-political urban areas. The artistic disciplines involved context in the region, to demonstrate the are: architecture (1), dance (7), film (6), potential of the creative industries, to increase multidisciplinary work involving also art in the and reshape the scope of cultural exchanges

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23 On their 25- year and to strengthen the competitiveness of to-peer exchange, interactive workshops; old program European the sector. One of the main objectives of the gaining new skills, information and Diploma in Cultural Forum offered actors of the cultural and civil knowledge in: planning cultural activities project management, societies in the region a possibility to meet in (input on strategies), cultural policies and several participants have order to create a cross-border network. The the cultural scene in the MENA countries participated from Morocco Forum aimed at gathering the expectations (inputs from MENA actors); networking and till 2013, since 4 places of cultural and civil society partners in order forming partnerships. The main critical points are reserved for cultural to conceptualise the structure of the long- concerned the Europe-MENA balance: too professionals from Magreb term EUNIC MENA Project. The Forum is much accent on the European perspective, and Lebanon. This is organised in collaboration with Al-Rai Centre too much accent on theory, and lack of follow financed by Ministaire de la for Studies. The EU Delegation to Jordan is up after the second training session in Beirut. culture Valonie. Few of them financially supporting the project while the EU It is important to underline that the visibility of such as Dounia Benslimane Delegation to Lebanon supports some of the EUNIC was questioned, as little presence of (Morocco), Shanez Kechroud representatives of the Lebanese NGOs. The EUNIC representatives at both trainings was (Algeria) and Sana Tamzini Forum hosted 160 participants from 7 Arab noted. It was probably because “the action, (Tunisia) are not only countries - Algeria, Egypt, Jordan, Lebanon, as a one-time only measure without follow recognised as cultural Morocco, Palestine and Tunisia and 6 EU up planning, can probably have no broad and operators, but as training countries and proposed actions (exchange long-term impact beyond individual small-scale organisers and trainers. and networking, advocating national cultural activities by the participants.”24 policies and develop new cultural spaces, 24 A. K. Ibid capacity building) at regional and national These two examples (the Dead Sea Forum levels – to be managed by EUNIC and and the EUNIC Pilot project) show a major supported by the European Commission in difference between the EU and EUNIC Brussels and EUNIC members. approach from long-term processes, which are ad-hoc and sporadic, to the ECF approach, 3.1.3.3 The EUNIC Pilot 1 which always builds their programs on previous results and with local/regional 2014/2015 was developed according the managers and know-how, being however all previous mentioned objectives of the Dead the time present during implementation. One Sea Forum. It consisted of two training of those new ECF programs is now open sessions implemented by the training team for participants from the MENA region: Idea of Marcel Hicter Association from Brussels Camp, 3-day collaborative working platform (with long expertise in cultural project for `cross-pollination of ideas allowing projects management and development trainings23). and partnerships to emerge` (Ina Studeroth). The 16 participants coming from the seven MENA countries were selected for the 3.1.3.4. The regional EU-funded program program, which consisted of two sessions “Med Culture” - 2014-2018 is targeting cultural held in Casablanca and Beirut. For the period activities and organisations in the MENA in-between, they were supposed to develop region. their projects with the help of Marcel Hicter Med Culture is part of the regional program trainers. “Media and culture for development in the Southern Mediterranean” which has been In the evaluation of Antje Klesse, for the allocated a total budget of €17 million over a positive side of the training, the participants four- year period, of which €9 millions is for mentioned: various methods such as peer- the award of grants on a co-financing basis,

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25 Dr. Antje Klesse, and €8 millions for one capacity-development areas of common interest and participating Evaluation Report, THE mechanism on media (Med Media) and one in training sessions tailored to their needs in MENA / EUROPEAN capacity development mechanism on culture the view of contributing to the development TRAINING IN CULTURE (Med Culture). (EU Neighbourhood Info). of their initiatives. Program activities planned AND CREATIVE SECTOR for 2015-2017 include a regional conference MANAGEMENT 2014 / 2015, Med Culture is a EU-funded regional program on creativity and culture for development, July 2015 that kicked off in February 2014 with the aim national focus group meetings in respective of sustaining the creation of institutional and countries, and capacity development activities social environments propitious to culture on cultural management and policy issues. as a vector for freedom of expression and sustainable development. This should be 3.2 UN AND UNESCO accomplished by reinforcing the capacities of the public and private cultural sectors as 3.2.1 MedLiHer – “Mediterranean Living vectors for democratization, and economic Heritage” project, co-funded by the European and social development for societies in the Union (EU) and UNESCO, was launched in Southern Mediterranean. 2009, aiming to facilitate the safeguarding of intangible cultural heritage in Egypt, Jordan, “The role of the Med Culture program is to Lebanon and the Syrian Arab Republic accompany partner countries in the south of according to the UNESCO Convention the Mediterranean in the development and for Safeguarding Intangible Cultural improvement of cultural policies and practices Heritage. It comprised of workshops on the related to the culture sector. Its objective is methodology and procedures of nominating to “pave the way towards the development intangible cultural heritage elements to the of institutional and social environments that Representative and Urgent Safeguarding will confirm culture as a vector for freedom Lists, creation of a network and preparation of expression and sustainable development.” of projects (2010-2011). Those international More specifically, Med Culture aims to and national safeguarding projects have improve governance in the cultural sector, been prepared on the basis of strategies and to strengthen mutual capacity development priorities that have been identified in each among peers of civil society organisations, inventory. The last phase of MedLiHer (2011- to broaden the base by involving the young 2012) was devoted to the implementation generation, and to promote sharing of and of national projects and, where appropriate, access to information. With that in view: to international projects. outline a set of cultural priorities responding to the region’s common patterns which are to be 3.2.2 Renc Euromed 2013 organised in implemented in accordance with the ongoing Tunisia is an occasional UNESCO capacity democratic process and specificities of each building program of which the main goal is to country.”25 encourage cooperation among EUROMED cultural professionals. Since 2011 Euromed Houna aShabab program - Med Culture group seminar youth development program was of young cultural practitioners targeted young implemented in Israel. people (18 cultural practitioners, 2 researchers on cultural issues and 2 cultural bloggers) 3.3 CAPACITY BUILDING PROGRAMS OF from Southern Mediterranean countries EUROPEAN FOREIGN INSTITUTES interested in meeting and interacting on

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26 http://www.goethe.de/ 3.3.1 The “Kulturmanagement” program 3.3.5 Friedrich Ebert Foundation “The ges/prj/ken/qua/kum/sas/ of the Goethe-Institut was launched in 2011 FES has eleven offices in the Middle East enindex.htm; http://www. (www.goethe.de/ges/prj/ken/qua kum/nan/ and North Africa region. “We believe in the goethe.de/ins/za/en/joh/kul/ de14179766.htm). Similar to other capacity importance of international dialogue as a sup/kue/kue2/8744480.html building programs that are offered by Goethe way to avoid conflicts among countries.” institute throughout the world (Arthink South Thus, establishing a common ground for 27 http://www.fes-egypt.org/ Asia26, etc.), it offers further professionalisation regional and international dialogue through the pages/english/fes-in-egypt/ to MENA cultural operators through six-week- exchange of delegations and the participation about-fes-in-egypt.php training- program in Germany (cultural policy, of experts in conferences strengthens project management, team management, international understanding. In 2003, a finances and budgeting, fundraising, cooperation agreement was signed between marketing and communications) with visits of the foundation and the League of Arab German cultural organisations and initiatives. States”27. The foundation mostly supports capacities of civil society and gender equality. 3.3.2 La KULTURAKADEMIE specific program of Goethe institute for Tunisia 3.3.6 The German Commission for UNESCO offers to Tunisian (but also Algerian and launched the Program CONNEXIONS in Moroccan) experienced cultural professional 2011, thus intensifying its activities in the trainings in project management, marketing, Arab region, especially in Tunisia and Egypt. fundraising and legislation. After attending the In the framework of the capacity building program, participants could do an internship program CONNEXXIONS, knowledge transfer, in Germany or to ask for grants to realise a networking as well as training activities for project developed during the program. The young experts (cultural managers, artists, program didn’t fit the needs of all participants, curators, producers, cultural activists, for the more experienced professionals; it researchers and consultants) have been only gave the most basic knowledge. The developed. Measures and actions initiated in program was realised by German and Tunisian 2012 were deepened in 2013 and are being trainers lacking both regional and European continued in 2014. perspectives. For example, in 2012, the main activities of the CONNEXXIONS program were a forum and 3.3.3 Goethe Institute in Tunisia together a conference entitled ‘Cultural life, diversity with German UNESCO Commission has of cultural expressions, human development- developed “Training for cultural managers perspectives and actions’ and ‘Culture, human in the Arab world” and “Basic course in development, dialogue: resources, actions, cultural management” and presently, they are networks’. Other activities included: Tunisian developing it as a systematic MENA countries cultural associations Forum; “Creative work in action. Those trainings are held in French populated districts” training lab; ‘Promotion language and are engaging trainers from of cultural diversity – creation of academic various European countries. department in cultural policy and cultural management in Tunisia’ international Worksop; 3.3.4 Regarding Goethe Institute activities, Pilot collaboration and Cultural Resources there are also ad hoc specific programs of Online Coaching ‘Identify and mobilise Goethe institute in the region such as Goethe (endogenous) cultural resources’ institute in Alexandria that involves local trainers (e.g. Fayrouz Karawya)

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28 https://www.unesco.de/ Basic aims of CONNEXXIONS28 were learning, program; the focus was on capacity building en/kultur/kulturelle-vielfalt/ sharing expertise, networking, capacity for civil society actors]. Why: empowering connexxions.html accessed building for managing cultural activities, methodology, to produce a toolkit to be 23 January 2016. learning more about the 2005 UNESCO re-used with colleagues, regional exchange convention and establishing new partnerships. of experiences, including experiences from 29 In Beirut in December The program was expected to increase around the globe [UNESCO framework]”. 2015 two members of the empowerment in the cultural field, strengthen CIN network have been relationships in the local cultural sector, in the 3.3.7 The “CIN - Cultural Innovators interviewed: Geoliane Arab international cultural sector, increase interest Network”29 is operating under the auspices from Lebanon and Sabrin in cultural opportunities, develop new creative of the Anna Lindh foundation and the Abdul Rahman Palestine life and social skills and to foster better Goethe-Institute30, supports individual www.culturalinnovators. understanding of the UNESCO Convention cultural operators from the MENA region by org/innovators/sabreen_ & its implications to cultural professionals’ establishing their network as a platform for abdulrahman work, strengthen the self- organisation of civil their further activities. The main idea was society in the cultural sector, expansion of to build “a cross-sectoral network of young 30 http://www. cultural participation, democratisation of the activists from countries north and south of the annalindhfoundation. culture, knowledge transfer by networking Mediterranean which promotes mechanisms org/members/cultural- between national, regional, trans-regional and of a democratic and inclusive discourse, innovators-network, international stakeholders and cultural experts, exchange of working experiences, acceptance accessed 5. January development of a deeper understanding of of innovative approaches, and mutual 2016. a cooperative and sustainable cultural policy. consultation and cooperation.”31 The CIN According to Christine Merkel “85% of the members organise a day annually dedicated to 31 www.culturalinnovators. participants of CONNEXXIONS workshops public presentation of their projects and ideas org/innovators 2012-2014 rated the learning experience as through round tables, events in public spaces, positive [however, these workshops do not community art workshops etc. pretend to be a cultural management training

FIGURE 1 CULTURE INNOVATORS DAY, ALGERIA 2015

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3.3.8 The British Council has been active in British council organised also other sporadic running internationally oriented development initiatives in the field of training of cultural programs: Cultural Leadership (http:// management in the MENA region. gulfartguide.com/british- council-mena-cultural- leadership-innovation-program-for-20122013/) Cultural skills program in entrepreneurship and a program for Young Leaders (The Future and innovation in the arts this program leaders scheme). It currently offers positions was developed by the British Council Israel for Future Leaders in the sector of cultural together with the Negev Development management under the framework of the Authority, The Arab Culture Association and Future Leaders Scheme 2015 (https://jobs. NESTA. Its main focus is to nurture skills britishcouncil.org/Vacancies. The 2015 scheme through supporting projects in innovation aims to help “develop and grow our cultural and entrepreneurship in the arts designed relations leaders of tomorrow.” The three-year to support communities in the periphery of development program offers the opportunity Israel. The project is designed to provide tools for international work experience through a in entrepreneurship, early career development series of rotational placements. opportunities, mentorship and seed This program was initiated through the pilot investment for select projects that connect CLI project, which focused on three regions between the arts/creativity and society of the BC geography: Western Europe and benefiting their local communities. North America, the Middle East, the Near East The program was launched in July 2015, and and North Africa. In total, 45 countries were successful projects will be announced in involved in the pilot phase, which contributed March 2016., https://www.britishcouncil.org. to the formation of strong partnerships. Their il/en/cultural-skills-program-enterpreneurship- main partner was the Cultural Leadership and-innovation (accessed 2 February 2016). Program, which is part of the British Arts Council and is funded by the UK government. 3.3.9 The Creative Force program is The underlying idea of that program was to managed by SIDA, the Swedish International improve the quality of cultural leadership in Development Agency in the framework the UK, and they used their experience, know- of the Swedish Results Strategy for how and connections in the UK for developing special initiatives for human rights and the CLI pilot. democratisation 2014-2017. The Creative Force supports collaborative initiatives that To start with, in each of the three regions they contribute to strengthen democratisation identified 2 future cultural leaders between and freedom of expression through capacity- the ages of 25 and 35, and they organised a building activities, such as seminars, meeting for learning and mapping purposes in workshops, training courses and exchange order to find out what their needs were and visits, and through awareness raising and how they could be fostered. The program aim communication activities to influence public is to steer participants toward thinking about opinion. Priority will be given to projects culture in a social, political and civic context, targeting women, youth, children and minority and find ways in which they could engage with or vulnerable groups. and address relevant issues in these domains – something that matches our interest. 3.3.10 French institute also organised sporadic training programs in cultural management relevant locally. (Amongst survey

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participants, only one person identified French was realised in 2013. Tamasi is a collective of institute as an actor in the field of cultural 11 independent performing arts organisations management education) with members based in Jordan, Egypt, Palestine (West Bank and Gaza) and Lebanon. 3.3.11 Flemish institute also organised Tamasi works across the MENA region and sporadic training programs in cultural has extensive regional and international management. (Amongst survey participants, collaborations. Tamasi works towards the only one person could identify Flemish flourishing of free and equitable societies in institute as an actor in the field of cultural the MENA region. Members believe that the management education) arts and culture are both the main vehicle and pillar for freedom of expression in the region. 3.3.12 Cervantes institute (Morocco) also Output includes: Performances, productions, organised sporadic training programs in capacity building, training and mentoring cultural management. (Amongst survey programs and opportunities for burgeoning participants, only one person could identify and independent artists, sub granting and Cervantes institute as an actor in the field of technical support, research and advocacy as cultural management education) well as venue development and rehabilitation.

3.4 EUROPEAN CIVIL SOCIETY AND ITS As part of its effort to strengthen and ROLE IN CAPACITY BUILDING PROGRAMS increase the capacity of the independent arts IN THE REGION sector, Tamasi identified the need for skilled fundraisers who can use a wide range of 3.4.1 MELOPEE is a cultural management fundraising tools to mobilise resources for the workshop dedicated to MENA professionals, independent arts sector in the MENA region. held in Fère en Tardenois, France. This is a Tamasi, therefore, started a project in 2013 program aiming at offering a contribution to geared towards developing a core group of the activity of cultural operators from the fundraisers for the sector through targeted Mediterranean through training initiatives and training of trainers. meetings with colleagues from their region. It has been developed by AMUNI together with 3.5 INTERNATIONAL l’ECHANGEUR, a centre for artistic production in France, in partnership with different 3.5.1 US Embassy offers scholarships in international organisations. Israel; furthermore, USAID and Friedrech Ebbert established a vocational training 3.4.2 The European Festivals Association centre in Jordan. (EFA), the Beiteddine Art Festival and the Edinburgh International Festival launched the 3.5.2 Kennedy centre, The John F. Kennedy Open Call for Application for two Ateliers for Centre for the Performing Arts offers valuable Young Festival Managers; the sixth edition skills building for arts managers through was the first in the Arab world and it took the Institute for Arts Management. Arts place in 2013 in Beirut, Lebanon. Management Training in Ramallah 2007.

3.4.3 The management centre UK and Tamasi 3.5.3 Youth empowerment development collective Training of Trainers on Fundraising association (YUDA, Grassfield, SAD) for the Arts & Culture in the MENA project organises workshops, which are only

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sporadically dedicated to culture, but primarily of the world’s most significant presenting dedicated to empowering women and youth. organisations, performing arts organisations, artist management agencies, cultural policy 3.5.4 International Society for Performing groups, foundations, festivals and related Arts (ISPA) Middle East & Northern Africa professionals. Fellowship Program provides two early or mid-career leaders from the performing 3.5.5 Kennedy centre for the Performing arts community access to ISPA’s extensive Arts, USA, is the biggest USA institute for art international network of arts professionals. management (created in 2001 by M. Kaizer) Participants must be performing arts and offers trainings for professionals around management professionals from one of the the world in a form of 10-month-fellowships following countries: Algeria, Egypt, Iraq, (including lectures and hands-on work with Jordan, Lebanon, Libya, Morocco, Palestinian numerous workshops with peer-learning Territories, Syria or Yemen. methodology), as well as a one-month- Selected participants have the opportunity internship. Several professionals from the to engage in the development and MENA region have used opportunities of both exchange of ideas with leaders from some programs.

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4.1 The Culture Resource / Al Mawred included training sessions in negotiation Al Thaqafy (http://mawred.org) is a long- skills, project presentation skills, and the established player in the MENA culture use of digital media in cultural practice and with a multi-disciplinary range of activities project management. Trainers for the last two and growing MENA outreach. Mawred workshops (in 2014 and 2015) were: Basma ِ ,was founded in 2003 in Cairo and has been El Husseiny, Hanane Hajj Ali, Rana Yazaji running and supporting a great variety of Abdullah Al Kafri, Gesa Brinkraut (Germany) activities: trainings in cultural management, and Tom Fleming (United Kingdom) conferences and other platforms for debate, publications, and festivals. Another focus Recently, Al MAWRED has also moved has been providing Arabic translations of into the sphere of state education with a relevant documents and making them two-year MA course in Cultural Policy and accessible online. The most important Al Culture Management for students from the Mawred programs in the domain of cultural MENA region. The course is hosted by the management are: Faculty of Arts and Human Sciences, Ben • Training of Trainers (see 3.1.1). M’sik, University of Hassan II of Casablanca, • Cultural policy research / training for Morocco, and has been developed in researchers. collaboration with the faculty of Cultural • Trainings and peer-education of National Studies at the University of Hildesheim, Cultural Policy groups in 12 countries. Germany. The idea is “to build a new • Abarra, capacity building program for generation of researchers, cultural managers, emerging organisations in Egypt, Tunis, cultural policy makers and academics, who Yemen, Syria and Libya. can contribute to the cultural life in the Arab • Regional and local trainings for young region and enjoy outstanding capabilities in cultural managers and entrepreneurs strategic planning, culture management, and in project management, strategic cultural policy, that would help them play a management, etc. vital role in the governmental cultural sector, • IMKAN, a program for cultural leaders. creative industries and the independent cultural sector. Such students would be IMKAN Al Mawred program for Arab cultural active players in fostering and supporting the leaders was the First (Advanced) Training freedom of expression, the right to culture, Forum for Young Cultural Leaders in the Arab regional cultural cooperation/networking and region, which was organised in March 2013 professionally oriented cultural work.” . in order to support and refine the skills and capabilities of Arab cultural practitioners, Al Mawred also initiated a project: and to qualify them to play a pivotal role in Tunisia Balad El Fann (Tunisia country the political and social development process of arts), the complex training program in the Arab region. The program has been implemented together with the Ministry annual (3 editions were held till today, of culture of Tunisia. It comprised in 2015: each lasting 3-5 weeks), it includes several A) six workshops targeting representatives lectures, seminars and training sessions of cultural sector from all 24 Tunisian revolving around the role of intellectuals and governorates addressing the following topics: artists in the political sphere, the relationship cultural policies, planning and management of between art and society in relation to the cultural projects, institutions management, customs, norms and taboo topics. The forum organising cultural events, drafting funding

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32 The African Arts Institute proposals, and others. B) Three introductory The Cultural Leadership Program is a three- (AFAI) was launched in 2-day workshops were held for government year project funded by the European Union’s February 2009 to promote employees only, taking place before the main investing in people program. This program participatory democracy, workshops. They included intensive training on is led by the South African organisation The respect for fundamental communication and presentation skills. At the African Institute (AFAI32) with the support of human rights and freedoms end of each workshop certificates have been different partner organisations: the Goethe and equitable social and given to trainees. C) A final Training of Trainers Institute, Arterial Network, and collegiate human development workshop on cultural management was also partners Racines (Morocco, North Africa), in African countries by held, including 18 most successful participants Doual’Art (Cameroon, Central Africa), Groupe affirming the cultural among those who have participated in the 6 30 Afrique (Senegal, West Africa) and The dimension of development. principle workshops. GoDown Arts Centre (Kenya, East Africa). The program has several target groups – 4.2 Racines (www.racines.ma) - “Association training of trainers, training of cultural leaders, pour la culture, le développement, la training for cultural entrepreneurship and promotion de l’industrie créative et la training of cultural project management. http:// coopération en Afrique” was founded in leadershipculturel.wordpress.com. On the 2010 in Casablanca, Morocco. Racines has local level, as one of the five partners in the hosted numerous festivals, conferences cultural leadership program, Racine is the and trainings, and has run publication and key initiator on the cultural policy debate in research projects. It also functions as the Morocco and its success is now influencing Moroccan and North African office of “Arterial the work of national cultural policy groups in Network” - an African network of artists, civil other countries of North Africa. society activists and entrepreneurs (www. arterialnetwork.org). Racine is among the 4.3 The Beirut-based “Arab Fund for most professional and important organisations Arts and Culture” - AFAC (http://www. for cultural development that are active arabculturefund.org) was “established in in Morocco, the MENA region and Africa. 2007 as an independent initiative that funds Racines are creating numerous types of individuals and organisations in the fields of actions: debates (Wednesday’s meetings), cinema, performing arts, literature, music advocacy actions (authors’ rights, cultural and visual arts whilst facilitating cultural diversity after UNESCO Convention 2005, exchange, research and cooperation across freedom of creation), fostering information the Arab world and globally”. In addition to exchange (website platform, bulletin…), training, research and exchange programs, conferences, forums, trainings on cultural AFAC provides funding for the production and leadership, governance and entrepreneurship distribution of culture and art. for Africa since 2012 and research and publishing. Their Moroccan mapping research All three MENA organisations listed here project, establishing the significance and were, to varying degrees, integrated in conditions of the arts and offering diagnosis the EUNIC training. According to feedback of cultural development, incorporated 18 interviews with trainers and organisers, disciplinary (art and culture) sections and 10 Racines helped to set up the Casablanca transdisciplinary issues – education, training, training session, including presentations cultural diversity, dissemination, governance, on the activities of Racines and Arterial creative industries, public space and urban Network. A presentation on AFAC was part projects, authors and performing rights. of the training session in Beirut --- Al Mawred

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33 Besides the mentioned, was represented at the Beirut training by Al staff of national cultural institutions. Especially interviewees have also Mawred board member (Hannan Hajj Ali), after the Arab spring, the major strategy of mentioned Ashkal Alwan who attended some parts of the session. foreign cultural institutions was to target civil (Home Workspace program) There was, however, no input on Al Mawred society activists and NGOs incorporating in Beirut, and Arab Image activities in plenary sessions. European and cultural management programs in a broader Foundation, but their work is International organisations were represented framework for the fight for democracy. That mostly dedicated to curators as funders and organisers of cultural support was indeed very important, it strengthened and contemporary curatorial measures since the beginning of the Arab capacities of independent artists, cultural practices, thus not analysed Spring in 2011. The uprising led to a release activists and cultural NGOs, raised their level in this report. of special funding for measures supporting of professionalism, but on the other hand, it the process of transition and democratization: has deepened the gap between the public 34 See the report M. Four selected landmark programs may be (state) cultural sector and the independent Dragićević Šešić, Arabic mentioned here. sector. Cultural professionals employed in spring and the work of state institutions are more and more lagging cultural policy groups – CONCLUSION behind, lacking capacities and skills needed in bottom up cultural policy, the contemporary cultural realm. Journal of Faculty of It is obvious that those sporadic and ad- Dramatic Arts Belgrade, hoc organised trainings do not respond This fact was further accentuated by the fact 2015 to the large, deep social and professional that Al Mawred also focused its trainings needs33. It would be important first to on emerging groups and organisations. conceptualise systemic cultural education There was nearly no one who would work and then to introduce it to foreign support of on capacity building and the development of sporadic complementary programs. `Cultural professionalism in the public cultural sector. management needs a lot of training and not However, Al Mawred with the program that only a session of two or four weeks. We is devoted to the creation of Think-tanks in need long term programs with a practical cultural policy in each of the MENA countries, side (development and realisation of a sometimes succeeded in creating diversified project)` (Mohamed Ben Soltane). `They groups (in few countries such as Tunisia need to coordinate and align with the Arab and Egypt) by incorporating in those think- organizations that are aware of the local thanks both sides; representatives from context. (Abdullah Al Kafri). the public sector and from the civil society. Unfortunately, this effort was with low level of Several cultural professionals have underlined success, as the two sides did not trust each that trainings unfortunately are not targeting other and even often despised each other.34

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When it comes to training programs offered aiming to develop the capacities of existing by local actors, most of the interviewed professionals in the field. The course is professionals think that they are not focused on marketing and fundraising and it is sufficiently developed. As there are no mostly dedicated to senior professionals. specialised training centres that would professionally develop their curricula and Lottery foundation, Israel Film Council and methods, except in Israel – LEHAT and JCU, other public institutions like artist unions numerous professional artistic and cultural organise training programs sporadically and associations, as well as cultural organisations, mostly dedicated to project administration, are sporadically organising some trainings. writing proposals or some specific skills related to specific fields e.g. film production. EGYPT There are also some cultural organisations that Cairo Urban Initiatives Platform (CUIP), sporadically organise trainings as part of their Cairo, focuses on architecture, art, advocacy, broader mission, namely, social activism: urban development, and interdisciplinary initiatives addressing issues related to the Beit HaGefen, Haifa - an Arab Jewish Culture city, the urban environment and public space Centre - is a non-profit organisation which in Cairo. CUIP organises Project management strives for the creation of common and professional course. equal spaces that encompass the variety of identities and cultures in Haifa in particular Sakia cultural wheel, Cairo, a private and in Israel in general. Beit HaGefen Centre Egyptian organisation that sporadically organises various cultural, educational and develops trainings in the framework of El tourism activities aimed at a broad age range. Sakia Academy. Arts management training program for public (municipality) officers was organised and the ISRAEL standard for the creation of such workshop was Recanati business school cultural Jerusalem Culture United, Jerusalem, management program. organises a professional development program, based on existing international The Arab Culture Association is an models, which teaches and encourages independent non-profit organisation that is new and adaptive management practices to aiming to strengthen Arab culture and identity art organisations with a focus on strategic for Palestinians living in Israel. The ACA management, marketing, fundraising, PR and is known for its pioneering programs that communication. Each year, starting from 2012, address several cultural fields, such as: Arabic JCU organises one-year programs dedicated language, arts and literature, cultural tourism, to new, emerging and also mid-size arts and the promotion of higher education and organisations. In 2013, a $5000-Innovation- critical thinking. ‘Work of Art’ program adopts leadership grant was introduced and given to an Interdisciplinary approach to enhance each of the 15 participating organisations to working conditions of Palestinian Arab Culture help them improve their infrastructure. actors in Israel. Its goal is to improve the professional capacities of Arab culture players LEHAT TAU (Tel-Aviv) Tel-Aviv University in Israel to increase job opportunities and conducts a commercial training course income sources. This program focuses on the

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field of cultural entrepreneurship, marketing expertise. Thus, she decided to open the and promotion of cultural products. centre within her theatre that is devoted to specificities of performing arts management. LEBANON Tamer institute for community education’s ETTIJAHAT independent culture based at mission is to encourage and deepen the moment in Beirut is currently designing opportunities of learning and literacy among training for Syrian cultural professionals based children, young adults and groups that in Beirut to respond to their specific needs work with them. Their strategic goals are: and problems. supporting literary and scholarly production on child culture in Palestine; enhancing reading MOROCCO and writing as well as all forms of self- expression among children and young adults; In Morocco, there are several organisations building solid policies and infrastructures that and artist associations which sporadically promote learning and growth; supporting and organise trainings: Association l’Boulevard formulating the institutional capacity of Tamer (music), Casablanca, Association Institute. Casamémoire (cultural heritage), Casablanca, Association Darja (dance), TUNISIA Casablanca, Association Dabat Théâtre (theatre), Rabat, Association Daha Wassa In Tunisia, some NGO’s organise training (theatre), Rabat, Association AMC Mode programs for their own members. This is the (fashion), Casablanca. case of ECLOSION D`ARTISTE that aims to establish and develop a free and democratic PALESTINE cultural climate through relevant training of new young talent. In Palestine, numerous organisations are developing trainings to raise the capacity Fanni Raghman Anni, independent Tunisian of cultural professionals in related fields, association’s main activities are “production, but not always linked to management performance, and dissemination in one (Shashat Women Cinema, Birzeit Media part and trainings in the second. Besides, Development Centre, Riwaq in the field of they have a experience in the cultural relief heritage, Women Affairs Centre). (refugee camps in North Africa and the Middle East) and cultural management.” FRA supports Al-Harah theatre performing arts training and develops local talents of both sexes, centre (PARK) Beitjala, Bethlehem, was and gives them the opportunity to create a initiated by Marina Barnham, leader of the cultural space in their communities, making centre who was the participant of the first it possible for them to pursue their fight for regional ToT program of Al Mawred, and since their rights and for the eradication of all forms then, has participated in all regional trainings of exclusion. FRA provides these groups with in Arabic language offered by Al Mawred. means of expression, education, advocacy, At the same time, her theatre is very active recovery, innovation and communication nationally, regionally and internationally through practical programs such as debate in different networks and programs (such sessions, training workshops, etc. as CIN), gaining different experiences and

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CONCLUSION were told that the majority of musicians don’t have managers or agents and there are Cultural professionals claim that sporadic very few promoters or fundraisers, hence trainings that happen often involve trainers musicians don’t get the opportunities abroad that come unprepared for their courses as they should). The same goes for publishing, (because they are invited in the last minute). which does not sell beyond borders, and other Also, since the majority of local trainers are in art forms when it comes to knowledge, skills fact cultural professionals, they would need and abilities. Cultural policy support schemes specific trainings to develop their teaching are lacking in the field of international (and skills (Mohamed Ben Soltan, Tunisia). even regional) cultural cooperation. Thus, numerous independent actors are starting Most interviewees agreed that there is a their training initiatives, but without a general great need for cultural intermediaries and framework which should be developed in professionals of various sorts, who can work order to create possibilities for validation and in both the public and private sectors. (We certification.

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35 Through field work and As more and more cultural infrastructure is advocacy and legislation35 as well as those interaction with the bodies built (Algeria, Morocco…) and numerous related to fundraising, project proposal writing and institutions of the festivals are created, demand for managers and audience development skills. cultural sector we noted increases in the public sector, though there the lack of knowledge and are questions about the ability of the state Other needs concerned: international cultural awareness of the legal to educate, train, and finally select such cooperation skills, PR and marketing, project frameworks through which competent managers. On the other hand, and event management, art production and civil and cultural society development of the independent sector and cultural management for specific fields, can engage and participate artistic collectives of civil society actions in cultural diversity awareness and intercultural to develop cultural policies public space have also raised demand for skills, curating and programming; financing and keep up with the competent cultural professionals armed with and budgeting; HR and leadership. It concerned ministry in the contemporary knowledge, abilities and skills. was all resumed in conversation, as our advancement in this sector. interlocutors confirmed that those “soft It is also important to In general, majority of interviewees identified skills” are not taught in academia, but can be raise the question of how all listed knowledge and skills as important. gained in practice, by doing, or on sporadic partnership with the local However, the mostly needed were underlined courses organised by different national and civil society is essential competences regarding cultural policies, international actors. for the development and elaboration of the KNOWLEDGE AND SKILLS: STRENGTHS AND WEAKNESSES OF MENA REGION 36 reforms; for example the CULTURAL PROFESSIONALS so-called “strategy of the development of public PERSONAL ABILITIES KNOWLEDGE SKILLS administration in Lebanon (lack of or exaggerated) has been developed and Audacity, courage Delegate tasks/jobs it included the cultural Self-confidence How to motivate team sector in partnership and Cultural Policy + international Proactivity Entrepreneurship collaboration with the cultural policy

European Union that funded How to think globally Strategic Tolerance Larger political context the project, without referring thinking – long term to civil society. Such actions Adequate formality in Acceptance of criticism raise questions in terms communication of the absence of the role International administrative Cultural Diplomacy of the latter whereas it competence should be the first partner Administration protocols, Administrative competence Focus of the ministry to ensure techniques and structures Professional communication the implementation Exaggerated Leadership mentality Cultural economy To be decisive in decision making and sustainability and Exaggerated perfectionism Project economy Fundraising effectiveness of such Lack of knowledge to define Lack of interest in economic reforms.” Nayla Geagea economic values of cultural Project implementation reflection (legal consultant and cultural “products” activist) Too compromise-oriented Budgeting Legislation Contracting of project Lack of ability to sustain inner Campaigning motivation Lack of capacity to present and Public relations & marketing Visibility persuade of project/org. Persuasiveness

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36 The table was designed Mastering different “languages” during «Cultural Policy, (vocabulary of artists, business

Criterias, Concepts and sector, audiences…)

Constructions“, Research Cultural knowledge – how to develop a cultural product Circulation of cultural products Use

Atelier of the Arab (Technology of theatre /film/ visual arts etc. production of social media

Cultural Policy Group of Community embodiment of the Lack of genuine interest for others Al Mawred Al Thaqafy and project the Department of Cultural Technical knowledge (different for each value chain) Archiving

Policy of the University of Evaluation Assessment and evaluation skills

Hildesheim, supported by Goethe-Institut The training and educational needs in the • The most suited format concerns long Cairo, 24. – 28.2.2014, region regarding skills and knowledge could term hybrid approach of a centre of Berlin. be put as the following continuous professional development In my previous research and of an academy where learning is in the MENA region • The ways training needs are being project and problem-solving oriented and (2013-2014), most of expressed differ very much in academia research-based. Thus many operators the interviewed cultural (public sector) and NGO sector (civil mentioned that capacity building, operators agreed on society) – mostly because people in although designed around “strategic the need to learn more NGOs have gone through different management“ etc. should also include about the following western trainings. Thus, they focus on specific workshops, besides skill-oriented topics: Strategic Planning, managerial skills and needs, while the ones (like fundraising) to enable both Cultural policy, Economics public sector talks more about concept- knowledge and skills to be “united“ of culture, Fundraising making (curators) and mediators and (cultural marketing and audience and proposal writing, consequently – MA programs are development workshops, or cultural policy Financial Management, designed in this way, with more workshops to train them to design cultural Legislation and international “knowledge“ distribution than skills, and policy instruments, ...) conventions, Cultural more insights than entrepreneurialism • Also the issue of the time duration diplomacy and international • The core idea preoccupying most of the of capacity building programs was cultural cooperation, Arts cultural actors interviewed is to design a underlined. Many previous experiences Management at times of model created in the Arab world with the such as Abarra, Homework space program crisis and instability, Cultural Arab world and for the Arab world. The and Metropolis – have shown that one- project management, European or American based knowledge year-commitment would be adequate to Cultural tourism, Cultural (concepts such as creative economy or have both organisations and individuals industries. creative entrepreneurship) were criticised really interested and ready to devote more as inappropriate; mainly by those who of their time and energy for professional are master’s degree holders from abroad development. (Short courses might be and work now in a Lebanese or an Arab popular, as they would demand 3 days, context. During focus group discussions or a week of their time –but the impact that I held with the Lebanese cultural of such courses is low. When it comes operators, the idea of mentorship was to a series of courses within a complex also prevailing; same as the idea of capacity building program – both the working with experts and artists in a sort organisation and its leaders have to be of “laboratories”. Mentors and experts sure to what extent they need it, to (artists, professors, artisans, pioneer commit to such demanding program initiative leaders…) here would play the scheme). role of catalysts.

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37 “It is crucial for artists, • At the same time – training needs and • The curriculum of such a program should cultural managers and training formats, if regional, have to be extremely complex, not limiting itself activists to know their reflect Arab diversities (“acknowledgment on offering technical skills, but above all rights, to know the position of diversities“ – Nadine). Besides fostering critical thinking37 and addressing of the artist in the Lebanese curriculum content that would take care the issue of public interest in culture law and in the society” of it throughout the different courses, (cultural policy), multiculturalism (fighting Karim Dakroub (President the internship program could be against “sectarianism“ in education and & artistic director, Khayal conceptualised as a system of “stages“ cultural practices). Cross-disciplinary is Association for Arts and happening in different (Arab) countries. seen as a must! Education) • The idea of a “Nomad program“ was positively accepted, as most of the Although training needs might differ from successful capacity building experiences country to country, from discipline to are “nomadic” (Abarra trainings; MENA discipline, from generation to another – it pilot – Casablanca & Beirut; European was possible to see crucial issues and Diploma, etc.). This nomadism is enabling shortcomings as well as visions of possible participants to be more open to diversity actions to complement the present needs and to gain different perspectives, and to and fulfil the educational needs of cultural develop “adaptability skills“. (“Both artists managers and cultural systems. and managers should use language of marketing and mediation, should be able to adapt their values to new contexts...“).

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7.1 OBSTACLES academics agree that the authorisation (accreditation) is a main problem in this field. Obstacles related to Educational and There are some individuals (Ditti Ronen, Israel) cultural policies are partially related to or institutional initiatives (Lyat Friedman, unstable and harsh situations in the region, Bezalel college) who were both confronted which are the main reasons that prevent with the difficult process of authorisation, governments from focusing on education and lacking information about possible partners, culture. funds and possibilities for development of such ideas (cultural policy task force or Governments are not interested or don’t Institute, MA program etc.) want to support arts because of their critical potential (in Israel new law was just In spite of some efforts of higher education introduced envisaging that projects in culture systems to develop some courses in financed by the Ministry should be “loyal cultural management and mediation, the to the state“), or seeing arts as part of the lack of cultural policy that would valorise western culture (Algeria, Morroco, Jordan, good projects and art productions is in fact etc). Thus, the public education system does contributing to the “de-legitimisation of not have enough art education to form future cultural professions“, both in Israel and in other audiences and future cultural professionals. As countries in the region, most visible through there is no art market, arts production cannot the fact that the best students do not want to be self-sustainable, while cultural policies are study anything linked to arts (Tunisia). mostly supporting institutional infrastructure and traditional cultural formats. In many cases Lack of human resources for teaching and culture is seen as a “luxury“ (Israel). training. This is of specific importance for the development of university accredited courses, Parliaments in the region rarely debate cultural as there are “no people qualified to deliver issues, and only few cities have important the courses“ (L. Friedman, D. Ronen Israel), cultural policies and practices (e.g. Casablanca nor professors that can acquire authorization has 12 theatre halls). to teach cultural management, cultural policy and other relevant subjects. Everywhere in The Certification issue is neglected, and Europe in the 80’s of the XX century were professional diplomas (Cairo) are outside overpassed by engaging academics with the university system, but also outside Ph.D. in related disciplines, and enabling them the professional framework (there is no to further continue their research outside system which would guarantee or stimulate academic practice in cultural management. It employment based on acquired skills in life- is only now, and that is also rare, that Ph.D. long learning processes). degrees can be done in Cultural management (Belgrade University of Arts), thus most Freedom and lack of autonomy of university academics in Europe do their Ph.D. degrees in system and public cultural system was Cultural Policy (Warwick University, Jyvaskyla underlined throughout the region as the main University, Hildesheim, etc.), or in Economy problem. Few professors have indicated that (focusing on the Economy of Culture), or “Council of higher education has refocused Business Management. proposed programs“ (Israel) turning it toward already existing academic disciplines. All

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Language issue – foreign, French-English, in the arts, or for starting small cultural Arab-Hebrew. This issue is not that crucial businesses. This seemed to us to be a for university programs and courses, as they striking difference between the situation attract those who can speak certain language, in Lebanon, for example, and that in North but it is of crucial importance for life-long Africa. It was only recently that associations learning training formats that aspire to regroup of citizens started to be created, among practitioners from the whole region alongside them Association “Process” with the aim foreign experts. Translation costs are raising to valorise and promote design in Tunisia, training costs, thus it is important to focus on organising competitions for students and Training of trainers, enabling them to deliver young designers for objects of everyday use, in Arabic language. In Israel, for the sake of and linking those with adequate enterprises legitimisation of Palestinians within Israel, it (La Presse de Tunisie, 23.1.2014, p.11) would be important to have courses in both Hebrew and the Arabic language, enabling Some parts of the cultural industries e.g. film, Arab cultural practitioners to get adequate are funded via the Ministry of Information, education. rather than Culture and this fragmentation of funding is a characteristic of the split Obstacles in employability. In discussing between ‘arts’ and ‘cultural industries’. Other employability in the cultural sector with cultural activities are funded via the Ministry professors of various universities and with of Education. There are also funds from other other cultural professionals, it seems that ministries, which can be used to support academics are primarily focused on educating civic associations, but often the cultural students for jobs in the public cultural, independent sector is not aware of them, and educational or scientific realm, (which are not that again reduces potentials for spreading growing very fast at the moment). Secondly, employment in the cultural sector. those jobs in the public sector are highly dependent on the ruling party power and Quality and adequacy of training programs. appointments (Akademia, n. 24/2013, p.17). Most of the interviewees claimed that the training offer is sporadic and of diversified However, from the general view of quality. `Trainings are not satisfactory or Interviewees; there is not enough artistic sufficient. A thorough research of needs of education in primary and secondary schools. areas of professional development, as well as As a consequence, there is a missed existing capacities, can explore potential for opportunity to have schools as a “job market” trainings and various areas of development in for cultural animation and management the cultural sector.` (Huda Odeh) graduates, and there is a problem later to develop audiences, when the population has a Although it seems to us that existing trainings low level of artistic education. Thus many were are at least partially satisfying the needs for saying: “we have cultural infrastructure, we professional development of independent have products, but audiences are lacking”. cultural sector, numerous operators have mentioned that ‘you need to enable our While there is ‘entrepreneurship’ education institutions technically, administratively and in business and management schools, financially as well (Aktham Mohammad there is very little that prepares art students Al-Lama, Ta’ayosh for training and human for self-employment or freelance work development), as this exists only within

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Abarra program that is limited to post Arab access: ‘There are cultural cliques and power spring countries. In Israel, it was a collective groups and a diversity of ideas although claim – that if the budget for culture does not acclaimed verbally only but not practically grow, there’s no sense in educating human on the ground. Competitiveness is rampant resources (thus campaign for 1 %). rather than equal or win-win collaborative efforts’ (Alia Arrasoughly)– low accessibility… In the region, there are neither enough There is a clear suggestion that there is a university programs nor training courses need for the inclusion of other voices and that in cultural management, the majority of programs of cultural management training practitioners have learned it ‘hands on’ should be developed in a way to link numerous and through trial and error, but not through local and international partners in designing education. Some members of the younger comprehensive long-term structure of trainings generation are pursuing this as a field of study with clear follow-up. in France and the UK. (Dr Alia Arrasoughly) “ The usual complaint on offered trainings Obstacles to the course effectiveness. Local are: ‘that they are not rigorous enough, that and international trainers often do not know they present higher expectations than what each other. Their mutual introduction and they are offering in reality’ and participants exchange of knowledge and information is not feel that a lot of time was wasted’’ (Dr Alia structured enough, it is still intentional, but Arrasoughly). rather a consequence of a chance. These links should be provided more attention. (Tomka) ‘There is no comprehensive strategic perspective. One-time workshops accomplish `Some participants are sent to training a limited amount of change. This horizontal programs without a clear goal from their approach by international organisations goes organisation’s standpoint. Because of that, contrary to sustainable development needs of (1) these participants are uncertain what it is the longitudinal impact.’ (Dr Alia Arrasoughly) that they have to pay attention to and to look for, or (2) they go back satisfied with what The majority of the trainings are offering they have learned, but have no resources, only basic skills and knowledge, therefore responsibilities or support from their inadequate for experienced professionals who employers/managers to implement acquired are in ‘need of professional advancement’. knowledge.’ (G. Tomka, Serbia) ‘Learners It is contradictory that training programs often do not have a clear understanding of are accessible and well known mainly the nature of their learning needs (‘Self- to established professionals, while the diagnosis’]. Mostly, the donor funds of these content is dedicated to beginners and young programs do not cater for this preparatory practitioners. There are exceptions like the phase, which is very important for open call for the selection of participants for sustainable effects. (C. Merkel) Med Culture seminars that allowed a large dissemination of the promotion of the trainings Strategies and mechanisms related to new and gave possibility to unknown professionals audiences and new funding sources require to take part in it (“news about calls circulates further work. There is the challenge of nowadays much quicker than compared to finding new solutions to respond to issues of a few years ago” / F. B. Med Culture). At the contacts, networking and new audiences. same time, professionals are still criticising

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Accessibility obstacles are linked to the lack Regional and local “competitiveness”. of relevant information regarding training offer There is a certain amount of competitiveness (access to information resources is reduced – between Al Mawred and Racine. For Racine, no knowledge about them). Prices of trainings Al Mawred is seen as an organisation that and master’s programs can also be part of separates North African Arab countries from the obstacles (for example to acquire and the African continent while Al Mawred sees attend a European Diploma in Cultural Project Racine as a newcomer in the regional training Management, or expensive Master’s courses and cultural policy research which separates in Lebanon, etc.). Thus all interviewees have Arab North African countries from the rest in positively evaluated the fact that the majority the Middle East. They are both competing for of the foreign foundations presented trainings the scarce funds in this domain thus avoiding as free of charge, as well as training and any form of collaboration even when their capacity building programs of Al Mawred. The actions are overlapping, for example: the lack of information is seen as one of the major trainees of Racine leadership program have obstacles in the region: ‘When we convened been invited to participate in a German art a study day (December 2013) in Tunis on management conference in Heilbrom in 2015 learning options to upgrade knowledge in while Al Mawred took their former trainees cultural management and cultural policy, it to Hildesheim in September 2014. However, resulted that even top quality professional existence of both organisations at the same Tunisian colleagues would not be aware of the time is a huge regional opportunity. already existing training centres in their own country, 30 km away.’ (C. Merkel)

7.2 OPPORTUNITIES of that can be seen as a huge opportunity in raising interest for cultural policy and new Creative industry policies in the region can governance practices, where numerous offer opportunities for the development of operators will ask for more and more further training. For example, The Morocco education and training in the domain. Government is keen to develop Morocco’s ‘creative industries’ through a ten-year cultural The future of cultural development in the policy strategy, MAROC CULTUREL (2014- region is seen in small cultural enterprises that 2024). As a result of this, the budget allocated now get relatively little legal support and are to culture and education by the Moroccan treated as any other small business (they do government is expected to grow. For example not benefit from particular tax deductions, for the annual budget of the ISADAC will double. example). There is a strong will to have a new, clear and detailed law to install the status of “Cultural Policy Debate ” is gaining ground the “cultural enterprise” that will replace the throughout the region: agora concepts, forum vague status of the “association” in some practices, demonstrations, discussions within countries, or the “limited business company” the political institutions, claims for liberty of in others, both not favourable for the cultural conscience, liberty of expression, liberty of sector. creation, the growing interest in the policy of the “city”, the policy of the state, the policy Trade unions and activists are pushing the of the international organisations, the policy government to have a cultural policy that is of the media, the policy of funders, etc. All based on “investment in culture” rather than

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38 http://www.medculture. “helping and giving money as charity,” and to Cultural management is seen ‘as a business eu/country/jordan/ move from the individual production to a real opportunity, and face many challenges in structure/332 cultural industry. As an example, a national follow- through for tangible results. In addition, policy for theatre development in Morocco quite often these trainings lack the contextual (Plan National de développement du theatre perspective of creative problem solving for au Maroc) was prepared in 2011 to be adopted working in the Arab region.’ (Toleen Touq, Med and implemented by transversal cooperation Culture Jordan Country Report)38 between the Ministries of Culture and Education and the other different Ministries. Various programs, trainings and workshops This plan is aimed at audience development led by vocational training centres in the MENA through regular production, quality of work, region (such as the vocational training centres a cooperative policy between cultural in Jordan) which are primarily transferring enterprises and institutions, links between general managerial skills and knowledge in the human, cultural and artistic resources and field of social activism, project and financial cultural spaces, and the development of management and so on, could be redefined national theatres with ensembles. and reshaped according to the special needs of the cultural and creative sectors (see Trade unions and other civil society Recommendations II. 1). associations play an important role in trainings, cultural management and cultural Among Arab trainers, we have identified those policy development. Their role is also seen who have extensive experience in working as important for consolidation of professions throughout the Arab region for both regional involved in cultural and artistic production and (Al Mawred) and international organisations distribution, with the aim of training more such as Goethe Institute and the British cultural managers and enhancing the expertise Council (e.g. Marina Barnham, Hanane Haj of existing ones. Ali, etc.). A number of trainers and cultural professionals and experts are mentioning There is an organic link between the need that they are working as consultants, coaches to change cultural system, cultural policy and mentors for different organisations. In and governance, and the urge to change Palestine, the mentoring program of the the content of education and training. For Ministry of Culture was mentioned, and in example, artists now have a greater need other countries coaching and consultancy (e.g. to be involved in co-operative activities and Marina with Tamasi collective). lobbying. Creation of new laws (like the law of 2001, which allows the integration of the Sub- Thus Arab experts and trainers, including Saharans in the Moroccan society or the law those trainers that are not specialised recognizing Amazigh minority and language in in the cultural field certainly represent a Algeria), encouraged some groups to become strong opportunity for further development more involved to work with marginalised or of national training centres. All survey oppressed communities, where transmission participants have stated that in their countries of knowledge is progressing gradually, and there is a number of professionals who could where “new” tools are being adopted such as be engaged as trainers. art therapy or drama therapy.

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In Palestine, there is a specific and important Lottery Fund is also seen as an agent that player in the cultural field, the Qattan might contribute to the development of foundation, which develops various programs, continuous professional learning programs. among which are managerial trainings for librarians, which could be marked as Recommendations will use some of the partners in the development of future cultural possibilities and offer some solutions, but management training programs. in every country of the region it will depend on the “agents of change”, their decisions on In Israel the situation is different and more collaboration, partnership, among themselves, specific. There are numerous initiatives to but also with organisations and universities create master’s programs (Bezalel), to settle from the public sector. Specific advocacy and “Institute” a cultural policy (Diti Ronen). action should be envisaged, and maybe Artists associations are active, and there national cultural policy groups should be is also a forum with delegates from 100 motivated to put professional education on influential associations and organisations from their agenda – lobbying and advocating for the cultural field. Artist associations and artists public policies to set life-long learning as their are seen as possible agents of change, under priority. the condition that they receive further training and education.

Higher Education and Training in Cultural management Page 46/70 and Cultural Policies in Southern Mediterranean countries RECOMMENDATIONS FOR THE DEVELOPMENT OF 8 CAPACITY BUILDING PROGRAMS IN THE MENA REGION

This set of recommendations is offered to all Recommendations are concrete and could be interested actors in this area: international easily realised as they mostly depend on the organisations (from UNESCO to ECF), good will and energy of existing professionals regional and local NGO’s and networks, and organisations. In different countries, governmental bodies (ministries of education different organisations have been identified and ministries of culture), universities and as possible leaders of change, but are not other relevant public and private organisations quoted by name in these recommendations which are active in the field of lifelong as we thought that two planned seminars learning. Specifically, of possible concern would be the proper place to divide roles and to those who were not active in the field of responsibilities. culture such as employment agencies and all those who are nurturing skills for social and I General recommendations for the content economic development and especially those of cultural management education and who are neglecting possible contribution of training programs cultural sector. However, starting from the standpoint that public universities and public Cultural management, in spite of the usual cultural sector have the highest responsibility stereotypes, is not only about managerial in this domain, as it is already funded by knowledge and skills; training formats have public money, these recommendations to include possibilities for the development refer primarily to them, their potentials and of reflection and to contribute to the capacity possibilities. building of a “reflective practitioner”! Thus, the following concepts have to be debated Regarding the importance of civil society throughout the trainings: organisations and their present involvement in this area and due to the help of international Global thinking, democratisation and donors as well as their solidarity and wide development: to develop democratic responsibility, the following recommendations values in the places where it is still needed; are taking into account their potentials to develop bottom-up policies and actions for developing such programs and for and freedom of access to culture; organise conceptualising advocacy and lobbying actions participatory projects and more participation of for art management education. civil society; develop the access to the public domain and access to information; avoid The recommendations are structured in exclusivity of art and foster transsectorial 3 chapters: I universities, II civil society projects; foster mobility, global approach, new organisations, III international governmental regions … organisations (UNESCO, EU) and specific foreign foundations and associations active Equality, social change and politics: react in this field (ECF, Goethe institute, British upon poverty, sustainabilty and gender council etc.). Accordingly, both vocational issues; ask important and ethical questions; (professional) and university (academic) do smaller and deeper projects instead of education will be treated with equal attention, big events for sustainability considerations; but underlying their different needs and revision of sceptic trends; more formats. indenpendence from political influences.

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39 However, although II INTRODUCTION OF SYSTEMATIC etc. which constitute the base for cultural proposed in the feasibility AND COMPREHENSIVE CULTURAL management master’s degrees around the study, the real network MANAGEMENT EDUCATION AT world – about: programming, curating, and of university professors UNIVERSITY LEVEL mediation – as they are extremely relevant involved in research and issues in cultural practices. Separately, the teaching has not yet been 1. Creation of ANCATC39 – similar to curriculum should include relevant cultural created. Researchers ENCATC – European Network of Cultural policy modules: such as an overview of and professors started Administration training centres – research cultural policies in the world and in the participating in European had shown that in Lebanon and Morocco, region (models); cultural policy making on cultural policy research but also Tunisia and less in other all relevant levels; lobbying and advocacy forums since 2014 in countries, there is a relevant number etc. Programs should be both content and Hildesheim. In Morocco, of teachers and trainers in this domain. method oriented (What & Why, together Algeria and Egypt important Creating a national and Arab network will with How and For Whom) national conferences have contribute a lot to the recognition of the 5. As an alternative to curriculum been organised. Five profession, exchange of experiences and development centre: regional conferences have the creation of Arab cultural literature 6. Select few university departments with been organised since 2010 management (example readers based on best potentials: Disseminate help on and the last one was just local knowledge, etc.) the base of competitive demands to a held in Beirut, Lebanon 2. As many universities had already started few selected universities with already recruiting around 30 some courses in cultural management and established programs, earmark them participants (December 2015 cultural mediation, with different strengths & help them develop few key courses Beirut). and commitment levels, , it could be which are lacking till now in their teaching important to establish a: CURRICULUM practices (curriculum). DEVELOPMENT PROGRAM – from which 7. Offer help through specific cultural all universities in the region can benefit. management programs first to public (Benchmarking Model – CEU curriculum universities as they are more affordable to development centre, Budapest – focusing students coming from all social classes. on media teaching and public policy 8. Nomadic programs - Stimulate joint teaching. Many universities from Central master’s degrees among Arab universities and Eastern Europe had developed (now there are few master’s degrees but young teachers and their curricula only with French universities) – Master’s in those domains through this degrees that develop within Arab centre). universities themselves – could benefit 3. Curriculum development program could from the strengths of each university, be designed to help and strengthen all producing an extraordinary regionally bachelor’s and master’s programs in the relevant program… region, by having two to three-10-day to 9. Find opportunities to help specific one- month- programs of peer training programs like Heritage management at + support from ENCATC or selected Balaband University, Cultural mediation European and American universities each in Tunisia and Morocco (grants for year. students…), by raising the levels of those 4. The curriculum’s focus should be, programs, finding appropriate partners besides issues like management, etc. marketing, project writing, fundraising 10. “Introduce cultural management course

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40 «Those that strongly in all art schools” – only for visual art and different from Europe’ (Marina Barnham). embrace local cultural design, we have 13 universities in Tunisia “European standards and practices do not setting and working that would need that (Mohamed Ben apply to the reality of work on the ground, conditions,, respond to Sultan) Maya Zbib, Beirut locally identified needs, 11. Universities as advocates for art education 2. The programs should be mostly realised build on local knowledge in primary schools (Liliane Sweydane, in the Arabic language, or in Israel, in both and skills, involve tutoring in Lebanon). Hebrew and Arabic. Arabic, refrain from any form 3. The programs should be more complex, of top-down, neo-colonial According to most of the interviewees in each long-term and should target different training delivery...“ (Isabelle country where the research was conducted, it groups of professionals: emerging Schwarz) would be highly important to introduce cultural activists and mid-range managers management and cultural policy to university and leaders. For each group, training 41 This recommendation curricula - especially courses for artists during programs should be organised in a longer is the same for the Arab BA studies and MA programs for a variety of period through sequential `stratified training centres and the professionals. Furthermore, `Universities in training, from basic to advanced.`41 (Alia trainings organised by the the MENA region tend to be rather traditional Arasoughly) international community. in their approaches, whereas the younger 4. Invite international experts to bring generation of cultural professionals expect their expertise, but in the same time other more contemporary ways of learning, engage enough local trainers and experts therefore involving practitioners from across (Dabdoub Victoria, Palestine, Irit Schmirat, the arts and media fields is recommended.` (I. Israel) Schwarz) 5. Training has to also respond to a need to have a competent public administration. III DEVELOPMENT OF NATIONALLY AND Sana Tamzini suggested that continuous REGIONALLY EMBEDDED TRAINING professional development (CPD) is PROGRAMS AND TRAINING CENTRES (IN necessary for civil servants – particularly ARABIC AND HEBREW LANGUAGES)40 in cultural ministries. “We lack such trainings for directors in the public sector 1. To have centres and programs tailored – decision makers and those who are for the region lead by local professionals in key positions (local authorities, public with local experience was a unanimous cultural institutes’ directors and curators, demand. Investing in local centres for life- etc.)”. long learning and permanent education 6. In spite of the fact that both Al Mawred would be more effective than organising and Racines act as regional centres, sporadic training programs. ‘Without few participants underlined that “It institutions with NATIONAL expertise, would be very important to establish a professional development cannot know its regional centre for cultural management real needs. Foreign trainings are welcome, and cultural policies”, thus probably but their angle has to be technical and emphasising a need for the centre that financial, not political.’ (Alaa Touil). ‘Skills would really cover the whole region. are valuable but sometimes not related to our own context. It would be more efficient to do it by well-trained people from the same context which is very

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IV LEARNING THROUGH PRACTICE – THE would suggest training on the field. ROLE OF CIVIL SECTOR AND PUBLIC Trainers could spend some time within CULTURAL ORGANISATIONS organisations – therefore grasp a better understanding of the micro-context as 1. Introduction of coaching as a peer-to-peer well as specific organisational issues. At training method of cultural management. the same time, training themes would be Due to the fact that all survey participants better suited to organisational needs, plus have stated that experienced cultural trainers could see trainees in action and professionals who could get involved `as approach issues that are otherwise hidden trainers` of cultural management exist in or paid very little attention. Cost-wise, their countries, coaching based on peer- each trainer could oversee and consult to-peer method of training and education several organisations simultaneously. could be developed to contribute to educating young and emerging Similar to that, trainees could spend time in organisations and professionals. other similar organisations in their field doing 2. Specific nationally or regionally driven job shadowing and learning on the job in a programs of creative mentorship. Creative different environment. mentorship provides opportunities for personal and professional development of In both cases, the knowledge transferred emerging leaders working in the field of is not an a priori knowledge, but rather one culture. It might promote mentorship as a that evolves from the specifics of every way of lifelong learning and to exchange organisation in focus.` (G. Tomka, Serbia, Al knowledge and experience between an Mawred trainer) established professional in a different domain (from business to politics) – the All of this would be a possible solution to mentor, and emerging cultural professional express the needs of the local trainees who – the mentee. That would aim to use skills have a feeling that programs should be more developed in different sectors and transfer focused, dedicated to a fewer number of those to culture. At the same time, that trainees, self- organised according to the would help community leaders to better needs of the organisation, enabling not only understand the motivation and need of individuals but organisations to raise their the cultural professionals and art sectors capacities. in general. 3. Internships can be developed as specific V RECOMMENDATIONS FOR programs of hosting and sending younger INTERNATIONAL ORGANISATIONS art managers in relevant organisations. The learning process could go both 1. The programs should be more complex, ways, towards the receiving organisation; long-term and should target different and towards the sending organisation groups of professionals: emerging of the intern. This kind of training can activists and mid-range managers and be considered a hybrid, combining leaders. For each group, training programs mentorship and peer-to-peer learning with should be organised in a longer period acquiring hands on experience. through sequential ` stratified training, 4. In-house trainings ` In addition to group from basic to advanced. ` (Alia Arasoughly) and cross-country trainings outside 2. Training should include more local the usual working environment, I knowledge and trainers. It is obvious

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42 This responds to the need that foreign trainers, although bringing 3. Make sure publicity of the trainings are to raise level of training. contemporary knowledge and skills accessible to everyone using different in management and marketing in the platforms (to respond to the major 43 This was a lonely voice, arts, are lacking competence regarding obstacle of access). as the majority of responses legal and financial system and cultural 4. Countries that are hosting waves of felt the need to know both, policy framework of each of the specific refugees or facing internal conflicts and realised how intervowen countries. obtain trainings that would take into are the two fields. 3. Adjust programs to local complexity and account such turbulent circumstances. In needs. Furthermore, `foreign entities and Israel, for example, trainings should take international bodies should offer more in- into account the Arab-Jewish / Israeli- depth expertise to cultural professionals in Palestinian conflict. countries where they work`. 5. Market research professionals should be 4. Raising capacities of local university involved as trainers and trainees. Also, professors and trainers would be more trainings should be based on market beneficial than raising capacities of cultural studies, tangible and flexible business professionals. For example, ten professors models. or trainers in the cultural management 6. Academics should be introduced to the field could spread their knowledge field as trainers42. continuously to dozens of generations of 7. Make a clear difference between training artists and cultural professionals. for cultural policies and training for cultural 5. The programs organised by foreign cultural management43. centres should also be more complex and 8. ‘At this point in time, I have not seen a 6. `It would be better to organise courses screening study for the MENA region over a longer period of time` which maps technical competence 7. Programs should be dedicated to a fewer building in and for the arts in a number of trainees comprehensive manner, for all disciplines, 8. Both trainers and trainees feel that and – in tune with the current market trainings should include in-depth and the set-up of the cultural sector in (strategic) analysis of organisations which the region – with a hands-on assessment participate in the programs, local case of under- and overproduction [i.e. not studies and field visits, etc. to augment the number of people with degrees but without tangible job/ VI SPECIFIC RECOMMENDATIONS BY self-employment opportunities]. This PARTICIPANTS includes the cultural economy (publishing, television, design, and fashion].’ (C. 1. Establish networks of local cultural Merkel). operators to share knowledge and 9. Introduce training in digital technology. experiences (specific platforms for 10. Realistic and applicable business models sharing, although everyone knows should be included in curriculum of everyone, but we rarely share) Dabdoub training courses. Victoria, Palestine. 2. To develop training content aiming toward communities and professionals in smaller cities and villages.

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A. LIST OF INTERVIEWED PRACTITIONERS, PROFESSORS AND TRAINERS

List of cultural professionals, university • Hanane Haj Ali, trainer, artist, activist professors and cultural management trainers • Hannan Kassab Hassan, University of who have participated in the survey (or Damascus (Syrian) in Beirut focus group debate) for Mapping the training • Khaled Elekhetyar, journalist (Syrian) experiences in cultural management in MENA • Liliane Sweydane, Lebanese University region. • Liwaa Jazji Sdramaturg, artist (Syrian) • Mani Pournaghi, Goethe Institute ALGERIA • Maya Zbib, Zoukak Theater Company and Cultural Association • Ammar Kessab, AlgerCulture • Nadia von Maltzahn, Orient-Institut Beirut • Habiba Laloui, researcher • Nayla Geagea, lawyer • Nawel Guellal, Human Development • Patrick McGreevy, Dean of the Faculty of Network Arts and Sciences, American University of • Shanez Kechroud, activist Beirut

EGYPT MOROCCO

• Ayman Helmy, Al Mawred • Abderrahim Ghoulim, Traditional Arts • AlShaimaa ElSaadani, Al Mawred Academy Cassablanca • Abir Aly, artist • Azlarab Alaoui, ISMAC • Basma El Husseiny, Action for hope • Banana Abderrahmane, L’ecole superieur • Fayrouz Karawya, Idependent artist, des beaux arts de Casablanca cultural manager and activist • Bousetta Abdelaziz, Traditional Arts • Marwa Helmy, Al Mawred Academy Cassablanca • Rana Yasaji, Al Mawred • Chaffi, Rachida, Centre Textile et • Salma Mobarak, Universtiy of Cairo Habillement Moulay Rachid • Waleed Farog, NABTA (Sudan diaspora) • El Bouazi Abdelhak, Ecole Bassim de Modelism JORDAN • El Haouasse Abdelmajid, ISADAC • Elena Lugosi, Artcom Sup • Ala Younis, artist and curator (Cultural • Ezzahar, Abderrazak, ISMAC Policy Group) • Guihia Said, Traditional Arts Academy • Aktham Mohammad Al-Lama, Ta’ayosh for Cassablanca trading and Human Development • Laura Gutuerrez Tejon, Instituto Servantes • Raed Ibrahim, artist, activist (Cultural Cassablanca Policy Group) • Logie Alexis, Artcom Sup • Marouane Baaoud, I.H.B. Art Media LEBANON • Mohamed Dellal, Mohamed I Universtiy • Mourad Kadiri, La Maison de poete • Anbara Abuayyash, Al Mawred • Nabil Boudarka, ISMC • Abdullah Alkafri, ETTIJAHAT Independent • Rachid Boutacliou, College Lasale Culture • Salima Ben Moumen, ISADAC • Doreen Toutikian, MENA Design Research • Tawil Nourrdine, College Lasale Center • Geoliane Arab, cultural manager

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TUNISIE FOREING AND REGIONAL ORGANISATIONS: • Alaa Touil, Med Culture • Asma Kaouech, Fanni Raghman Anni • Christine Merkel, German Comission for • Cyrine Gannoun, artist UNESCO • Errais Borges, ISBAT, MIES • Goran Tomka, Universtiy of Arts Belgrade • Habib Bel Hedi, artist (Al Mawred trainer) • Mohamed Benslama, Our culture first • Ina Studenroth, Goethe Institute, France • Mohamed Ben Soltane, Bchira Art Center • Isabelle Schwarz, European cultural • Sanae Tamzini, artist, activist, manager foundation • Jean Pierre Deru, Fondation Marcel Hicter PALESTINE • Ljiljana Simić, EU expert, trainer • Mustafa Alskaf, Damascus University / • Alia Arasoughly, SHASHAT Women now in Belgium Cinema • Wolfgang Schneider, Hilderseim Universtiy • Fatin Fahrat, researcher (partner in MA program Casablanca) • Huda Odeh, free-lance • Serhan Ada, Bilgi University, Istanbul • Marina Barham, Al Harah Theatre • Yonca Kösebay Erkan, Kadir Has University • Ruba Totah, Tamer institute for Community Education Survey also included conversations in focus • Sabreen AbdulRahman, Atabet Fan group with cultural practitioners from Iraq, • Victoria Dabdoub, El-Atlal Mauritania and Yemen, as we considered their opinion about existing regional training ISRAEL important.

• Diti Ronen, Hebrew University of Jerusalem, Ministry of Culture • Els Verbakel, Bezalel Academy • Eytan Shouker, Bezalel Academy, artist and activist • Irit Shimrat, New Fund for Cinema and TV • Lyat Friedman, Bezalel Academy • Max Shlomovitz, independent artist • Michael Turner, Bezalel Academy • Nini Moshe, independent artist, cultural manager • Ron Glait, The Kibbutzim College of Education • Yeala Hazut, Beit-HaGefen Arab Jewish Cultural Center • Zahi Ubied, tourist guide

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B. QUESTIONNAIRES

A) Questionnaire for cultural professionals

1. Which are the organizations in your country that train cultural professionals in the field of cultural management, cultural policy,(production, marketing, animation and cultural mediation, heritage management, etc.)?

A) Universities, please specify: ______

B) Training centers, please specify: ______

C) National cultural institutions, please specify: ______

D) Foreign organizations, please specify: ______

E) Other, please specify: ______

2. Have you had the opportunity to participate in any of these?

A) Yes, as a participant (please list the most important ones: ______

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B) Yes, as a trainer (please list the most important ones: ______

C) Not in my country, but I took part in a training/educational programme abroad (please specify in which organization and where) ______

D) No ______

E) Other (as a consultant, mentor, coach, please specify: ______

3. If yes, could you identify these trainings/educational programmes without difficulty and were these easily accessible (selection, financial conditions…)? ______

4. Did they meet your expectations, and did they have a real impact on your professional career? ______

5. Do you think that in your country cultural professionals have easy access to relevant cultural management and cultural policies education and trainings? ______

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6. Are you acquainted with Arab, Mediterranean, MENA and other macro-regional trainings and do you have access to information related to the main players in this domain? ______

7. Are there any scholarships and grants for local and international trainings and major professional development programmes? ______

8. Would you say that programmes offered by foreign organizations in your country are adequate regarding local needs for professional development? ______

9. Would you say that existing trainings are satisfying the needs for professional development? If not, what needs are not fulfilled in this regard? ______

10. What knowledge and skills in the field of cultural policies and cultural management are needed in your country, which are not promoted by the existing training and other educational programmes?

A) Project /event management and art production B) PR and marketing/ communication skills C) Audience development D) Fundraising / project proposal writing E) Curating, programming F) Financial management G) Cultural management in a specific field (e.g. heritage, tourism, performing arts, creative industries, please specify:______) H) Career development/ Leadership I) Human Resources and communication skills J) Cultural diversity awareness and intercultural skills K) National and local cultural policies L) International and national cultural institutions and players M) International cooperation in the cultural field

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11. In what area of cultural professional career further advanced trainings would be needed (e.g. tourism professionals, accountants, please specify: ______

12. Do you think that in your country / local community there are already enough professionals who could be involved in training programmes more actively as trainers? ______

13. What kind of recommendations for development of the cultural management and cultural policies training and education programmes in your country would you give? ______

If you have any further comments, for example, recommendations for universities, decision-makers, etc. please feel free to express them separately as an appendix to this questionnaire.

B) Questionnaire for university professors in the cultural field

1. Are there programmes in your university that are related to the field of cultural management and cultural policy, heritage management, intercultural mediation, animation...? Please specify the name of the modules/courses/programmes: ______

2. Do you know when and why these programmes were introduced in the educational offer of your university? ______

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3. At what levels are those subjects tackled? Please specify (bachelor, master, doctoral): ______

4. What are the key courses and what disciplines do they cover (you may attach a curriculum if it suits you better)? ______

5. Are these courses/programmes attractive to students? What is the profile of the students taking part in these courses? ______

6. If there aren’t any courses/programmes of that kind in your university, do you have an idea why? Or what are the major obstacles to include these programmes? ______

7. Do you know of other universities in your country that provide programmes in cultural management and cultural policies? ______

8. Does your university organize vocational trainings in the field of cultural management, and do you know of others that do the same? ______

9. Do you have information regarding the employment of graduates in their respected professional field? ______

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10. Do you organize internships, workshops and so on in cooperation with other cultural organizations in your country and abroad related to cultural management/policies, and what are the forms of such cooperation? ______

11. Are there any plans to modify the curriculum, introduce new study programmes, courses/modules or other innovative subjects? ______

12. Have you established partnerships with other universities in the field of cultural management or cultural policies from your country or from abroad (e.g. joint master programmes) ______

13. What would be your recommendations for the improvement of the university study programmes in this field (to your university, to the Ministry of Culture, to the Ministry of Higher Education, etc.)? ______

C) Questionnaire for trainers involved in different programs (EU MED, Al MAWRED, Tunisia, Country of the Arts, etc.)

1. How would you define your training expertise (e.g. financial management, strategic planning, please specify: ______

2. How have you become a trainer? How did you gain your training expertise? ______

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3. For whom are you working as a trainer, can you list the most important training programmes that you were involved in as a trainer? (List the name of the programmes and if possible, web sites) ______

4. According to your experience, what are the best capacity building and cultural management training programmes in your country? In the region? ______

5. What are the weaknesses of the majority of the training programmes organized in your country? ______

6. How would you assess the contribution of those programmes to the development of cultural professionals in the region? ______

7. What are the main conclusions of training evaluations? ______

8. What would be your recommendations for improvement of the vocational trainings, what new topics, forms and methods of trainings you would suggest and so on... ______

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9. What are the profiles of participants in these trainings and according to you, should the trainings address specific groups of participants in the future (for example, representatives of rural areas, public/ private sector professionals)? ______

10. Are these trainings easily accessible? ______

11. Do you feel a need for the establishment of training centers in the field of cultural management in each of MENA countries? And in yours in particular? ______

12. Are there specific trainings related to the cultural management and creative industries such as in the film industry, publishing, the music industry? Is there any field that lacks specific training in terms of cultural management such as film, visual arts, performing arts, cultural tourism, cultural heritage... ______

13. Do you think that universities in your country and the region are preparing future cultural professionals that meet the standards of the sector and the needs of contemporary society? ______

14. Do you collaborate with universities? If yes, in which way? If not, are there any specific reasons for that? Would you be interested and is it possible to integrate your training/ course within university curricula? ______

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ANNEX C International MA in “Cultural Policy and • Letter of Motivation and a research Management”, Université Hassan II, Proposal; Casablanca • Curriculum Vitae (including supporting documents) RECRUITMENT OF STUDENTS • Students ‘reflections on cultural projects CONDITIONS AND ACADEMIC MOBILITY lacking in his /her country, future challenges to the cultural policy in his /her The degrees required to join the programme country; and community service he or she are BA or BSc. In case of a degree from experienced or finds interesting. a department other than the English departments, a good score of TOEFL (85 Many tracks potentially lead to this master minimum of the computer version and 500 programme. Potential graduates may come on paper-based versions) or 6.0 on IELTS is from the stream of cultural studies (or required. The specific pedagogic pre-requisites literature) in the departments of English or are good command of English, Arabic, and any other department whose input evolves French as well as basic knowledge about round artistic and cultural studies based in cultural matters. The selection procedures other departments nationwide or worldwide include candidate file, a written test and an provided that the candidates master both interview. English and Arabic. The number of students accepted each year The requirements for the application are as is twenty five, ten from Morocco and fifteen follows: from the Arab region.

PROGRAMME ORGANIZATION

Nature of the module N° of N° Module (Major Complementary/ Hours tool) 1 Cultural Management 45 Major Cultural Policy, Cultural Development Planning & Cultural 2 43 Major Rights 3 Cultural Mediation and Cultural Diversity 43 Major Human Resources Management in Culture and Cultural Semestre 1 4 43 Major Entrepreneurship 5 Cultural Activism and Animation, Community Work 43 Major 6 Cultural Diplomacy and International Cultural Relations 45 Complementary

TOTAL N° OF HOURS IN SEMESTRE 1 262

1 Strategic Planning (from analysis to evaluation) 45 Complementary 2 Models & Instruments of Cultural Policies 45 Major 3 Economy and Marketing of Culture (with Fundraising) 41 Major Management of Cultural Projects: from Concept to 4 47 Major Semestre 2 Evaluation 5 Cultural Legislation 43 Major 6 Management of Cultural Heritage 43 Major

TOTAL N° OF HOURS IN SEMESTRE 2 264

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1 Research Methods and IT 48 Complementary 2 Academic Writing 47 Tool 3 Cultural industries 40 Major 4 Cultural Trends in the Arab Region 43 Major Semestre 3 5 Financial Management and Budgeting 43 Major 6 Audience Development 42 Major

TOTAL N° OF HOURS IN SEMESTRE 3 263

1 2 3 TRAINING / TERM PAPER Semestre 4 4 5 6 TOTAL N° OF HOURS IN SEMESTRE 4

PARTNERNS OF THE PROGRAMME

INSTITUTION NATURE OF THE PARTERNSHIP University of Heldesheim, Germany Academic:Summer school, teaching, and supervision

INSTITUTION FIELD OF ACTIVITY NATURE OF THE PARTENRSHIP • FITUC (Festival • International festival • Internship and project design and International du implementation Théâtre Universitaire de Casablanca)

• FIAV (Festival International • International festival • Internship and project design and des Arts Vidéos) implementation

• Hassan II University of • Cultural matters • Internship, working on projects, Casablanca and running punctual events organised • Almawrid Athakafi by the university • Initiator and major sponsor of the programme

A memorandum of understanding has as the main coordinator and facilitator of the been signed between the three partners: program; it provides funds and manages Culture Resource, Hassan II University and the budget. Hassan II University hosts Hildesheim University. The parties have the program with regard to infrastructure, adopted a participatory approach while facilities, administrative matters and other designing, developing and establishing this regular university management tasks. It also master’s degree based on the findings and completes the procedures for university recommendations in the Feasibility Study accreditation of the program in Morocco. report and the MA program proposal drafted Hildesheim University assists with pedagogic by Pr Milena Dragicevic Sesic. Each party has and research work related to curriculum been responsible for additional tasks. Culture design, based on the past research and Resource, the initiator of the project, works program experience of the university.

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OBJECTIVES OF THE MODULES

MODULE 1 insight into mutual relations of cultural policy, law and economy, as well as knowledge about Cultural Management authors’ rights and international and national laws, necessary for running art projects The aim of this module is to provide students and for managing cultural organizations and with knowledge, insight and skills in the institutions. practice of managing creative people and organizations. This is achieved through the MODULE 3 analysis of theories, processes, and practices behind strategic planning and decision- Cultural Mediation making in arts organizations today. The focus is on the practice of good management This module maintains that the knowledge and effective leadership applicable to a and skills required to manage arts and culture range of organizational styles in the arts, cannot be gained solely from reading a considering and comparing the not-for-profit textbook (however good it is). Rather, cultural and commercial sectors. In addition to generic mediation/management is learned ‘on the management issues, students are asked to job’; it is emergent, lived and ‘experienced’ identify and analyze issues unique to the arts on a day-to-day basis. In this module students industry. Students are introduced to relevant have the opportunity to engage with a diverse case studies from a diverse range of arts group of leading arts and cultural organizations organizations to illustrate the application and senior arts and cultural managers, to hear of strategic planning, board governance, first-hand how they deal with the everyday managing creativity, human resource tensions involved in cultural management in management and project management. the 21st century. Students are introduced to a wide spectrum of practice, process, skills- MODULE 2 based and theoretical issues. Each session will also include guided discussion, informed Cultural Policy, Cultural Development by critical and cutting edge theory, relating to Planning & Cultural rights the topic of the week.

The goal of this course is to acquaint the Human Resources Management in Culture students with the necessary knowledge and Cultural Entrepreneurship and skills for the understanding of models This module helps students to acquire and instruments of cultural policy, as well as knowledge and skills in the field of human to enable them to get involved into cultural resource management and understand the policy debates and processes of lobbying basic concepts of HR development and and advocacy, to provide an overview of legal sociology of organization. It also introduces frames relative to culture in the Arab region. concepts related to HR such as team spirit, The course equally gives practical analysis leadership, and how to make collaborators of techniques and instruments and provides strive to reach the organization’s objectives.

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Learning outcomes to develop individual competencies and By the end of this module, students should be professional skills in this global field. It also able to: trains students in practices conducive to • Be familiar with ways of forming teams cultural diplomacy within the context of the and motivating them, political, economic and cultural pillars upon • Distribute tasks and get people involved in which sustainable international relations are achieving objectives, based. Special reference is made to pan- • Plan work to meet deadlines, Arab cultural relations/ cultural diplomacy and • Evaluate people’s effectiveness. cultural exchange.

MODULE 5 Strategic Planning

Cultural Activism and Animation, The goal of the module is to acquaint students Community Work with knowledge and skills of strategic management, organization development, This module explores literature and debates strategic planning, methods of strategic on cultural activism, which include a set of analysis and evaluation in culture. This module creative practices and activities that attempt also helps students develop consciousness to challenge dominant representations of about importance of strategic approach the world while presenting alternative socio- to decision making in cultural institutions political and spatial imaginaries in ways and about the need for generating and which challenge relationships between art, implementing specific development strategies politics, participation and spectatorship. The for cultural organizations. A special emphasis module also aims to present a small range is put on strategic management in turbulent of cultural activist practices that can change circumstances in transition countries, namely commonly- held constructions of the world in the Arab region. in a community such as culture jamming, subvertising, rebel clowning, etc. The broad MODULE 8 aim is to contribute to ways to change the status quo of cultural matters and suggest Models and Instruments of Cultural Policies alternatives that will engage audiences in a community, in the hope of developing This module addresses the two basic types opportunities for democratic debate and of cultural policy instruments: regulatory political advocacy. and economic instruments. The students are invited to describe and analyze models related MODULE 6 to the implementation of these instruments in the Arab region. The focus is on post- Cultural Diplomacy and International Arab spring arts policy and practice, with a Cultural Relations particular emphasis on the main developments that have contributed to the evolution of This module introduces an in-depth knowledge current policy. The module also examines of cultural diplomacy and international cultural the interrelationship of the many functions relations in all its facets, including soft power, and responsibilities of the departments of globalization, mutuality and cultural diversity. culture and investigates how instruments of It provides an opportunity for students cultural policy are implemented at a national,

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regional and city level. This module contains • Evaluate project costs and risks a component on study skills particular to the subject, including an evaluation of source MODULE 11 material, in particular policy documents and reports, and on more general areas of essay Cultural Legislation writing. This module introduces the general legal MODULE 9 framework related to the arts and cultural sector. It then focuses on two main areas Economy and Marketing of Culture (with relevant to all cultural sectors: contracts, Fundraising) copyright and intellectual property laws. Aspects of trade practices law and corporation The goal of this module is to present legislation will also be examined. A range of theoretical achievements of marketing in other issues are covered, including the limits culture, to get students acquainted with imposed on artistic expression by defamation possibilities for application of knowledge, law and censorship. instruments and techniques of marketing in cultural institutions, as well as in promoting MODULE 12 art projects and events. Students are trained to master strategies of public relations, Management of Cultural Heritage understand interconnections of programming and marketing strategies in relation to This module addresses heritage sector- audience development, and to international specific principles, policies, institutions and promotion of art works and projects. practices, and provides training in essential heritage management skills. It will help MODULE 10 students:

Management of Cultural Projects: from • Understand the major aspects of heritage Concept to Evaluation management theory and practice, • Gain practical experience in the heritage This module helps students acquire the sector, know-how of cultural project management. It • Develop knowledge and skills essential for introduces the notion of a project and how to today’s heritage-sector careers, implement the different stages of a cultural • Study the heritage capital of Arab region – project. It equips students with criteria and see heritage-management in action, mechanisms against which they can evaluate • Access state-of-the-art facilities, including their planned projects. laboratories, archives and libraries, • Use the latest techniques and equipment Learning outcomes: to build key practical skills, • Receive heritage careers advice from The students will be able to: heritage professionals with significant • Understand the components of a project, experience. • Design a project : planning, scheduling, resourcing, budgeting, and evaluating, • Evaluate the feasibility of implementing a project,

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Research Methods and IT adverbs, etc.) • Write abstracts and articles (or research This module aims to introduce students reports) using appropriate citation and to scientific research in cultural matters. It referencing, starts with introducing the foundations of • Use advanced MS Word applications research through different types of strategies (creating a table of content, footnotes, …) of research. Then it focuses on two major approaches of research, namely qualitative and quantitative. Within the framework of MODULE 15 these two approaches, different tools of data collection and analyses are elaborated and Cultural Industries explored through examples and case studies. Another objective of this module is how to The Cultural Industries module introduces use IT in research with reference to how students to the major cultural industries, to search online and how to use software as defined by the United Nations Creative programmes for data analyses. Economy Report (2008): heritage, arts and media. The focus is on the current situation Learning outcomes of these industries in the Arab region and After completing this course, the students their contribution to the social and economic should be able to: transformations that the Arab societies have • Identify and justify the choice of adopting been experiencing lately. a certain tool of data collection, • Analyse the data in accordance to its MODULE 16 nature and to the research strategy, • Analyse quantitative and qualitative data, Cultural Trends in the Arab Region • Use IT or computers to analyse data. This module aims at providing a good MODULE 14 understanding of the major cultural trends in the Arab region. The students are Academic Writing invited to discuss popular, traditional and contemporary cultural and artistic practices This module aims to make students familiar in use in different Arab societies. They are with academic writing features. It will help encouraged to identify, describe, compare, them have access to scholarly articles and analyze and evaluate these practices in the reports, including theses and dissertations. light of the deep social, economic and political It will also equip them with strategies of transformations that these countries have evaluating the accuracy and effectiveness of been experiencing recently. resources (theoretical or methodological) used as evidence in academic reports. MODULE 17

Learning outcomes: Students will be able Financial Management - Budgeting to: • Understand abstracts and structures of This module introduces students to the research-based articles, fundamentals of financial management and • Evaluate evidence in articles, budgeting in arts organizations. The course • Use academic style (choice of verbs, starts with an examination of the principal

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financial reports and introduces students • Evaluate critically current research and to the nature and type of transactions scholarship in the topics they want to undertaken by arts organizations, how investigate, these transactions are recorded in financial • Demonstrate reasonable mastery and statements and the steps necessary to adequate justification of techniques prudently manage arts organizations. In applicable to their own research and the second half of the semester, students scholarship, examine the preparation and evaluation • Apply knowledge in original and innovative of financial budgets in arts organizations. ways drawing upon previous research in Specifically students address the budgeting their academic field. process, budget preparation and the use of financial and performance measurement TIME systems. The timing for writing and finalising the thesis is one semester (4th semester); however, MODULE 18 the distribution of topics and the beginning of readings should be done in Semester 3 or Audience Development before the summer break of the first year.

This module identifies the core principles LOCATION of audience development and marketing for Trainings should take place in governmental organizations within the creative economy and non-governmental/national and and examines their application in practice. international arts and cultural organizations. The module enables students to develop Students’ choice should be discussed with the their understanding of audience development pedagogic team. strategies and activities undertaken by these organizations to grow and build sustainability ACTIVITIES in their operations, including the use of the There are five signposts which students will new information technologies. This module have to go through: helps students acquire the necessary skills 1. Approval of the research proposal and knowledge to plan and execute an submitted as an assignment in the audience development and marketing strategy previous semester. After discussing the for a cultural project or organization. project with a supervisor, the student presents his / her project in a PowerPoint TRAINING/TERM PAPER format in the presence of classmates and other professors, OBJECTIVES 2. Readings and review of the literature This module guides students to plan and which the students submit no later than a develop their own research study. It reinforces month, and implements previous knowledge of 3. Research methods: description, research methods. It finally helps students implementation, data collection and data to put into practice most of the amount analysis, of knowledge accumulated in previous 4. Findings and discussion, semesters. 5. Finalising: introduction and conclusion, Learning outcomes: Students will be able to: and an abstract. • Plan and implement an extended piece of research, Each student is expected to submit a research

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thesis of 14,000 to 15,000 words (excluding The general recommendations of the current references and appendices). Before doing report focus on three main interrelated so, s/he has to give presentations about the points. First, there is an urgent necessity to progress of his/her work. have a long-term vision and clear strategy for at least the ten coming years based on SUPERVISION fieldwork knowledge of the current situation Each student has a supervisor to provide to determine the real needs of training in guidance and further help. In addition the fields of cultural policies and cultural to regular meetings with students, the management at the local and regional levels. supervisor may be asked to attend the in- The objective of this strategy should be to progress presentations. The supervisors develop and consolidate the capacities of this write progress reports after each of the above sector at various levels. Second, this long-term signposts and give them to the coordinator of strategy will not lead to any of the expected the module. results if it is not the fruit of a participatory The students are encouraged to resort to approach which includes all the actors in the other professors for further advice and field: public authorities and policy makers at specially guidance in specific areas of all levels, civil society organizations working research. This should be done in discretion in the field, private sector, intellectuals, artists with the supervisor. and media organs. The third point concerns the adoption of an ongoing monitoring and EVALUATION evaluation approach that accompanies the The finalised theses are validated by the implementation process of this project, with supervisors. Then they are double marked well defined indicators for each phase of this by another professor. A viva in front of a jury process. consisting of a minimum of two members is compulsory. Process indicators, achieving 80% of the A consensus between the scorers and the objectives of the program modules quantity members of the jury is desirable. Otherwise, with a standard pedagogic quality ‘see section the scores are added up and an average is 9 for details) worked out The students have to score a minimum Outcome indicators, achieving 80% of the of 10/20 to pass this module. Scores are objectives of the program (see section 2 for calculated on the basis of scoring signposts details). by the supervisor, the score granted by the second reader, and the grade of the viva. The university with the support of The calculation of the final mark is done as governmental departments responsible for the follows: development of art and culture should • Mark by the supervisor: 50% (including • Create a cultural policy observatory, a grades by the evaluators of in-progress professional research center and debate at presentations) the national, taking advantage of the new • Mark by the second scorer: 25%, information technologies to complement • Mark granted by the (two) professors for the already existing efforts in this area. the viva: 25%. This initiative should allow more visibility in designing cultural policies in the RECOMMENDATIONS upcoming years.

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• Review and update artistic curricula for capacity building in cultural research in primary, secondary schools and and developing a national cultural universities at the national level and research agenda. This agenda may include support vocational training and life-long qualitative and quantitative studies about learning opportunities for professional the value of culture and about cultural artists. participation, using cultural statistics’ • Develop and implement an ongoing (see UNESCO-UIS 2012) and/or mapping field work research policy that aims at culturally significant places, adopting conducting surveys and mapping studies Geographic Information Systems (GIS) (for on creative/cultural industries on a regular a more detailed explanation of what GIS basis in order to preserve, develop, is and can offer, see: http://www.gis.com/ promote and disseminate information content/what-gis ). and knowledge on these industries for • Provide more financial, logistic support to sustainable development. This endeavor this project to secure its sustainability. requires the creation of a national cultural research fund, strengthening institutions

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