2016 UNESCO ifcd capacity building module en by Maro Haas

United Nations Educational, ScientiďŹ c and Cultural Organization

Diversity of Cultural Expressions

Module 4-1

Capacity-Building Workshop on Applying to the International Fund for Cultural Diversity

Facilitatorâ&#x20AC;&#x2122;s guide

Table of contents Foreword. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Unit 1: Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 1.1. INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Why a workshop on applying to the IFCD?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 What is the aim of the Facilitator’s Guide?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 How to use this guide?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 1.2. WORKSHOP STRUCTURE, TIME-FRAME AND METHODOLOGY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 What are the workshop’s objectives?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 What are the workshop’s expected results? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Programme. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Methodology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 1.3. PRACTICAL ARRANGEMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Who should participate in the workshop?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Where should it be organised?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Which partners can be involved in organising the workshop?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 How to run a successful workshop?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Evaluation of the workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 1.4. WORKSHOP MATERIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 What materials are available for the facilitator to conduct the workshop?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Which materials can be customized to local needs/specific audiences? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Unit 2: Understanding the context Sessions 1-3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 SESSION 1: GETTING ACQUAINTED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 SESSION 2: THE IFCD AND KEY CONCEPTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 What is the International Fund for Cultural Diversity?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 What are the IFCD’s main objectives?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 What is the UNESCO 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 What do we mean by “diversity of cultural expressions”?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Why is it necessary to protect and promote the diversity of cultural expressions?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 What is the cultural value chain?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 What are cultural and creative industries?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 How to understand effective policy development?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Fundraising strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 SESSION 3: COUNTRY AND REGIONAL CONTEXT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 How to organise a session on country and regional context? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Unit 3: Formulating the project proposal Sessions 4-6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 SESSION 4: PROJECT CHARACTERISTICS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 What is a project?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Project application. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 SESSION 5: APPLYING TO THE IFCD CALL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Learning to read guidelines and reference documents for the call. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Preparatory work for writing a project proposal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Basic eligibility requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 The IFCD supports projects from developing countries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 What type of projects does the IFCD not support?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 SESSION 6: WRITING THE APPLICATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Session 6.1: Basic information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Project title. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Applicant and contact person. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Key staff members. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 How to write a concise and convincing summary? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Session 6.2: Objectives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Defining SMART objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Session 6.3: Main activities and expected results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 How to formulate expected results?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Project activities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Time-frame for each activity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Are the expected results measurable? Quantitative and qualitative indicators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Contribution to the IFCDâ&#x20AC;&#x2122;s expected results. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Session 6.4: Beneficiaries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Direct and indirect beneficiaries: How to count them?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Session 6.5: Sustainable development, sustainability and long term impact. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Sustainability development is. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Sustainability of project results. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 How this relates to the Application Form?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Session: 6.6. Budget. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Budget. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Some budgeting tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Financial management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Unit 4: Next steps Session 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 SESSION 7.1: PROPOSAL EVALUATION AND DECISION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Who are involved in the process and what are their roles?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 How the proposal will be evaluated?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 How and when the decision is made about projects to be funded by the IFCD?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 SESSION 7.2: POST-APPROVAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Signing the contract. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Unit 5: Working on your own proposal Session 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 SESSION 8.1: DEFINING THE PROBLEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 SESSION 8.2: IFCD ON-LINE PLATFORM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 SESSION 8.3: DEVELOPING YOUR OWN PROPOSAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Annexes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Annex 1 | Workshop programme. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Annex 2 | Force field analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Annex 3 | Worksheet: Project title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Annex 4 | Worksheet: Defining objectives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Annex 5 | Worksheet: Identifying internal and external stakeholders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Annex 6 | Worksheet: Problem tree. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Annex 7 | Worksheet: IFCD results-based management framework. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Annex 8 | IFCD results-based management framework. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Annex 9 | Worksheet: Project draft. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Annex 10 | Workshop evaluation form. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

List of Figures

Figure 1: Number of Funded Projects per Region, 2010-2014. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Figure 2: The six largest book markets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Figure 3: CulturaL value chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Figure 4: Three pillars of sustainable development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Figure 5: The IFCD Call, application and selection process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Figure 6: Problem tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

List of Tables

Table 1: SMART principles for defining objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Table 2: SMART principles for defining results. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Foreword Speaking on the importance of contributing to the International Fund for Cultural Diversity (IFCD), UNESCO Director-General, Ms. Irina Bokova, said that “Investing in creativity sparks lasting change in societies”. Each year, the IFCD launches a call for projects to foster the emergence of a dynamic cultural sector through investing in structural changes and to promote sustainable development and poverty reduction in developing countries. From 2010 to 2015, the IFCD has provided around US $5.8 million in funding for 84 projects in 49 developing countries, covering a wide range of areas from the development and implementation of cultural policies to capacity-building of cultural entrepreneurs, mapping of cultural and creative industries and the creation of new cultural industry business models. For public authorities and non-governmental organisations from developing countries that are Parties to the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions, the IFCD is an excellent opportunity to foster developments in the culture and creative industry sector. In order to support the Parties in creating institutional and professional environments conducive to promoting the diversity of cultural expressions, UNESCO is developing a series of capacity-building activities and programmes in the framework of the 2005 Convention (including the present guide for the IFCD). The capacity-building workshops on applying to the IFCD will increase cultural operators’ knowledge and know-how about preparing sound proposals and raising funds for a change in their cultural environment. The purpose of the Facilitator’s Guide is to provide usable, practical information for facilitators who run training workshops on applying to the IFCD and to enable them to take ownership of their own training and continue to organise and deliver workshops.

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UNIT 1 â&#x20AC;&#x201C; INTRODUCTION

Unitâ&#x20AC;&#x2030;1:

Introduction This unit is designed to give a general overview of the aim of the guide and present some practical issues and useful tips for organising the workshop. It also supplies a basic structure and programme for the workshop and a short introduction to all the materials available.

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1.1. Introduction LEARNING OBJECTIVE:. To become familiar with the general aim of the workshop and the content of the Facilitator’s Guide.

Why a workshop on applying to the IFCD? Increasingly, cultural operators in developing countries are looking to state, federal, corporate and foundation funding sources to fund cultural initiatives that would enhance local community and socio-economic development. The aim of the capacity-building workshop on applying to the IFCD is to train representatives from public authorities/ institutions and non-governmental organisations from developing countries that are Parties to the 2005 Convention to successfully plan for and apply for IFCD funds. Taking part in a workshop does not guarantee that a cultural operator will receive funding. The real value of the training is that workshop participants will be gaining valuable experience developing a proposal in partnership with other stakeholders and incorporating it in a community’s decision-making process.

What is the aim of the Facilitator’s Guide? The Facilitator’s Guide is intended as a practical teaching aid for facilitators of workshops on applying to the IFCD. It will assist a facilitator in both the preparation and implementation phases of the workshop. It presents an outline of the workshop, explains all the basic facts, provides background information on each topic and gives practical tips and examples. Worksheets and other useful materials are included as well. The guide allows the facilitator to develop his/her own workshop and presentations from the multitude of materials it provides.

How to use this guide? The Facilitator’s Guide is divided into four units with several sub-units in each. “Unit 1: Introduction” gives a general overview of the aims of the guide and the workshop, as well as presenting some practical tips for organising the latter. “Unit 2: Understanding the Context” provides detailed information on the 2005 Convention, the IFCD and key concepts. “Unit 3: Formulating the project proposal” offers a variety of information on each step in developing project ideas and writing a proposal. “Unit 4: Next steps” contains useful information on how project proposals are evaluated and what happens after the applicant has submitted a proposal to the IFCD. “Unit 5: Working on your own proposal” provides exercises enabling participants to develop their own ideas and become familiar with the IFCD on-line platform. The guide details all the aspects covered in the workshop programme and relates to a presentation to be developed by the facilitator him/herself. Each unit is introduced by a learning objective and contains a mixture of lectures and interactive individual and group exercises. Throughout the programme, examples are used to highlight key points. The exercises are designed to address the main learning objectives as well as create an interactive atmosphere so that participants can discuss key issues and concerns. At the end of the guide a number of annexes provide other useful information: workshop programme, worksheets, materials on the IFCD, etc. Active participation is encouraged. We hope this will be an opportunity for participants to assimilate new techniques and ideas as well as to benefit from each other’s experience and find solutions. A “Further reading” list is also provided so that the facilitator and participants can undertake follow-up study.

1.2. Workshop structure, time-frame and methodology What are the workshop’s objectives? The primary objective of a capacity-building workshop is to train cultural operators from developing countries that are Parties to the 2005 Convention to develop sound proposals for the International Fund for Cultural Diversity. There are also several secondary objectives: To increase awareness of the 2005 Convention’s principles and objectives;

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UNIT 1 – INTRODUCTION

LEARNING OBJECTIVE: To learn the best options (in terms of programme, time-frame and methodology) for organising a successful workshop.

To strengthen applicants’ capacity to develop and write successful funding proposals; To build knowledge about cultural policies and cultural and creative industry

developments in the individual countries and regions; To network with other cultural operators and understand the necessity of building

partnerships.

What are the workshop’s expected results? On completion, a participant will be able to: Plan and write proposals for the IFCD; Understand the framework of UNESCO, the 2005 Convention, the IFCD and its funding

priorities; Demonstrate awareness of key requirements for submitting successful proposals to

different funding bodies in the field of culture; Understand national and regional contexts in the field of cultural policies and cultural

and creative industries and identify key problems; Improve networking skills and develop partnerships with other stakeholders.

Programme The facilitator can choose the overall length of the workshop. The minimum is one full day and the maximum two and a half days. Suggested workshop programmes are provided in Annex 1. You must consider all the practical arrangements if the workshop lasts more than one day. Give some thought to accommodation and an evening programme for workshop participants if they have to travel far. It is advisable for there to be two workshop facilitators because it is difficult for both the facilitator and the participants if one person conducts the workshop all day long. However, if there is only one workshop facilitator, then you need to structure the workshop so that theoretical presentations alternate with practical group or individual exercices. You may also consider inviting guest lecturers: cultural policy-makers could explain the country context and give an overview of cultural policy and cultural industry developments in the country; or a successful applicant who has already received support from the IFCD could share know-how on writing and implementing a project. An optional programme for the workshop is provided in Annex 1. It is designed to cover two and a half days. However, the facilitator is encouraged to amend the proposed programmes

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depending on the length of workshop required and participants’ previous knowledge. The workshop should include the following sessions: Introduction 1. Interactive game for getting acquainted 2. The IFCD and key concepts 3. Country and regional context 4. Project characteristics 5. Applying to the IFCD call 6. Writing the application 6.1 Basic information 6.2 Objectives 6.3 Main activities and expected results 6.4 Beneficiaries 6.5 Sustainable development, sustainability and long-term impact 6.6 Budget 7. Next steps 7.1 Proposal evaluation and decision 7.2 Post-approval 8. Working on your own proposal 8.1 Defining the problem 8.2 IFCD On-line Platform 8.3 Developing your own proposal

Methodology The guide provides numerous exercises. The facilitator can choose the most appropriate ones or reduce the number if the workshop is planned for less than two and a half days. We suggest using a mixture of passive and participatory teaching methods. For passive teaching methods, the facilitator is encouraged to include audiovisual materials and actual examples, while participatory methods such as discussion and practical exercises are recommended for every session.

1.3. Practical arrangements LEARNING OBJECTIVE:. To provide the facilitator with all the practical information necessary for organisation of the workshop.

Who should participate in the workshop? General conditions No participation fees are required from participants. If the workshop is not organised in the participants’ native language, you should consider the need for interpretation. Bear in mind that this will slow down proceedings. Translation of some handouts might also be necessary.

Target audience The workshop is designed for potential applicants to the IFCD. It is for representatives from: Public authorities and institutions from developing countries that are Parties to the

2005 Convention; Non-governmental organisations (NGOs) and non-profit organisations (NPOs) from

developing countries that are Parties to the 2005 Convention.

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Priority should be given to representatives from the above-mentioned groups. However, other participants from groups that are not eligible for the IFCD could be encouraged to take part in the workshop to build alliances with the applicants and exchange information concerning country context (see Session 5, information on eligibility). As the workshop includes many practical and interactive tasks, it is advisable to limit the number of participants to 20-25. This size makes it possible to get feedback, work in smaller groups and discuss open questions in the course of the workshop. Moreover, in small groups of this kind, participants will be able to communicate with each other and develop partnerships. If you expect a large number of potential participants, you should consider the selection criteria and process before announcing the workshop. It is important to select the right communication channels to reach your target audience. Think about the most appropriate method: poster advertising, direct phone calls to key persons in the community, emails to potential participants and key organisations in the field, or an on-line Application Form (Google Docs1 is an easy and user-friendly way of creating such forms). When selecting participants, try to maintain gender balance and ensure that they represent a variety of sectors and legal structures. A good mixture of participants from both the public sector and NGOs will give added value to your workshop, as participants will be able to learn from and network with each other.

Where should it be organised? You will need a venue appropriate to the planned number of participants and preferably equipped with a computer, overhead projector for presentations, flip chart, etc. An Internet connection would be an advantage. If participants are seated in a circle, this will create a better atmosphere and facilitate discussion. You should also consider dividing participants into smaller groups (three to five in number), which means that the venue has to be sufficiently large: ideally there will be additional rooms where some groups can have separate group sessions. You will also need a space for coffee/tea breaks and lunch. Participants need a short break every 2½-3 hours and a longer (lunch) break in the middle of the day. It is advisable to visit the venue before deciding how to organise the workshop. You should discuss all the details with the venue owner and sign a contract if necessary.

Which partners can be involved in organising the workshop? The main organiser/facilitator of the training will be UNESCO, including its Field Offices, with the involvement of experts. Main responsibilities of each partner:

IFCD Secretariat Deciding on the organisation of the workshop in a particular country/region and

contacting the UNESCO Field Office; Deciding on the workshop’s main facilitator and practical arrangements with the

UNESCO Field Office.

1. www.google.com/docs/about/

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The role of the UNESCO Field Office/National Commission as either the main organiser or the co-organiser will be to: Cooperate with the facilitator to finalize the programme (involving local experts where

necessary) and prepare an open call for participants if necessary; Advertise the workshop directly to target groups and select the participants; Take care of all the practical arrangements (venue, equipment, etc.) for the workshop.

Other partners and contributors If the UNESCO Field Office and/or National Commission cannot provide appropriate facilities for the workshop, it is possible to contact other cultural organisations (e.g. Ministry of Culture, public cultural institutions) or businesses (e.g. hotels) to work in partnership with them. Public policy-makers (e.g. Ministry of Culture, city council, regional council, etc.) should be contacted to take part in designing and organising the workshop. Their representatives might be involved as experts/lecturers on such issues as policy developments and country context. They could also become financial sponsors of the workshop. And they should certainly be involved in advertising the workshop to the target audience. You might also consider involving other cultural organisations in organising the workshop (e.g. a successful applicant from your own or a neighbouring country).

How to run a successful workshop? Facilitators play a very important role in creating a respectful, positive learning environment during a workshop. Here you will find some tips on facilitating a workshop effectively.

Planning Success of the workshop will to a large extent depend on how well you have prepared and planned it beforehand. Make every effort to sort out the logistics beforehand; you will then be able to focus on the workshop content. Arrive early and check that your equipment is working properly. Be prepared to make adjustments to the content: you may sometimes have to drop some activities, but the most important thing is to meet the overall goals of the workshop. Be prepared for questions. Familiarize yourself with the topic and the workshop content, but you donâ&#x20AC;&#x2122;t have to know all the answers. You can ask other participants what they know about the topic, or you can find the answers later and share them with the participants after the workshop.

Atmosphere It is very important that there should be a good atmosphere and an environment conducive to participation and learning during the workshop. Below are some tips: Make sure everybody has a chance to participate. Plan small group activities and direct

questions at different participants. Be careful to avoid lengthy discussions between two

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people that may exclude the other participants. Emphasize the importance of sharing and listening to different opinions. Mix different types of people in each group. For example, don’t put friends or members

of the same organisation in the same group. If people are encouraged to interact with others, they can learn to look at things from different perspectives. Try to read the group’s emotions and reactions and see what is not being said or who is

not speaking.

Presentation Based on the materials provided in this guide you must prepare your own presentations. The most popular option is usually Powerpoint, but there are alternatives.2 Here are some general tips for organising a good presentation: Slides must be an illustration of your presentation, not the presentation itself. They

should underline and reinforce what you are saying but not include full paragraphs of text. It is better if you have handouts of your slides and other additional information for each participant. Visual design of your slides is important. On the one hand, visual images keep audiences

engaged, but on the other they can sometimes be an unnecessary distraction. Therefore use images only when they add important information or clarify an abstract point. Reflect and summarize: where possible include summaries in your presentation.

Evaluation of the workshop At the end of the workshop it is advisable to discuss with participants their impressions regarding skills and knowledge gained and to encourage them to share their opinions about the management of the workshop and ask questions.

EXERCICE: You can ask each participant to reflect on some of these questions: > What was the most valuable idea or piece of information that you took from the workshop? > What was new to you? > What do you see as the biggest challenge of working on a project application? > What would be your advice to someone who intends to write a project application? > Choose just one word to encapsulate your mood after the workshop, e.g. confidence, satisfaction, determination, confusion, etc.

After the workshop, ask the participants to fill in an evaluation form (see Annex 10). It helps the facilitator evaluate the work and identify the workshop’s strengths and weaknesses as well as offering additional information about participants. The evaluation form is also vital when writing a report on the workshop: it provides valuable information for the organisers and funders of the workshop.

2. Read the following article to learn more about alternative presentation software: www.customshow.com/bestpowerpoint-alternatives-presentation-programs/.

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1.4. Workshop materials LEARNING OBJECTIVE:. To provide concise information on materials available for the workshop.

What materials are available to the facilitator to conduct the workshop? Facilitator’s Guide The Facilitator’s Guide has been prepared as a practical teaching resource and aid for facilitators of workshops on applying to the IFCD. It also includes a “further reading” section.

IFCD Annotated Guide The purpose of the IFCD Annotated Guide is to help applicants to the IFCD formulate effective project proposals using the IFCD On-line Application Form. It is available on-line at. https://en.unesco.org/creativity/sites/creativity/files/ifcd_annotated_guide_en.pdf

Which materials can be customized to local needs/specific audiences? The session on country and regional context (Session 3) should take into account specific developments in the relevant country/region relating to cultural policies and the cultural and creative industries. You might consider inviting a local expert to bring additional perspective to this session. The Facilitator’s Guide also includes examples from IFCD-supported projects and from actual or hypothetical proposals. The facilitator may substitute examples from his/her region.

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Notes and observations

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UNIT 2 – UNDERSTANDING THE CONTEXT. SESSIONS 1–3

Unit 2:

Understanding the context Sessions 1-3 This unit gives tips on introducing and discussing all the basic issues of the Convention and the main objectives of the IFCD. Key concepts are also clarified. The unit also proposes some ideas for explaining country and regional context. It will be useful for developing presentations for Sessions 1-3 of the workshop.

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Session 1: Getting acquainted LEARNING OBJECTIVE:. To choose an appropriate activity for introducing people to each other.

It is advisable to spend some time on introductions at the beginning of the workshop. The general atmosphere will be better if you choose an interactive game for introducing people to each other. Some ideas:1 One-minute intros: Everyone in the group gets one minute (you need a firm timekeeper

for this!) to introduce themselves in whatever way they want. This allows for different types of expression such as dance, song or just speaking. “Buddy pairs”: One helpful way to build in reflection and support is to pair people up

into “buddies” at the beginning of the training. It is important to “randomize” selection so that people do not end up with people they already know: one way to do this is to create circles, one inside the other, of people holding hands, with equal numbers of people. Then you have each circle rotate a different way; when you say stop, people will be facing their “buddy”. You can have “buddies” reporting back to reflect and share what they are learning at different points throughout the training. Goal-setting: It is important to allow time for a discussion about goals. It can be helpful

for you as the facilitator to explain the overall goals set out for the training and also to invite participants to think about and share their own personal goals for learning. You might want to do this in “buddy pairs”, or small groups first, followed by asking for examples in the larger group so that you can build a common sense of the goals people have for the workshop.

Session 2: The IFCD and key concepts What is the International Fund for Cultural Diversity? LEARNING OBJECTIVE:. To provide participants with the information they need about the UNESCO 2005 Convention, the IFCD and key concepts, which is important for designing a sound project proposal for the IFCD.

The International Fund for Cultural Diversity is a multi-donor voluntary fund established under Article 18 of the UNESCO 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions. Its purpose is to promote sustainable development and poverty reduction in developing and least developed countries that are Parties to the 2005 Convention. It is the valuable contribution from governments, in particular, that in 2010-2014 enabled the IFCD to provide around US $5.3 million in funding for 78 projects in 48 developing countries. These projects cover a wide range of areas from development and implementation of cultural policies to capacity-building for cultural entrepreneurs, mapping of cultural and creative industries and creation of new business models for cultural industries.

1. You can find more workshop facilitation games and tips here: http://workshops.350.org/facilitation/

UNIT 2 – UNDERSTANDING THE CONTEXT. SESSIONS 1–3

NUMBER OF FUNDED PROJECTS PER REGION, 2010-2014

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FIGURE 1:

Total number of projects: 78 East Europe Multiregion

7(8.97%)

Arab States 3(3.85%)

1(1.28%)

Asia and Pacific 7(8.97%)

Latin America and the Caribbean Africa

22(28.21%)

38(48.72%)

Source: IFCD.

What are the IFCD’s main objectives? The main objective of the IFCD is to invest in projects that lead to structural change through:

1. Introduction and/or development of policies and strategies that have a direct effect on the creation, production and distribution of and access to a diversity of cultural expressions, including cultural goods, services and activities.

For example “Measuring the economic contribution of the audiovisual industry”. The former Yugoslav Republic of Macedonia The project aims to map the audiovisual industry in the Former Yugoslav Republic of Macedonia (FYROM) and to identify successful and innovative practices in the sector. Funds allocated: US $74 740.00.

2. The strengthening of professional capacities and organisational structures to support viable local and regional cultural industries and markets.

For example “Encouraging creative entrepreneurship in South Africa” This project aims to train members of marginalised communities from the Cape Town area in recycled arts and to give them the skills to set up micro businesses related to carnivals and festivals. Funds allocated: US $81 000.00.

Additionnal information IFCD website: http://en.unesco.org/ creativity/ifcd IFCD-supported projects: http://en.unesco.org/ creativity/ifcd/discoverprojects/database-fundedprojects Statistics on IFCD-funded projects: http://en.unesco. org/creativity/ifcd/discoverprojects/statistics-ifcdfunded-projects

EXERCICE: Introduce the IFCD website (http://en.unesco.org/creativity/ifcd) and, if possible, give a short demonstration of this website and its resources.

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What is the UNESCO 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions? Additionnal information More information on the 2005 Convention: http://en.unesco.org/ creativity/convention Basic Texts on the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions. UNESCO. 2013. Available from: http:// en.unesco.org/creativity/ sites/creativity/files/ convention2005_basictext_ en.pdf

UNESCO draws up legal instruments in the form of declarations, recommendations and conventions, which are adopted by UNESCO Member States. Conventions are binding legal instruments for their parties. They have to be ratified by the signatory States. The 2005 Convention is a legally binding international treaty that ensures that artists, cultural professionals/practitioners and citizens can create, produce, disseminate and enjoy a broad range of cultural goods, services and activities, including their own. It was adopted because the international community was urgently calling for implementation of international legislation that would recognize: the distinctive nature of cultural goods, services and activities as vehicles of identity,

values and meaning; that while cultural goods, services and activities have important economic value, they

are not mere commodities or consumer goods that can only be regarded as objects of trade. It supports mechanisms that foster creativity and the emergence of dynamic cultural and creative sectors as a tool for inclusive economic and social development, including mechanisms that encourage local production, development of local markets and access to platforms for distribution and exchange worldwide.

What do we mean by “diversity of cultural expressions”? According to Article 4 (“Definitions”) of the 2005 Convention: “cultural diversity” refers to the manifold ways in which the cultures of groups and societies find expression. These expressions are passed on within and among groups and societies. The IFCD promotes diversity of cultural expressions through diverse modes of artistic creation, production, dissemination, distribution and enjoyment, whatever the means and technologies used. These expressions include cultural goods, services and activities, whether in the form of words (literature, spoken word), sound (music), images (photos, paintings and films), movement (dance, theatre) or objects (sculpture, design, crafts) and in any format (live, print, audiovisual, digital).

Why is it necessary to protect and promote the diversity of cultural expressions? Economic globalization and digitalization have significantly changed the production, distribution and consumption models of artistic production worldwide, specifically in the fields of cultural and creative industries such as music, film, publishing, photography, design and the visual arts. Transnational cultural conglomerates dominate and control the global market, and smallscale local cultural production and artworks cannot compete with such huge production and distribution companies. Therefore measures are needed to protect and promote the diversity of cultural expressions produced and distributed in different countries and their local/national markets. Cultural and creative industries are particularly in need of support mechanisms as they have to compete in a global market. The 2005 Convention is one specific mechanism acting to promote this diversity.

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For example

FIGURE 2:

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“In a growing number of emerging economies, the market for books and publishing has expanded over the past two decades. At a global level, however, the industry is still dominated by just a few markets. The six largest markets account for almost two thirds of the global value created by publishers.”2

THE SIX LARGEST BOOK MARKETS (%, 2012)

26% United States

39% Rest of the world

12% China

3% United Kingdom

France

Japan

8% Germany

Breakdown of the largest book publishing markets as percentages of total revenue, based mostly on 2012 data. Various sources, compiled by Rüdiger Wischenbart for the International Publishers Association (IPA, www.internationalpublishers.org). Source: Wischenbart, R., 2014. Global Trends in Publishing 2014.

Despite such a rich diversity of languages in the world today, the chances of all 6,909 languages surviving in the book publishing business are decreasing rapidly. Publishers working with lesser-used languages are in need of various kinds of support and incentives. This is why the IFCD is funding a project that aims to diversify and strengthen minoritylanguage publishing industries in Haiti, Kenya, Nigeria and Serbia through policies that promote them and the development of a market for minority-language publishing.

2 Wischenbart, R., 2014. Global Trends in Publishing 2014: An overview of current developments and driving forces in the transformation of the international publishing industry. Presented at Franfurter Buchmesse, October 7-12, 2014.

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What is the cultural value chain? FIGURE 3:

CULTURAL VALUE CHAIN

CREATION

ENJOYMENT PARTICIPATION

PRODUCTION

DISTRIBUTION DISSEMINATION

The cultural value chain stretches from the original idea for a product or service all the way through to its consumption and enjoyment by its audience. It shows that a great number of stakeholders are involved: creators, producers, distributors, public institutions, professional organisations, etc. The cultural value chain consists of the following stages: Creation: refers to the inventiveness, exploration and conception of the content that

forms the raw material for the cultural and creative industries. Example: creating a tune or a literary text. Production: is the assembly of all the elements (supplies, equipment and professionals)

necessary for the realization (materialization) of cultural goods, services and activities. Example: shooting a film or recording a song. Distribution/Dissemination: involves bringing cultural goods, services and activities to

the public. Example: marketing of an e-book or a live theatre performance. Participation/Consumption: is the audience using and enjoying cultural products

and participating in cultural experiences. This can be active (usually called cultural participation) or passive (usually referred to as cultural consumption). Example: dancing or visiting an art gallery. The following three transversal domains may also be included for their key role in the cultural value cycle: education and training; archiving and conservation; and equipment and supporting materials. The cultural value chain is a continuous, interdependent and flexible model. Depending on the nature of each cultural expression, some stages may be conflated, more important than others, or even absent. Consequently, the interactions and interlinkages between the different stages are complex.

UNIT 2 – UNDERSTANDING THE CONTEXT. SESSIONS 1–3

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What are cultural and creative industries?

The cultural and creative industries are those sectors of activity that have as their main objective the creation, production, distribution and consumption of goods, services and activities that have cultural and artistic content. According to Article 4 (“Definitions”) of the 2005 Convention, the term “cultural industries” refers to industries producing and distributing cultural goods or services. And “cultural activities, goods and services” refers to those goods and services, which at the time they are considered as a specific attribute, use or purpose, embody or convey cultural expressions, irrespective of the commercial value they may have. Cultural goods are defined as consumer goods that convey ideas, symbols and ways of life, i.e. books, magazines, multimedia products, software, recordings, films, videos, audiovisual programmes, crafts and fashion, while cultural services are aimed at satisfying cultural interests and needs. Such services do not take the form of material goods themselves but facilitate the latter’s production and distribution. For example, cultural services include licensing and other copyright-related services, audiovisual distribution, organisation and promotion of performing arts and cultural events, as well as cultural information services. The dual economic and cultural nature of cultural goods, services and activities has been acknowledged by the global community, which recognizes them both as bearers of identity, values and meaning and as drivers of inclusive economic and social development. The main characteristics of the cultural and creative industries are: They are at the intersection of the economy and culture. They have creativity at the core of their activities. They have artistic or cultural content. They are linked to innovation and creative renewal.

How to understand effective policy development?

According to the 2005 Convention, “cultural policies and measures” refers to those policies and measures relating to culture, whether at the local, national, regional or international level, that are either focused on culture as such or are designed to have a direct effect on cultural expressions of individuals, groups or societies, including on the creation, production, dissemination and distribution of and access to cultural activities, goods and services. Even though cultural policy frequently concerns instruments (legal and financial) and objectives in particular art and culture sectors (visual arts, theatre, literature, etc.), more

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and more often art and culture policies are considered in a broader context, encompassing the concept of “culture and development”. It is suggested that cultural policy needs to have a social, economic and development dimension. The scope of cultural policies has to be broadened as they form part of public policy and help to improve quality of life, contributing to sustainable development in a country. Effective policy development has the following characteristics:

1. It is evidence-based: decisions by policy-makers are based upon the best available evidence from reliable sources.

For example An IFCD project in Croatia helped the Zagreb city government produce evidence, through mapping, of the creative sector’s contribution to local social and economic development. The information and data that was collected has informed policy-making processes and ensured effective policy action, such as the creation of the Creative Industries Centre in the Croatian Chamber of Commerce.

2. It is inclusive: the process involves and meets the needs of all those affected by the policy. For example The IFCD funded a project in Togo for multi-stakeholder cooperation on policy development. The Ministry of Culture, together with local authorities, researchers, civil society organisations and artists, developed a strategic action plan with clear objectives and indicators for the purpose of implementing cultural policy, adopted by the Council of Ministers of Togo in March 2011.

3. It is holistic: it looks beyond institutional boundaries, involving stakeholders from different sectors to deliver cross-cutting objectives.

For example Through a project in Morocco, the IFCD is supporting cross-sectoral cooperation and partnerships so that the participation of a broad array of stakeholders, including representatives from several ministries, local authorities, civil society organisations and cultural practitioners, can lead to policy recommendations that could strengthen effective policy development in the field of cultural and creative industries.

4. It is forward-looking: policy-makers take a long-term view to ensure the impact of the policy.

Fundraising strategy The IFCD invests in creative and structural foundations in developing countries: cultural policies, markets and skills. By investing in creativity, we can help transform societies. It is contributions from governments, individual donors, etc., that enable the IFCD to provide funding to cultural projects in developing countries. In order to www.youtube.com/watch?v=NxVrVE1HYcU

strengthen the impact of the IFCD, a five-year fundraising strategy has been launched. It will be running from 2013 to 2018 in order to position the IFCD as a high-profile and strongly supported fund capable of realizing the 2005 Convention.

Additionnal information The financial aim of the fundraising strategy is to triple the IFCD’s annual income by reaching out to all governments and gradually expanding the network of funding partners and donors to include the private sector and high net worth individuals.

Who can contribute to the IFCD?

IFCD Fundraising and Communication Strategy http://en.unesco.org/ creativity/sites/creativity/ files/sessions/221064e.pdf

1. Parties to the 2005 Convention. Parties to the Convention are encouraged to donate the equivalent of at least 1% of their total contribution to UNESCO to the IFCD. By June 2015 the total contributions received – from 48 countries – came to over US $7.5 million.

2. Individual donors. By June 2015, total contributions received – from 22 individual donors – came to US $6,877.38.

3. Private sector. The private sector is encouraged to contribute to the IFCD. This will make funds available to micro, small and medium enterprises (SMEs) of the private sector active in the cultural field of developing countries that are Parties to the 2005 Convention, up to the limit of available funds from contributions provided by the private sector. So far, the IFCD has not received any contributions from the private sector and therefore SMEs cannot yet apply to the IFCD.

The full list of donors can be found on: http://en.unesco.org/creativity/ifcd/support-fund/ who-support-ifcd

4. How to contribute to the IFCD.

Potential donors have to contact the IFCD to learn more about different ways of contributing and to discuss possibilities for cooperation and specific areas of interest.

Individuals can donate easily by wire transfer or cheque: http://en.unesco.org/creativity/ifcd/support-fund/contribute-now

Session 3: Country and regional context How to organise a session on country and regional context? Understanding the country and regional context and particularly policy developments in culture is one of the prerequisites for a successful project proposal. The pre-selection panel assesses how proposal objectives will meet the current needs and priorities of the country/ region in terms of cultural policies and/or cultural and creative industries and the potential impact of the proposed activities in these fields. Once your project proposal is pre-selected, international experts look at the relevance of your project in greater detail, analysing how it responds to the needs of beneficiaries and its impact on cultural policies and the potential for structural change. They also assess how the project relates to and complements work already being carried out in the country/region in terms of cultural policies and/or industries. Therefore you should provide comprehensive information on the main problems your project will address and explain the context and relevant policy developments in your country and region so that the international experts can grasp the issues straight away.

LEARNING OBJECTIVE: To understand how to organise sessions based on country and regional context. Applicants will learn how to formulate the project proposal in response to urgent local and national needs and to fill in Section 4.3 of the Application Form (“Local context and complementarity of the project”).

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UNIT 2 – UNDERSTANDING THE CONTEXT. SESSIONS 1–3

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To organise a successful session, we recommend following these steps:

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1. Explain policy developments in your country. If relevant, invite a local expert to give a concise introduction on policy developments in the field of culture. The expert could be an independent researcher, a university lecturer, or a policy-maker from the Ministry of Culture or similar institution.

2. Provide relevant information. Introduce participants to existing information (cultural policy documents, statistics, conference proceedings, etc.).

3. Exercises. Let participants themselves formulate the needs and shortcomings of existing cultural policies on the regional, national and local levels. Drawing a problem tree or conducting a force field analysis could provide a useful framework for this assignment.

4. Relevance to the Application Form. Show the Application Form and discuss examples of how this information should be presented in it. We suggest including the following questions in this part of the session: Main players and key functions of cultural policies in a country. Is there a stated cultural

policy in the country, city or region? Who is in charge of implementing cultural policies? Which cultural sectors are addressed by the cultural policy? Which are neglected? Cultural policy model; legislation and regulations; types of action; subsidy approaches;

distribution systems; etc. Cross-cutting cultural issues: economy, employment, education, development, environment,

etc. Which of these issues are addressed by current policies? By which players? National vs international culture; regional and international cultural cooperation;

existing policy initiatives. Employment patterns in the cultural and creative sectors; major problems and obstacles. Cultural and creative industries and public incentives supporting them.

Different sources of information Useful information about international, regional and country context can be found in various existing sources. It is important to outline the most significant facts for participants and provide them with a full list of potential resources. Participants have to grasp local needs in terms of policy developments and also be able to explain them in Section 4.3 of the Application Form (“Local context and complementarity of the project”). Even lack of information (statistics, studies or surveys) could be an important argument for developing activities in this field. Below are some examples of information sources, but you should develop your own list of resources depending on the information available in your country. Cultural policy documents: Provide a list of cultural policy documents. You should

consider relevant information on cultural policies as well as other policies that may affect the cultural field (education, regional development, employment, etc.) on the local, national and regional levels. Cultural research: Cultural research is a valuable source of information. Find out

whether there are any national/regional quantitative or qualitative studies available. If not, consult international databases3 for relevant information. 3. The International Database of Cultural Policies (WorldCP: www.worldcp.org/) is a central, web-based and continuously updated database of country-specific profiles of policies that relate to culture. Currently there are a limited number of cultural policy profiles from countries outside Europe, but new profiles are constantly being uploaded.

UNIT 2 – UNDERSTANDING THE CONTEXT. SESSIONS 1–3

Statistics: General statistics on a country’s population, employment, education,

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etc. (depending on the project’s main theme) can provide substantial contextual information. When completing Section 4.3 of the Application Form, bear in mind that the experts who will read it come from different parts of the world and are not necessarily familiar with the general context and problems of your country or region. Therefore very basic information on the country must be briefly presented to place your country in a broader context. More specific information in relation to your theme will be covered by cultural statistics. Even the number of theatres in a country or an overview of the cultural education system may provide a good understanding of the context (look for data connected with the problems described in your proposal). If your country lacks comprehensive and reliable national statistics, you can check what is available from international sources such as the UNESCO Institute of Statistics.4

Identification of local needs Applicants should be encouraged to discuss local problems relating to cultural and creative industries and cultural policies. What are the most significant problems? Which groups are affected by these problems (e.g. cultural consumers/participants of a particular gender, age or socio-economic status; individual artists; cultural operators; producers or distributors of cultural products, etc.)? From the point of view of the beneficiaries, what are the most important issues? It is not the workshop’s task to come up with solutions, but you can discuss possible solutions. It is the projects’ task to propose solutions for the problems identified. Choose one of the exercises for identification of local needs relating to the cultural and creative industries and cultural policies.

EXERCICE: Problem tree Sometimes it is hard to identify the main problem. The problem tree is a method of mapping out core problems and negative aspects of a given situation, along with their causes and effects, that helps project planners to identify clear and manageable objectives. It is described in Unit 5 and in the Annex 6 worksheet (“Problem tree”). Force field analysis Force field analysis5 is a technique based on the premise that change is a result of a struggle between forces of resistance (forces that impede change) and driving forces (forces that favour change). By using force field analysis you can learn which course of action will be the best to implement because it will have the most driving forces and the least forces of resistance. See Annex 2 worksheet (“Force field analysis”).

4. The UNESCO Institute of Statistics (www.uis.unesco.org/) is a primary source for cross-nationally comparable statistics on education, science and technology, culture and communication for more than 200 countries and territories. In the Document Library section (www.uis.unesco.org/Library/Pages/default.aspx) you can find useful publications on cultural industries, cultural employment, etc. Particularly helpful are the ‘Creative economy’ reports. 5. Exercise from www.wpro.who.int/publications/docs/hsp_mod1_D7DC.pdf

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How this information relates to the Application Form?

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Explanation of local context and relevance to other initiatives in the culture sector should be entered in Section 4.3 of the Application Form. 4.3 Local context and complementarity of the project with regional, national and local policies/ measures/ programmes/ projects: Please identify and explain the specific needs, priorities and challenges (economic, political and social aspects) faced by your sub-region / regions (depending on the scope of your project) in the field of culture, and indicate how your project is designed to respond to them in a targeted and direct manner. (Max. 400 words)

Please provide information about policies/ measures/ programmes/ projects already started at the national and/or local level responding to the specific needs, priorities and challenges previously described. Indicate whether and how these policies/ measures/ programmes/ projects will be associated with your project, and what value your funding request adds to the work that is already being carried out in your field.

In this section of the proposal applicants are asked to describe the project’s social, economic, political and cultural background. At first glance, this section may seem similar to one that asks to provide “background” or “introductory” information on the project; however, this section actually lays the foundation for the project’s “selling points”.

Note You may find it useful to start from the general and work towards the specific. Consider beginning by describing the extent of the problem in the community/city/country/region and why it is important. It is best to focus on the principal points and to avoid including tangential information just for the sake of demonstrating the depth and breadth of your knowledge. It is important to make the connection between the applicant organisation and its proposed project for improving the situation. Bear in mind that this section should not be a socio-economic/political critique of the current situation but rather objectively demonstrate a thorough understanding of the economic, social and political challenges, needs and priorities in the relevant field of activity and how the organisation plans to respond to them. Furthermore, the objective of this section is to place the project proposal in relation to other efforts on the ground and to show how the project will: ●●

extend work that has been done previously;

●●

avoid the mistakes and/or errors that have been made; and

●●

serve to develop stronger collaboration and synergies between existing initiatives.

In determining the value the project adds to the work already being carried out in the country, it is important to consider the reasons for which the organisation is uniquely suited to implement the proposed project – geographic location, expertise, prior achievements in this area, close relationship to beneficiaries, etc. It is best to remain as objective as possible when describing why activities have or have not worked in the past. Personal opinions, commentary and observations compromise the credibility of the funding request.

UNIT 2 – UNDERSTANDING THE CONTEXT. SESSIONS 1–3

Example of how to link the section on country context with other parts of the application. Country context [the applicant has described the context and identified the problem]: “In the last decade, the creative industries in the country have undergone considerable growth, generating relatively significant income and employment, but do not receive the necessary support and incentives from state institutions. Although official statistics at national level are harmonized with European methodologies, it is still very difficult to measure the contribution of these industries to the national economy (added value, share in labour market and capital, etc.).” ●●

●●

Objectives [the applicant proposes a solution to the problems identified previously]: 1) To establish a reliable, independent and self-sustaining system that will collect, process and disseminate accurate, up-to-date information on the cultural and creative industries in the country; 2) To introduce a comprehensive and reliable methodology for regular measurement of the economic contribution of the cultural and creative industries to the overall economy. Expected results [the applicant specifies what new outcomes and added value the project will bring to the sector]: new stakeholder in the cultural industry; research and cultural policy fields reinforced. Activities [the applicant explains how these results will be achieved]: Establishment of the Creative Economy Centre. Beneficiaries: “Direct beneficiaries: National Commission for the Creative Industries, Ministry of Culture, Agency for Promotion of Entrepreneurship, State Statistical Office, etc. Indirect beneficiaries: Independent artists, creators and authors, professional associations in the cultural and creative industries, educational institutions, etc.”

Example of how applicants can use statistics and facts in Section 4.3 of the Application Form. “The challenge we face as a country is scarcity of job opportunities. The World Bank classifies our country as a high-income economy. The UN Human Development Index labels it as the only Caribbean and Latin American state that is ‘developed’. Despite these classifications, our cultural industries continue to be rudimentary and underdeveloped. Furthermore, the Caribbean faces considerable challenges: our economies are predominantly service-based; unemployment is high – average of 12% among men and 16% among women; the region has a relatively young population – 35% are under 20 and 9% between 20 and 24; youth unemployment ranges from 13% in Antigua and Barbuda to 56% in Dominica.”

Additionnal information WorldCP: www.worldcp.org/ Observatory of Cultural Policies in Africa (OCPA): http://ocpa.irmo.hr/ resources/policy/index-en. html Culturelink Network, Cultural Policy Database: www.culturelink.org/culpol/ index.html The Power of Culture, cultural policy of nonWestern countries: www.powerofculture.nl/en/ theme/policy.html Cultural policies from a selection of countries in Latin America and the Caribbean: www.lacult. unesco.org/politcult/indice. php?lg=1&lg=2 Information on national statistics systems: http://unstats.un.org/unsd/ methods/inter-natlinks/ sd_natstat.asp International agencies providing statistics: http://unstats.un.org/unsd/ methods/inter-natlinks/ sd_intstat.htm Data from other international agencies: http://unstats.un.org/unsd/ workpartners_dbase.htm UNESCO Institute of Statistics (education, science and technology, culture and communication): www.uis.unesco.org/ Creative Economy Report 2010. Creative Economy: A Feasible Development Option http://unctad.org/en/Docs/ ditctab20103_en.pdf Creative Economy Report 2013. Special Edition: Widening Local Development Pathways www.uis.unesco. org/Library/Documents/ creative-economy-reportculture-2013-en.pdf

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For example

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UNIT 3 – FORMULATING THE PROJECT PROPOSAL SESSIONS 4-6

Unit 3:

Formulating the project proposal Sessions 4-6 This unit contains information on project definition and characteristics. The IFCD application development process and requirements and the eligibility conditions are explained. Tips and examples regarding how to word the project title, how to write a good summary and how to define project objectives are provided. Suggestions on how to determine project beneficiaries, activities and expected results as well as the project’s sustainability are also offered in this unit, together with tips on project budgeting and financial management.

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Session 4: Project characteristics LEARNING OBJECTIVE: To provide participants with information about the characteristics of a project.

What is a project? EXERCICE: Ask participants what they think a project is. In which contexts have they heard someone using this word? Listen and note the answers on the board or on paper. Afterwards compare participants’ answers with the definition and characteristics of a project.

There are many definitions for the term “project”. Explained very simply, it may be said that a project is a set of activities to achieve certain goals. Alternatively, it can be defined as “a temporary endeavour to achieve some specific objectives in a defined time”.1 Projects are usually unique and cannot be repeated in exactly the same way again: “a project is the work performed by an organisation one time to produce a unique outcome”.2 We can also define a project as a unique set of coordinated activities, with definite starting and finishing points, undertaken by an individual or organisation to meet specific objectives within defined time, cost and performance parameters.3

Project characteristics 1. A project has a clear objective with specified costs, schedule, and performance requirements. It is a temporary activity, to be accomplished within a specified time period and budget. A project is unique and requires things to be done differently from before. It may encompass new approaches and new ways of doing things and involve elements of uncertainty and risk.

2. It contains several distinct phases, between which tasks, people, organisations and resources will change.

3. The project must meet the prescribed quality requirements. Projects may vary considerably in size and duration, involving just a couple of people or a large group, sometimes even working in different countries. Another way of defining a project is to compare it to what is not a project: operations. Operations are repetitions of what are already familiar, ongoing, repetitive activities that sustain the organisation, while projects entail unique tasks that have not been implemented before.

Project application To start a project there should be a good reason, a problem that must be solved. Thus identification of the problem is a vital part of project development (see Session 8.1). A good project proposal or application will be carefully prepared, enthusiastically and skilfully written and meet quality and relevance indicators. A good proposal is also easy to read, well-organised, grammatically correct and intelligible. It is a means of persuading the IFCD experts that your idea is worth funding: you therefore need to do some preparatory work and consider a lot of details. A high-quality project proposal is the end product of a participatory process that involves considerable study, discussion and learning from partners and past experience. 1. Young, T. L. 2006. Successful Project Management. London and Philadelphia, Kogan Page. 2. Horine, G. M. 2012. Project Management: Absolute Beginner’s Guide. Indianapolis, Que Publishing. 3. IPMA Competence Baseline. 2015. Available from the International Project Management Association: http://ipma.ch/

UNIT 3 – FORMULATING THE PROJECT PROPOSAL SESSIONS 4-6

For implementation of a project you need resources – personal, material and financial. Many projects cannot be implemented without funding. In order to receive support you have to be ready to describe and explain the need for and significance of your idea; in other words, you have to write a project proposal or project application. Every funder has specific requirements and application methods. But application-writing is only one of the numerous actions in the logical sequence of events usually referred to as the project cycle. Before writing a project proposal, encourage workshop participants to read the information about the IFCD carefully. During the workshop you can go through the IFCD framework details and explain them. However, every applicant should read the following information on the IFCD website (http://en.unesco.org/creativity/ifcd):

LEARNING OBJECTIVE: > To provide insight into the IFCD framework and guidelines; > To highlight the importance of preparation and information-gathering prior to writing the application.

1. What is the International Fund for Cultural Diversity? 2. Who can apply to the IFCD? 3. How to apply to the IFCD 4. Application and selection procedure for funding requests 5. Basic requirements for eligible funding requests

Learning to read guidelines and reference documents for the call It is important to read and understand the Annotated Guide before submitting an application. A large percentage of applications are rejected because they have not followed these guidelines or do not meet the application criteria. Carefully read and note specific restrictions and requirements. Most foundations also have guidelines designed to help fill in the Application Form and understand the specific funding conditions. The “IFCD Annotated Guide” is available at: https://en.unesco.org/creativity/sites/creativity/files/ifcd_annotated_ guide_en.pdf. It was created to help applicants understand the application process and draw up effective project proposals. It explains the objectives of the IFCD and provides detailed information on each section of the application. It should be used and followed for this unit.

EXERCICE: Distribute copies of the IFCD Annotated Guide and ask participants to find answers to the following questions: 1) 2) 3) 4)

What is the implementation period for projects supported by the IFCD? (Answer: 12-24 months) What is the maximum funding per application? (Answer: US $ 100,000) Can an NGO apply for IFCD funding? (Answer: Yes) Is co-funding or self-funding obligatory or recommended? (Answer: It is not obligatory, but applicants are advised to have it, since it contributes to the project’s sustainability) 5) In which currency should expenditure be shown in the application? (Answer: US dollars) Etc.

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Session 5: Applying to the IFCD call

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Preparatory work for writing a project proposal A good project proposal is the end product of a process that involves considerable study, discussion and learning from past experience and other organisations. It is vital for an applicant to be informed about current developments in cultural policy and the creative industries. What problems and challenges is the region facing today? What changes are occurring in professional practice? Try to analyse in detail how these issues and changes affect the organisation and developments in the relevant fields. This analysis will contribute to defining a project framework. (More information on understanding local context was introduced in Session 3 of this Guide). Invite participants to: Consult experts: Outside opinion will lend ideas and credibility; Collect information: Gather as much preliminary information as possible to demonstrate

commitment to the project and refine its objectives, check statistical data and talk to the community. When people feel that they have been consulted on an issue, they are much more likely to cooperate and support the project; Review previous project proposals: Avoid repeating mistakes and proposing to

reproduce results that have already been achieved; Review project evaluation reports: Don’t count on project team members to remember

all mistakes and areas for improvement from previous efforts.4 Once the applicant understands the context, he/she will need to make some choices and define the project more precisely. The key issue is to formulate context, expectations, how the project will reach its goals and what the desired results are. Moreover, the applicant should consider feasibility. The following questions can help: What is the priority target group for the project? Who and where are the main players? What problems does the target group face? What are the short-, mid- and long-term needs? Which of these needs does the project intend to address?

The applicant must define a specific issue that the project will confront or change. This approach will help him/her to think of the project as a coherent system for responding to a given challenge rather than merely a set of activities to get off the ground. The applicant should also consider other initiatives in the field, as this might offer a critical perspective on the proposed project. What has already been done, with whom and with what results? What was especially innovative or creative and why? This approach will help the applicant to identify the people to be brought on board and the partnerships to be built. It will offer some points of comparison with other work and assist in evaluating the project’s relevance and potential… in short, it will define why the project matters. Think of relevant partners. In particular, explore existing networks (artistic, professional, thematic, etc.). Take time to think through the project collectively with partners. Meet them and discuss how to run the project and share resources properly.

4. Nebiu, B. 2002. Developing Skills of NGOs: Project Proposal Writing. Available from the Regional Environmental Center for Central and Eastern Europe at: http://documents.rec.org/publications/ProposalWriting.pdf

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Basic eligibility requirements IFCD applications must be submitted in either French or English using the on-line

Application Form available on the IFCD platform; All projects have to be implemented in one or more developing countries that are Parties

to the 2005 Convention. You can find a list of developing countries that are Parties to the 2005 Convention at https://en.unesco.org/creativity/sites/creativity/files/ifcd_list_ developing_countries_eligible_7call_en_2016.pdf; Applications submitted by international non-governmental organisations (INGOs),

which do not undergo the pre-selection process at national level, must be implemented in two or more developing countries that are Parties to the 2005 Convention; The maximum amount that can be requested from the IFCD for each project is US $100,000; The project implementation period must be between 12 and 24 months.

Who can apply? Public authorities and institutions from developing countries that are Parties to the

2005 Convention; Non-governmental organisations (NGOs) from developing countries that are Parties

to the 2005 Convention. This category covers non-profit organisations, professional organisations with legal status working in the culture sector and associated sectors, and groups that support the work of artists and cultural communities; International non-governmental organisations (INGOs). This category covers non-

governmental and non-profit professional organisations with legal status working internationally in related fields.

Who cannot apply to the IFCD? Individuals; Public authorities/institutions and national NGOs from developed countries; Public authorities/institutions and national NGOs from developing countries that are

not Parties to the 2005 Convention; Regional integration organisations (organisations constituted by the States of a given

region or subregion); National Commissions for UNESCO; Authorities, institutions or organisations participating in the IFCD pre-selection panel at

the national level; Private-sector organisations – microbusinesses and small and medium-sized enterprises

working in the cultural field in developing countries – are not currently eligible to apply for funding as the IFCD has not received any contributions from the private sector.

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The IFCD supports projects from developing countries: That introduce, review or develop policies and strategies that have a direct effect on

the creation, production and distribution of and access to a diversity of cultural goods, services and activities; and/or That strengthen professional capacities and organisational structures to support viable

local and regional cultural industries and markets. In Section 5 of the Application Form (“Contribution to the IFCD’s expected results”), applicants are asked to tick at least one of the IFCD’s expected results to which the project’s own expected results will contribute. In most cases the project will contribute to several expected results. In line with the IFCD results-based management framework (see Annex 9 of this guide), the IFCD aims to achieve three outcomes through its support to projects that undertake the actions defined below.

OUTCOME 1: A POLICY ENVIRONMENT THAT PROMOTES THE DIVERSITY OF CULTURAL EXPRESSIONS IS CREATED THROUGH TARGETING STRUCTURAL CHANGE.

Expected Result 1.1. Cross-sectoral cooperation in policy making and implementation demonstrated (e.g. establishing interministerial and cross-sectoral committees to develop cultural policies).

Expected Result 1.2. The role of civil society in policy making and implementation strengthened (e.g. involving civil society in policy research and development processes).

Expected Result 1.3. Processes and mechanisms of policy implementation and review strengthened (e.g. developing strategic action plans to implement cultural policies; enacting national cultural policy reform).

OUTCOME 2: THE VALUE AND OPPORTUNITIES THAT THE CULTURAL AND CREATIVE INDUSTRIES OFFER IN THE ACHIEVEMENT OF SUSTAINABLE DEVELOPMENT ARE CLEARLY DEMONSTRATED.

Expected Result 2.1. Innovation and new business models applied to cultural entrepreneurship (e.g. introducing innovative business models for the cultural industry and promoting the use of digital technologies to enhance the creation, production, distribution and consumption of cultural goods, services and activities).

Expected Result 2.2. Access to local, national or international markets for cultural goods improved.

Expected Result 2.3. Participation and collaboration in cultural and creative industries widened to previously excluded individuals and social groups (e.g. promoting gender equality and the participation of young people and previously excluded social groups in the cultural and creative industries).

OUTCOME 3: CONTRIBUTIONS ARE MADE TO SUSTAINABLE CAPACITY DEVELOPMENT IN THE CULTURAL SECTOR AT INSTITUTIONAL, ORGANISATIONAL AND INDIVIDUAL LEVELS.

Expected Result 3.1. National and international networks and communities of practice facilitated, with a focus on North-South-South cooperation (e.g. fostering North-SouthSouth and South-South cooperation in the cultural and creative industries, strengthening professional networks and encouraging multi-stakeholder partnerships).

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Expected Result 3.2. Capacity development needs relating to cultural value chain

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assessed and mapped (e.g. assessing needs, challenges, opportunities and strengths of local cultural policies and/or industries through surveys; mapping and measuring the social and economic contribution of the cultural and creative industries).

Expected Result 3.3. Capacity development needs relating to cultural value chain addressed at appropriate levels (e.g. strengthening local capacities for business development and cultural entrepreneurship through workshops and training in cultural management, business administration, fundraising and marketing).

For example Ask workshop participants to discuss examples of IFCD projects and their relevance to the IFCD’s expected results.

Below you will find for each described outcome, examples of expected results from IFCD projects.

Outcome 1: A policy environment that promotes the diversity of cultural expressions is created through targeting structural change. Establishing interministerial and cross-sectoral committees to develop cultural policies; Involving civil society in policy research and development processes; Developing strategic action plans to implement cultural policies; Enacting national cultural policy reform.

For example Dynamic Policy Action: IFCD helps to bring Togo’s cultural sector back to life Watch the project film: https://youtu.be/V975AkeozY4 What: Gather local authorities, researchers and civil society together to develop a strategic action plan for the culture sector When: February 2012 – March 2013 Where: Togo Why: To implement the cultural policy adopted by the Council of Ministers of Togo in March 2011 IFCD Funding: US $98,698

Outcome 2: The value and opportunities that the cultural and creative industries offer in the achievement of sustainable development are clearly demonstrated. Introducing innovative business models for the cultural industry and promoting the

use of digital technologies to enhance the creation, production, distribution and consumption of cultural goods, services and activities; Improving access to local and international markets for cultural goods and services; Promoting gender equality and the participation of young people and previously

excluded social groups in the cultural and creative industries.

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Access to markets: IFCD is empowering musicians to build a better future Watch the project film: https://youtu.be/VgLSVyJF1UU What: Capacity-building, access to technology and direct support to young and emerging musicians in Tajikistan When: February 2012 – September 2013 Where: Tajikistan Why: To strengthen Tajikistan’s music sector and promote the access of emerging artists to the local market IFCD Funding: US $85,000

Outcome 3: Contributions are made to sustainable capacity development in the cultural sector at institutional, organisational and individual levels. Fostering North-South-South and South-South cooperation in the cultural and creative

industries; Strengthening professional networks and encouraging multi-stakeholder partnerships; Assessing needs, challenges, opportunities and strengths of local cultural policies and/

or industries through surveys; Mapping and measuring the social and economic contribution of the cultural and

creative industries; Strengthening local capacities for business development and cultural entrepreneurship

through workshops and training in cultural management, business administration, fundraising and marketing.

For example Emerging Cultural Entrepreneurs: Joining forces with the IFCD, Guatemala is turning creative ideas into reality Watch the project film: https://youtu.be/BNYRAiYp-YA What: Strengthen the capacities of young indigenous cultural entrepreneurs in Guatemala. When: April 2011 - May 2012 Where: Guatemala Why: To tap into the creative sector as an important source of sustainable development and employment creation IFCD Funding: US $98,610

EXERCICE: See Annex 7 worksheet (“IFCD results-based management framework”).

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Projects relating to the conservation, protection and promotion of tangible cultural

heritage. Such applications should be made to UNESCO’s World Heritage Fund. Projects relating to the safeguarding of intangible cultural heritage, such as oral

traditions, social practices, rituals and the knowledge and skills to produce traditional crafts. Such applications should be made to UNESCO’s Fund for the Safeguarding of the Intangible Cultural Heritage. Projects that focus on the production of cultural and artistic works and events, such

as producing a film, organising a cultural festival or setting up an art exhibition. Such applications should be sent to UNESCO’s International Fund for the Promotion of Culture. Projects that focus on arts education, including bolstering of artistic skills within

primary and secondary school environments. Projects that focus on cultural tourism.

Additionnal information To get an idea of what types of projects have received funding from the IFCD in previous funding cycles, please consult the IFCD website: http://en.unesco. org/creativity/ifcd/fundedprojects You can also refer to the statistics on IFCD funded projects: http://en.unesco. org/creativity/ifcd/discoverprojects/statistics-ifcdfunded-projects

Projects that are conceived as scholarships or grants for personal needs. Projects that aim to offset a deficit, repay a debt or pay interest.

Advise participants to clarify eligibility prior to submitting their applications. If they have any doubt about eligibility, they should contact their National Commission for UNESCO or refer to the IFCD website. They shouldn’t waste valuable time, energy and resources writing an application only to find that their organisation or community is ineligible for funding.

EXERCICE: Ask participants to answer these questions or prepare a small quiz to check their basic knowledge of IFCD eligibility.

STATEMENT

YES

Individuals are welcomed to apply There is a limit on the maximum amount available from IFCD

4 4

Applications can be submitted in Portuguese Project implementation has to take place between 12 and 24 months IFCD supports project that introduce and/or develop policies and strategies that have a direct effect on the creation, production, distribution and access to a diversity of cultural goods, services and activities IFCD supports projects related to tangible and intangible cultural heritage, its conservation, protection and promotion

4 4

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What type of projects does the IFCD not support?

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Session 6: Writing the application LEARNING OBJECTIVE:. > To learn how to formulate a good project title; > To discuss the principles of a wellwritten project summary. As a result of this session, the applicant will be able to fill in Sections 1, 2.2, 3.1 and 4.2 of the Application Form.

SESSION 6.1: BASIC INFORMATION Project title To open the proposal the project needs a title that gives a clear idea of what it is about. The words used in the title should clearly reflect the focus of the proposal. Think of the title as a mini-abstract of the project, plainly conveying to the reader its key idea(s). The project title should be clear, unambiguous and brief. It does not need to describe the whole project. Remember, good titles can provide evaluators with an immediate understanding of what the project is about. An ambiguous title can confuse them. Try to capture what the project is seeking to achieve. The applicant should not attempt to make the title catchy or memorable at the expense of clarity and focus. The words chosen for the title should clearly reflect the focus of the proposal, and it is definitely advisable to refrain from using acronyms. The title will not only be read and used by experts, funders and partners, but it will also serve to inform society in general about the project; therefore it should be clear and intelligible to the various stakeholders.

A good title should: ●● ●● ●● ●●

be clear and unambiguous, be concise and give a general idea of what the project is about, convey the significance of the project, contain the key words that the funder must retain.

It is even better if the title also: ●● ●● ●●

indicates the context, field and country arouses interest in and curiosity about the project is easy to remember.

The most important words should come first, followed by the less important ones. The title of a project is of paramount importance; therefore take your time to find the best one. Involve the project team, test it, listen to colleagues’ reactions, write it down and see how it looks…

For example5 It is of course up to you to determine what is most appropriate for your project. Try to remove unnecessary words from your title. TITLE 1 The systematic development of a local initiative to create a learning centre for community culture

Title 1 has too many words.

TITLE 2 A local learning centre for community culture

Title 2 is just as clear but with fewer words.

5. Levine, J. S. Guide for Writing a Funding Proposal. Michigan State University, East Lansing, Michigan. Available at:. www.cs.vu.nl/~bal/ProposalWritingClass/howto-levine.pdf

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EXERCICE: See Annex 3 worksheet (“Project title”).

Applicant and contact person In the application the applicant must give the name of the organisation. The applicant is the entity that will be responsible for implementing the project and assume legal and financial responsibility for it, including its financial management. The applicant will have to have a bank account registered in the organisation’s name if the project is approved. If the applicant is a department or a subsidiary of a larger structure, this larger structure and the different levels of responsibility must be clearly identified.

Name of applicant*: Type of applicant: [only one choice possible]

-SelectNGO International NGO Party (public authority/institution)

*Please indicate the name of the institution or organisation.The applicant is the entity which will be responsible for implementing the project, including its financial management. Please note that the applicant will need to have a bank account registered in the name of the organization if the project is approved.

Type of applicant In the Application Form there are three options to choose from: Party, NGO (nongovernmental organisation) or international NGO. The “Party” category covers all public authorities and institutions, whether at local or at national level. The “NGO” category covers non-profit organisations, professional organisations with legal status working in the culture sector and associated sectors, and groups that support the work of artists and cultural communities. The “international NGO” category covers non-governmental and nonprofit professional organisations with legal status working internationally in related fields.

Contact person The contact person does not have to be the head or chair of the applicant organisation; however, he/she must be employed by that organisation and be a member of the project team.

Key staff members Funding decisions are determined not only by the relevance, feasibility and impact of the proposed project but also by the quality, background and competence of the implementing team and organisation. It is also important to clearly identify the responsibilities of each person on the project team, distinguishing them from those of the others, and their skills, background and qualifications. Consequently it is essential for the applicant to explain in this section why its project team is uniquely placed to carry out this work. How do staff members’ skills complement each other? What kind of special knowledge, experience and/or network(s) do staff members have that makes them competent to carry

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out the work proposed in the project? Only mention staff directly employed by the applicant or its advisory board in this section. The ‘Add more, if necessary’ button can be used to add more key staff members. This section is vital to convince the funder that the team is competent and professional enough to carry out the project activities and manage the financial resources. All other paid and non-paid participants (project experts, consultants, contractors and partners) must be listed in Section 3 with their qualifications and role. This means that the applicant must know the people and entities it will be working with and understand its responsibilities in selecting them. Describing partners, experts, consultants, etc. requires the same approach as describing key staff members.

How to write a concise and convincing summary? The project summary sets the stage for the rest of the proposal and is crucial because it is the first and most important opportunity to communicate what the project is about and demonstrate how it meets the criteria for IFCD funding. The summary should provide answers to the following questions: ●● ●● ●● ●● ●● ●●

What does the project propose to do? Where? Why? For whom? With whom? For how long?

It is advisable to write the summary as the last step because, as the project develops, the various components of the proposal may well change or evolve. The best summaries are neither lyrical nor idealistic but rather: Succinct: Readers must be able to grasp the big picture quickly so that they can put the

details of the proposal in context; Clear: An unclear summary usually signals an applicant’s own lack of clarity about the

project for which funding is being requested; Descriptive: Begin by describing the aim(s), outcome(s), significance and social, cultural

and/or economic benefits of the proposal. Then elaborate on each significant project component, making sure to emphasize key steps in completing the project as a way of structuring the summary. End the summary with the one best, most creative/innovative, aspect of the project as an advertisement for what is to come. Remember that a well-written summary can easily be used as a marketing tool for the project, and so it is well worth the time and energy invested. Project summaries are not declarations of intent detailing what the applicant “hopes” and “wishes” to achieve in implementing the project. Rather, they are used to communicate clearly what will definitely be achieved if funding is granted. In addition, all information regarding the political, cultural and economic context of the project, as well as the applicant’s background and expertise and any other specific information requested elsewhere in the application, should be left out of the summary to maintain its brevity and avoid repetition. The IFCD requires the summary to be 150 to 250 words long (depending on font, size and language, this is around 10-20 lines of text).

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The term “objective” often causes difficulties because different funding agencies attach different meanings to it. In the context of the IFCD funding process, an objective is a statement that expresses what the applicant expects to achieve by doing something. Objectives should address the core problem in terms of the benefits to be derived by beneficiaries as a direct result of project implementation. Each objective must be split in two, namely the intended goal and the means of achieving it. This is a practical way of expressing objectives because it provides clarity on both what is meant to be achieved and how it is to be done and enables evaluators to distinguish immediately between what is actually going to be achieved and mere declarations of intent. Short-term objectives are what the applicant plans to achieve during the time period of the project; they should be measurable and achievable. Long-term objectives are usually less measurable; they indicate what the applicant is proposing in future.

Defining SMART objectives Definition of objectives defined should reflect good management practice by using “SMART” principles, where each letter stands for one characteristic of a well-defined objective. Avoid redundancy!

TABLE 1:

SMART PRINCIPLES FOR DEFINING OBJECTIVES

Specific: What do you want to accomplish? Set out a clear result and target.

easurable: How will you demonstrate and evaluate the extent to which objectives have been met? Can progress be measured with indicators?

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SESSION 6.2: OBJECTIVES LEARNING OBJECTIVE: . > To clarify the term “objectives” and its role in the project application; > To explain the meaning of the abbreviation SMART when defining objectives; > To discuss good and bad examples of project objectives; > To learn about IFCD objectives and how they should be reflected in the application. By the end of the session the applicant will be able to fill in Section 4.4 of the Application Form (“Objectives”).

Achievable: How realistic, how feasible are the objectives? Are they action-

Relevant: How do the objectives fit into your project idea and planned

Time-bound: Will you be able to complete the objectives by the end date of

oriented?

activities?

your project?

For example Examples of Objectives Short-term objectives ●● Raising awareness among local policy-makers of the importance of culture as a means of development. ●● Improving the marketing skills of local performing artists. ●● Training thirty young cultural entrepreneurs in the planning, implementation and management of cultural projects. ●● Investigating the film industry’s current potential and capacity by bringing experts together for round-table discussions. Long-term objectives ●● Encouraging policy-makers to include the cultural and creative industries’ perspective in the decision-making process. ●● Increasing the number of action plans and programmes for local development of cultural industries that have a direct effect on the creation, production and distribution of diversity of cultural expressions. ●● Strengthening the connection between artists and businesses to increase artists’ income.

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EXERCICE: Annex 4 worksheet (“Examples of objectives”).

Both short- and longer-term objectives must be consistent with the objectives of the 2005 Convention and those of the IFCD, which aims to invest in projects leading to structural change through the formulation and/or introduction of policies and strategies that have a direct effect on the creation, production and distribution of and access to a diversity of cultural expressions, including cultural goods, services and activities, as well as through the strengthening of institutional infrastructure (including professional capacities and organisational structures) deemed necessary to support viable local and regional cultural industries and markets. For the purposes of the IFCD, structural change is interpreted as:

1. Changes in government policy, legislation or the regulatory environment; 2. Far-reaching changes in public and professional organisational structures (e.g. the transfer of authority for a particular area from one public/professional agency to another or to a third party);

3. Changes in the way government and regulatory authorities do business (e.g. providing information, streamlining or introducing new procedures, or improving their capacity to provide services). Institutional infrastructure is understood to mean any public, collective or professional organisational structures (excluding working space, facilities, and construction or restoration of buildings), capacities and legislative (legal) and administrative provisions deemed necessary for the implementation of policies.

In the application, the applicant must also explain how the project’s objectives contribute to: Promotion of gender equality

When both genders share equally in the distribution of power and knowledge and have equal opportunities, rights and obligations, they are considered to be treated equally. Gender equality can relate to selection of participants, the team or issues addressed in objectives and activities. Empowerment of youth

Involvement of young people, defined according to the United Nations as persons between the ages of 15 and 24. Does the project target a youth audience? Promotion of South-South/North-South-South cooperation

The term “North-South” generally describes a geographical and socio-economic division whereby the North represents the more developed countries of North America, Western Europe and parts of East Asia, and the South represents the less developed countries of Africa, Asia, Latin America and the Caribbean, and the Middle East.

South-South cooperation (SSC) is a broad concept that covers a wide range of collaboration among developing countries. It refers more specifically to cooperative activities between newly industrialized Southern countries and other, less developed, nations of the South. The aim of SSC is to promote self-sufficiency among Southern nations and to strengthen economic ties among States whose market power matches more equally than in asymmetric North-South relationships.

North-South-South cooperation (NSSC – also called trilateral or triangular development cooperation) is a new route for development cooperation where aid is channelled through institutions in developing countries in order to support development projects in low-income countries. It is relatively new and different because most of the development aid goes through the bilateral route (North-South), with a large amount being directed through intergovernmental organisations.6

The IFCD is mainly concerned with more direct cooperation among governments and NGOs from developing countries (South-South and North-South-South cooperation). Input from the North, typically from a public authority/institution or NGO, is more in the shape of sharing know-how and contributing to exchange through knowledge and resources.

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Participation of various social groups in IFCD areas of intervention

This covers people belonging to minorities, indigenous peoples, marginalized communities and people in situations of vulnerability. Are there any activities planned in the project to address these groups?

EXAMPLE FROM IFCD APPLICATION FORM Please check if these objectives contribute to the following and explain how: Promotion of gender equality Gender Equality between women and men exists when both genders are able to share equally in the distribution of power and knowledge and have equal opportunities, rights and obligations. [IF YES] Please explain :

Empowerment of youth The United Nations defines ‘youth’ as persons between the ages of 15 and 24. [IF YES] Please explain :

Promotion of South-South/North-South-South cooperation South-South cooperation is a broad framework for collaboration among public authorities/ institutions or NGOs from two or more countries located in the global South. North-South-South cooperation involves authorities/institutions or NGOs from two or more countries in the global South in collaboration with a third party, typically a pubIic authority/institution or NGO from the globaI North, contributing to the exchanges with its own knowledge and resources. [IF YES] Please explain :

Participation of various social groups in the areas of intervention of the IFCD Various social groups include people belonging to minorities, indigenous peoples, underprivileged communities and people in situations of vulnerability. [IF YES] Please explain :

6. Rosseel, P. et al. 2009. Approaches to North-South, South-South and North-South-South Collaboration: A Policy Document. Available at: https://lirias.kuleuven.be/bitstream/123456789/229636/1/POLICY_PAPER_VLIR_UWC__NSS.pdf

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For example EXAMPLES FROM PROJECT APPLICATIONS

COMMENTS

Women are empowered by this project, since a good part of the implementers are women: 3 professors, 5 teachers.

The percentage of women among the project implementers is not stated. Otherwise this could be an option for describing promotion of gender equality. If possible also describe gender equality in relation to beneficiaries.

The Cultural Centre has 32 employees, 60% women and 40% men. Participants in the training at the Film Festival will be 50% young men and 50% young women.

Good, precise description of promotion of gender equality.

The results of the project will be widely disseminated at the final conference that will include speakers and participants from countries representing SouthSouth/North-South cooperation. The discussions after sessions will be organised to exchange opinions on results among representatives of various countries of the cooperation area.

Generally good description of South-South/ North-South cooperation in the project. Countries could be specified to demonstrate the intention more precisely.

Special attention will be given to the inclusion of representatives of ethnic minorities, marginalized groups and young people in all planned activities.

The description is too general and vague. There is no reference to specific measures to involve various social groups.

For example South-South cooperation: The IFCD is promoting South-South cooperation through a project in Cameroon, Congo, Côte d’Ivoire, Democratic Republic of the Congo, Kenya, Malawi, Mozambique and the United Republic of Tanzania that is organising various capacity-building activities for work placements and traineeship exchange programmes for young music professionals in these countries. North-South-South cooperation An IFCD project in Barbados helped local music professionals to reach young American audiences and secure longer-term opportunities in the North American music market. This project demonstrates how North-South-South cooperation can help build bridges between the Barbadian music industry and the North American college circuit and act as a launching-pad to reach mainstream markets around the world.

Remember that the objectives will form the basis for project activities and project evaluation. Try to ensure that the proposal’s objectives match IFCD objectives. If there is no link between the two, then the applicant should consider another funding source. Objectives are closely connected to outcomes, which can be defined as changes, benefits and other effects that project activities have created. In other words, outcomes are the difference the project has made (More on “expected results” in session 6.3 of this Guide).

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How to formulate expected results? A result is concrete and measurable change the project has generated. The focus should be on what is to be different rather than what will be done. The SMART approach can also be used when defining an expected result. 7 Results are not completed activities. Results are the contribution or effects of completed activities.

TABLE 2:

S M A R T

SMART PRINCIPLES FOR DEFINING RESULTS

Specific: A result has to be exact, distinct and clearly stated. Generalities are

not results. It should identify the nature of expected changes, the beneficiaries, the region, etc. It should be as detailed as possible without being wordy.

easurable: A result has to be measurable in some way, involving qualitative and/or quantitative characteristics.

LEARNING OBJECTIVE: . > To explain how to determine and describe planned activities and results; > To plan a time-frame for project activities; > To define indicators to measure project results. By the end of the session the applicant will be able to fill in the Section 6 of the Application Form (“Expected results and main activities”).

Achievable: A result has to be realistic with regard to the human, financial and institutional resources available.

Relevant: A result has to contribute to the attainment of higher-level results and respond to specific and recognized needs or challenges within the Organisation’s mandate.

Time-bound: A result has to be achievable within a specific time-frame.

Project activities There is a close link between project objectives, expected results and activities. An activity is the action necessary to transform objectives into results over a specified period of time. The IFCD approach to defining activities is to relate them to expected results: in the Application Form, results and activities have to be shown together. This enables activities to be defined more precisely and allows evaluators to assess how the project will meet the expected results. Each result can be achieved by one or more activities that are consistent with the objectives and the budget. Each expected result has its own set of activities. The list of activities can be put together by answering the following questions: ●● ●● ●● ●● ●● ●●

What will be accomplished through this activity? How will it be done? How will progress be monitored? Where will the project be carried out? Who will be involved? When will the various activities happen?

Also consider: ●● ●●

How the project will be evaluated, What resources will be needed to carry out the activities.

7. UNESCO Bureau of Strategic Planning. 2011. Results‐Based Programming, Management and Monitoring. Guiding Principles. Available at: http://unesdoc.unesco.org/images/0017/001775/177568E.pdf

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SESSION 6.3: MAIN ACTIVITIES AND EXPECTED RESULTS

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Once defined, the activities need to be arranged in a logical order to create an action plan. It is important to state the activities in such a way that their implementation can be verified in terms of time, place and quantity. If the project entails specific activities such as conducting research, selecting participants for a workshop, etc., it is also vital for the applicant to explain the methods and methodology used. If there is a selection process for participants, how will it be organised, will there be a selection panel? And so on. In the case of research, will quantitative methods (e.g. surveys) or qualitative methods (e.g. expert interviews) be used? How will respondents be selected? Etc.

EXAMPLE FROM IFCD APPLICATION FORM 6. Expected results and main activities Project expected results and activities Please list the expected results of the project. The expected results should be concrete and measurable and will serve as a basis for the evaluation of the project after its completion. Moreover, expected results should be correlated with the objectives, activities and budget. Expected results Below each expected result, please indicate main activities to be carried out to achieve these results. The implementation schedule, indicators, means of verification, location(s) and direct and indirect beneficiaries should be described according to each activity. [at least one] Add Result ●● ●●

Result: Description:

Edit Remove

Add activity(ies) Please list the main activity(ties)to achieve the expected result. [at least one] Add Activity ●● ●●

Activity: Description:

Implementation Schedule Please provide an implementation schedule for the activity in the table below, making sure to note the start and end date of the activity.

●●

Note: As stated in section 4, the project implementation period should be between 12 and 24 months and projects cannot start earlier than three months from the date of approval. Please note that, if approved for IFCD funding, you will most probably receive 50% of the total amount approved in the beginning of the project, another 30% mid-way through the project and the remaining 20% once all activities have been completed and the final reports are submitted. Start date

End date

Edit Remove

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Time-frame for each activity Creating a timeline for the project entails considering how to sequence project activities and how to schedule them in the existing time-frame. Sequencing means deciding which activities depend on previous ones and which do not, and which can take place simultaneously. For example, procurement of materials will precede the activity for which they are needed. The IFCD application requires the start date and end date of each activity. Encourage participants to be as realistic and precise as possible. The overall time for activities is between 12 and 24 months. Remember that this also includes the evaluation phase and report-writing, which may take at least one month. In each project call the IFCD indicates the start date of activities. When planning activities, it should be borne in mind that if the project is approved for IFCD funding the applicant will receive 50% of the total amount at the beginning of the project, another 30% midway through, and the remaining 20% once all activities have been completed and the final reports have been written.

For example In the case of the 2016 call for funding requests, the activity(ies) shall begin in March 2017 at the earliest (three months from the date of approval of the project), as shown by the examples below: ACTIVITY

START DATE

END DATE

Involve partners

May 2017

September 2017

Develop training programme

September 2017

January 2018

Implement mentoring programme

December 2017

February 2018

Selection of participants

February 2018

Performance of survey, analysis of results

January 2018

April 2018

Presentation of research results

May 2018

Training sessions

May 2018

June 2018

Evaluation and report-writing

July 2018

August 2018

EXERCICE: Ask participants to discuss the time-frame for various activities: 1) How much time was needed to prepare for this workshop? 2) How much time might be needed to prepare and print a book? 3) How much time is needed to write an application to the IFCD?

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Are the expected results measurable? Quantitative and qualitative indicators The IFCD requires indicators to be specified in order to measure the results. Indicators are an essential tool for assessment and monitoring of the project. They hinge on the objectives and help determine whether the latter have been achieved or not, thus giving meaning to the planning process. An indicator is used to check that an activity has been carried out, an output produced or an objective achieved. In essence it is a direct or indirect measure that verifies to what extent the expected results have been fulfilled. Each indicator should be clearly defined in quantitative and/or qualitative terms as well as disaggregated by gender as far as possible.

EXAMPLE FROM IFCD APPLICATION FORM What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result?

What are the means of verification of this indicator(s)?

Location(s)

Quantitative indicators are measures of quantity or amount and are expressed in figures: ●● ●● ●●

●●

Units: e.g. number of staff that have been trained; Proportions: e.g. proportion of the community that has access to a service; Rates of change: e.g. percentage change in average household spending on culture over the reporting period; Ratios: e.g. the ratio of NGOs to public institutions in a region.

Qualitative indicators are measures of change in attitudes, knowledge or behaviour/skills and are expressed in words: ●●

●● ●●

Satisfaction: e.g. how participants describe their level of satisfaction with the project’s activities; Standards: e.g. the extent to which training is recognized by the appropriate authorities; Practices and behaviour: e.g. the way practice has changed since the completion of project activities.

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For example In 2015, the IFCD funded a project on capacity building and professionalization of Cambodian performing arts actors working towards a sustainable cultural industry. Main activities included: conducting refresher workshops in contemporary dance, music, theatre and circus for art teachers working in performing arts centres; conducting workshops in cultural, business and stage management, scenography, light and sound management, as well as communications and marketing. EXPECTED RESULT A favorable professional environment towards artistic creation and distribution is developed, to strengthen the development of the performing arts industry. Indicator: Examples of qualitative and quantitative characteristics ●●

●● ●●

●●

24 art managers and arts administrators have improved their leadership, management and communication skills 35 awareness sessions undertaken, in at least 5 different provinces At least 3 regional partnerships produced positive results in professional exchanges and training opportunities At least 60% of the technicians trained are employed by the end of the project

Means of verification: Examples of qualitative and quantitative analysis ●● ●● ●● ●●

Trainings and support participation lists Trainees and training evaluations Socio-economic database Professional insertion data and reports

Contribution to the IFCD’s expected results All IFCD-funded projects are expected to contribute directly to one or more of the IFCD’s expected results and outcomes. While working on the application, think about the project’s long-term results. It is vital for the IFCD to be able to measure and demonstrate results/outcomes across its funded projects in order to monitor its own performance in achieving its overall goal of fostering the emergence of dynamic cultural sectors in developing countries. That is why project applications to the IFCD must address at least one, and possibly several, of the expected results.

Additionnal information Cupitt, S. and Ellis, J. 2007. Your project and its outcomes. London, Charities Evaluation Services Available at: www.proveandimprove. org/documents/outcomesguide.pdf

For the purposes of the IFCD, “outcomes” refer to medium-term results to be attained within a time-frame of eight years, whereas “expected results” are to be achieved within four years. Given the time-frame for expected results (four years) and outcomes (eight years), the project may not be able to achieve the results/outcomes within the project implementation period. However, it should still demonstrate its own short-term results (those defined in Section 6 “Expected results and main activities”), either within the implementation period or within a reasonable time after completion, which could eventually lead to the expected results and outcomes in the medium term. See Session 5 of the present Guide for more examples of how to define a project’s expected results in relation to the IFCD’s expected results.

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EXAMPLE FROM IFCD APPLICATION FORM 5. Contribution to the IFCD’s expected results Contribution to the IFCD’s expected results Please check at least one of the following IFCD’s expected results to which the project’s expected results will contribute: Outcome 1: A policy environment that promotes the diversity of cultural expressions is created through targeting structural change. ●●

Expected Result 1.1 Cross-sectoral cooperation in policy making and implementation demonstrated;

●●

ER 1.2 The role of civil society in policy making and implementation strengthened;

●●

ER 1.3 Processes and mechanisms of policy implementation and review strengthened.

Outcome 2: The value and opportunities that the cultural and creative industries offer in the achievement of sustainable development are clearly demonstrated. ●●

ER 2.1 Innovation and new business models applied to cultural entrepreneurship;

●●

ER 2.2 Access to local, national or international markets for cultural goods improved;

●●

ER 2.3 Participation and collaboration in cultural and creative industries widened to previously excluded individuals and social groups.

Outcome 3: Contributions are made to sustainable capacity development in the cultural sector at institutional, organisational and individual levels. ●●

●● ●●

ER 3.1 National and international networks and communities of practice facilitated, with a focus on North-South-South cooperation; ER 3.2 Capacity development needs relating to cultural value chain assessed and mapped; ER 3.3 Capacity development needs relating to cultural value chain addressed at appropriate levels.

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Direct and indirect beneficiaries: How to count them? Every project has individuals and groups of people who benefit from it. The beneficiaries can also be called the target group. The IFCD divides all beneficiaries into two groups: direct and indirect. Direct beneficiaries are participants who will benefit directly from their involvement in the project or be directly impacted by its results. Indirect beneficiaries are those who may not be involved in the project but who will be affected by the results indirectly.

EXAMPLE FROM IFCD APPLICATION FORM Direct Beneficiaries*

LEARNING OBJECTIVE: . > To be able to describe possible project beneficiaries, both direct and indirect; > To provide information on segmentation approaches. After this session participants will be able to fill in information on beneficiaries in Section 6 of the Application Form (“Expected results and main activities”).

Indirect Beneficaries*

*Beneficiaries are people or groups of people who reap a benefit as a result of the implementation of the project. Please include quantitative and qualitative information disaggregated by gender.

Both groups of beneficiaries should be clearly described. The application should provide a detailed description of the size/number and characteristics of the groups or individuals, especially direct project beneficiaries. Groups labelled “citizens”, “musicians”, or “youth” are not sufficiently detailed to convey the benefits provided by the proposed project. Instead of just referring to “youth”, you should give geographical, demographic and quantitative information about the beneficiary group by stating, for example, that “300 teenage boys and girls aged 13 to 16 from the Caspaya Valley will benefit from the project through a series of capacity-building workshops that will help them learn film editing”. The division of beneficiaries into groups that have, or are perceived to have, common needs, interests and priorities is called segmentation. We suggest considering the following characteristics of beneficiaries: Demography: Age, gender, ethnicity, cultural origin, income, education, family status; Geography: Place of residence/location, work location, place of origin, choice of work area; Psychographics: Activities, interests, opinions, frequent/infrequent attendance/usage, planned participation, stated intentions, preferences, values. One of the easiest and most obvious ways to describe a target group is in terms of its demography. Demographics can provide general information but do not really help to pinpoint the characteristics that make sections of society into target groups.

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SESSION 6.4: BENEFICIARIES

MODULE 4-1 – CAPACITY-BUILDING WORKSHOP ON APPLYING TO THE INTERNATIONAL FUND FOR CULTURAL DIVERSITY

For example

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DEMOGRAPHIC CHARACTERISTICS: Age group: 25 to 39 Female graduate State official Caucasian Low-income Married For real insight, the applicant should identify needs, interests, etc. and think about what makes one person different from another. Needs might be expressed in terms of the artistic product the project delivers, i.e. people who seek out “innovative presentations of modern dramas” or “modern music from around the world.” Needs can also be expressed in nonartistic terms, such as opportunities for networking with creative industry professionals. If the project addresses a wider group of potential beneficiaries, e.g. local community, city etc., it is necessary to quantify these groups. For that purpose the applicant may collect information from local government, local development agencies, the statistics office, the relevant ministry, research institutions, etc.

For example EXAMPLES FROM APPLICATIONS

COMMENTS

Direct beneficiaries: Cultural practitioners/creativeeconomy workers, policy-makers, planners drawn from both national and county governments, members of civil society, individual artists and cultural entrepreneurs.

Lack of quantitative information, very broad groups of beneficiaries.

Indirect beneficiaries: The creative economy sector, the The conception of the impacted country’s general economy and labour force, families, target groups is too broad, too and related creative-economy workers. general and unrealistic. Direct beneficiaries: 60 Indirect beneficiaries: 600

Direct beneficiaries: Thirty young talented professionals working in sociocultural areas, from a diversity of social backgrounds and origins including disadvantaged (geographical) areas, and of mixed gender. Indirect beneficiaries: The 15 traineeship locations: Public institutions, NGOs and businesses that deal with sociocultural issues in Bogota. Direct beneficiaries: 20 to 30 organisations operating in different provinces of South Africa or on a national basis. From these organisations an estimated 60 to 90 people will participate in different classes and 30 in the conference programme. These people will be from middle to top management in their organisations. Indirect beneficiaries: Communities that these organisations serve. These may be between 300 to over a thousand, depending on the organisations selected.

Only quantitative information, providing no insight into the characteristics of beneficiaries. Are the numbers individuals, professionals in some specific field, or institutions? Clear, well-described, diverse groups of beneficiaries, with quantitative information provided. Realistic assessment of possible indirect beneficiaries.

Quantitative information provided; beneficiary groups are well characterized. Clear and detailed information provided on the groups affected.

SESSION 6.5: SUSTAINABLE DEVELOPMENT, SUSTAINABILITY AND LONG TERM IMPACT Sustainable development is a significant concept that comes up in various contexts. In their IFCD applications, applicants are asked to answer questions on project sustainability related to the project’s ongoing results and its effects and outcomes in the long term. Therefore in this sub-unit we shall explain all the relevant concepts and enlarge on how applicants can sustain project results in the longer term: through building partnerships and involving stakeholders, diversifying funding sources, and monitoring and managing risks.

Sustainable development is… “Development that meets the needs of the present without compromising the ability of future generations to meet their own needs.”8 “A vision of development that encompasses populations, animal and plant species, ecosystems, natural resources – water, air, energy – and that integrates concerns such as the fight against poverty, gender equality, human rights, education for all, health, human security, intercultural dialogue etc.”9

LEARNING OBJECTIVE: . > To explain the concepts of sustainable development, sustainability and longterm impact; > To expand on how project results can be sustained in the longer term. After this session, participants will be able to fill in Section 7 of the Application Form (“Sustainability”) and develop the project idea to target the longterm impact of project results.

In other words, meeting the needs of the future depends on how well we balance social, economic, and environmental objectives and needs when making decisions today.

FIGURE 4:

THREE PILLARS OF SUSTAINABLE DEVELOPMENT

Economic profit

people

planet

Social

SUSTAINABLILITY

Environment

Source: http://www.sustainability-ed.org.uk/

The economic, social and environmental aspects of sustainable development are complementary and are often called the three pillars. Meanwhile, culture is being proposed as a fourth pillar of sustainability. When considering a healthy and sustainable society, cultural vitality has to be included as one of the basic requirements. Any decision about sustainable solutions will be a debate about values, in other words a cultural debate.

8. World Commission on Environment and Development. 1987. Our Common Future. Available at: www.un-documents.net/ our-common-future.pdf 9. UNESCO. 2005. UNESCO and Sustainable Development. Available at: http://unesdoc.unesco.org/images/0013/001393/. 139369e.pdf

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UNIT 3 – FORMULATING THE PROJECT PROPOSAL SESSIONS 4-6

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MODULE 4-1 – CAPACITY-BUILDING WORKSHOP ON APPLYING TO THE INTERNATIONAL FUND FOR CULTURAL DIVERSITY

EXERCICE: Additionnal information To learn about how the IFCD contributes to the Sustainable Development Goals, please consult the IFCD website: http://en.unesco.org/ creativity/ifcd/sdgs

Ask participants what sustainable development dilemmas they and their families face in their everyday lives.

One of the guiding principles of the UNESCO 2005 Convention is the principle of sustainable development. The economic, cultural, social and environmental aspects of sustainable development are complementary. It is essential for culture to be incorporated in national policies, including development policies at all levels (local, national, regional and international), as it contributes to the protection and promotion of the diversity of cultural expressions, fosters universal access to, participation in and enjoyment of creation and production of cultural expressions, especially for disadvantaged groups, and realizes the full potential and contribution of cultural industries to sustainable development, economic growth and the promotion of decent quality of life through the creation, production, distribution and dissemination of cultural expressions, among many other benefits.10 To learn more about the role of culture in policy planning, you can refer to the Culture for Sustainable Development page on the UNESCO website.

Sustainability of project results In the long term it is highly probable that the project will no longer be supported through IFCD funding. If it is successful, it will likely not be thought of as a “project” at all. Instead, it might be included in the routine operations of the applicant organisation. Or, if it is a one-off event such as a training seminar, the event itself will be over but its expected results (participants’ improved skills) will have an impact on new staff. This transition from a relatively short-term project to regular community life or an organisation’s routine operations is referred to as “sustainability”. This means that you need to examine longer-term possibilities, opportunities and challenges when developing and implementing your project. Project sustainability should be considered in relation to the project’s ongoing results and its effects and outcomes in the long term. What will happen to project outcomes and beneficiaries once IFCD support has come to an end? Will the project leave its mark on the development of cultural policies and on the cultural and creative industries? Will the initiative be continued? How? By whom? It is important to consider these questions carefully because there is a section in the Application Form on sustainability of project results, which the experts evaluating the proposal will take into account. Sustainability can be enhanced in several ways. Each of the following issues will be discussed in more detail below: Building ongoing relationships: through communication, confidence-building, reciprocity

and visible commitment; Diversifying funding sources: grants, fees for services, voluntary work, donations, active

fundraising campaigns, etc.; Being flexible: managing risks and being able to accommodate change by incorporating

on-going evaluation into project evaluation. 10. “Operational Guidelines: Integration of Culture in Sustainable Development” (2005 Convention). 2015. Available at:. https://en.unesco.org/creativity/sites/creativity/files/convention2005_operational_guidelines_en.pdf#page=37

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Building relationships

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Involvement of partners and stakeholders in not only the implementation phase but also the planning phase is an indicator for potential sustainability of project results. Partners are individuals and organisations that will play a role in your project by getting involved directly. Partnership with individuals may evolve, and they may become either staff members or volunteers. The role of partner organisations can be of great importance for designing project ideas, publicizing these ideas and project results and supporting the project from their own resources (staff, premises, equipment, financial resources, etc.). They may also help multiply project results and build alliances as well as playing a key part in change and structural impact on a broader scale. It is also possible to look for partners outside the country, linking the project to a regional or international cultural scene. Identify strategic partners. Assess the focus of their organisation. Determine strengths, weaknesses and potential functions. Determine roles and coordination.

Once partnerships with local or international organisations have been developed, consider what their contribution to the project could be: Staff (partners’ staff may invest time in project planning and implementation); Premises and equipment (some project activities could take place on partners’ premises;

partners may allow use of their facilities for activities); Co-funding (partners may allocate financial resources for project activities);

Etc.

EXERCICE: Ask participants to recount their experience of a partner organisation’s contribution to their projects.

EXERCICE: Annex 5 worksheet (“Identifying stakeholders”).

Diversifying funding sources Project results are more likely to be sustained in the longer term if the applicant is not alone in running the project activities. This is connected with development of partnerships, which has already been discussed, and also with diversification of funding sources. We shall briefly introduce several ways of diversifying sources of income for a project. Don’t forget to state these sources clearly in the application when describing partners, activities and budget.

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Be open about other potential grants. State clearly who could support the project activities and when. Different sources should cover different budget categories and make it possible to implement more ambitious activities involving larger target groups; moreover, the applicant will not be dependent on a single funding source. Sponsorship involves a relationship or exchange between two entities that differs from other business-to-business relationships. Sponsorship is a cash and/or in-kind contribution in return for access to the marketing potential associated with the project. Cultural projects are more likely to receive in-kind sponsorship (products, services, marketing and PR, discounts). Consider what to offer in return: sponsorâ&#x20AC;&#x2122;s name and logo included on printed materials and website invitations to project activities and events, etc. Other ways of diversifying funding sources could include active fundraising campaigns in order to receive corporate or individual donations. Carefully consider the best fundraising approach, bearing in mind that on-line donations, including crowdfunding, are becoming more and more popular. Also think realistically about how to gradually develop a business plan in which the support from the IFCD is seen as a kind of start-up grant. In some cases it is important to clarify ownership of equipment (if any is to be purchased out of IFCD funding) and ownership of copyright (if cultural industry products are to be produced) when completing the application.

Managing risk Another way of achieving long-term goals and managing the project in the long run is being able to manage risk and accommodate change by incorporating on-going evaluation into project evaluation. Risk management is the process of managing the uncertainty that exists in project work. It can help minimize or avoid the obstacles that can cost money, reputation, property, etc. Often funders ask for an assessment of the risks and an explanation of how they will be managed. These can be divided into external risks (financial risks, collaboration with partners, legal risks, etc.) and internal risks (organisational capacity, staff skills, project quality, etc.). For both risk identification and the assessment of project results, monitoring and evaluation should be carried out. Monitoring helps keep track of the implementation process; if you notice any significant changes, you should adjust the course of project implementation to ensure that the overall goal is achieved. Project monitoring promotes constructive action such as: Rescheduling the project (if it is running behind schedule); Rebudgeting the project (avoiding expenses under unnecessary headings, adjusting

resources in case of any unexpected changes); Reassigning staff (shifting staff from one area to another, recruiting temporary staff to

meet the schedule, etc.).

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EXAMPLE FROM IFCD APPLICATION FORM 7. Sustainability Sustainability in projects should be considered in relation to ongoing results, effects and outcomes of the project. Sustainability is about: i) Building relationships on an on-going basis – through communication, building trust, reciprocity and showing commitment; ii) Developing diverse funding sources – including grants, fees for services, volunteers, donations, active fundraising campaigns, etc.; iii) Being flexible – capacity to accommodate change by incorporating on-going evaluation into project evaluation. What measures/steps will you put in place to ensure that your project long-term objectives can be met? Examples of these measures/steps can include expanding partnerships, mobilizing additional resources, engaging government counterparts to influence policy and strategy development.

What measures/steps will you take to follow up with the beneficiaries of the project after its completion?

When filling in Section 7 of the Application Form (“Sustainability”), consider how the project relates to all previously discussed measures to secure sustainability of project activities. How do partners contribute to activities? What are the follow-up activities at the end of the project? What about the project’s financial sustainability? What risks could significantly influence the project objectives? How will project progress be monitored? Also consider what will happen to the beneficiaries of the project once IFCD support comes to an end. How will the needs of beneficiaries be met in the long term?

Additionnal information World Commission on Environment and Development. 1987. Our Common Future. New York, Oxford University Press. Available at: www.un-documents.net/ our-common-future.pdf Hawkes, J. 2001. The Fourth Pillar of Sustainability: Culture’s Essential Role in Public Planning. Melbourne, Common Ground/Cultural Development Network (Vic). Available at: www.culturaldevelopment. net.au/community/ Downloads/ HawkesJon%282001%29 TheFourthPillarOf Sustainability.pdf Business for the Arts. 2012. 10 Steps to making sponsorship work for your cultural organisation. Available at: www.businessforthearts.org/ wp-content/uploads/ 2012/07/SponsorshipHandbook-2012-WEB.pdf

For example Example from Section 7 of the Application Form (“Sustainability”): ●●

●●

The applicant has developed partnerships with the Performing Arts Network, the National Arts Festival and many stakeholders on a national basis. The applicant will look for additional synergies between partners’ programmes in order to widen its network and effectiveness. The applicant has planned the following activities to ensure that project development is monitored: it will conduct continuous monitoring and evaluation; it will produce an annual research report to assess current developments in the field. The costs of the project will be reduced once the stakeholders actively involve themselves in using our services. The applicant will cover costs of the website administrator, regular workshops and annual conferences. While companies using the system will plan their tours and monitor their effectiveness.

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How this relates to the Application Form?

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For example Example of how sustainability has been achieved through building partnerships during the implementation phase of the IFCD project. Nurturing cultural entrepreneurship through digital technology training in Guatemala Mr Padilla [director of IRIPAZ, an NGO committed to promoting Guatemala’s cultural diversity through audiovisual media], however, expects to reach even greater heights: “we have strengthened our relationship with the Universidad de San Carlos and we’re actually in talks with them to get our training module through the university system. We’re working with them to transform the training module of the INCREA Lab into part of the university curriculum.”

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Budget

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SESSION: 6.6. BUDGET LEARNING OBJECTIVE: .

A budget is a quantitative expression of a project plan. It is an estimate of the project’s value and always consists of expenditure (all direct costs and overheads entailed by the project objectives) and income (resources brought into the project to cover expenditure). A budget must be balanced: income and expenditure must be equal. Expenditure (also called expenses or costs) should be a reasonable reflection of the activities presented in the project application and be broken down according to the funder’s criteria or requirements. Depending on the scale of the project, it may seem difficult to develop a precise budget at the start; the budget may need revising to keep it accurate and updated as the situation changes. Without a budget it is impossible to control the project, and it is impossible to know if it is feasible.

To acquire the basic principles of project budgeting. By the end of the session the applicant will be able to fill in Section 8 of the Application Form (“Budget”).

Many projects have more than one source of financial support. The income side should indicate the contribution of each of these sources – shown as “co-funding and self-funding” in the Application Form. Additional support could also come in the shape of a non-financial contribution – which could include materials, advice and other services.

EXAMPLE FROM THE IFCD APPLICATION FORM 8.3 Co-funding and self-funding If any, please list all sources of co-funding and self-funding. Please indicate whether or not additional resources are already available or when they are likely to become available. Written confirmation of cofunding and self-funding may be requested. Add source Source ●●

Description:

●●

Amount US$:

●●

Status of funding:

[only one choice]

-SelectAvailable to become available confirmed Edit Remove

8.4 Non-financial contribution. If any, please indicate the kind and the source Add Contribution Source ●●

Description:

●●

Kind: Edit Remove

Although self-funding is not obligatory for applying to the IFCD, it is strongly encouraged as a means of enhancing the project’s sustainability. IFCD funding cannot exceed US $100,000.

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All expenditure can be divided into two groups: direct costs and overheads. Direct costs are associated with a particular activity (e.g. organising a workshop, printing a book). Overheads relate to an organisationâ&#x20AC;&#x2122;s operating activities and are considered fixed costs in the short term (e.g. rent, utilities, etc.). A budget should indicate the following: The likely cost of each main item attached to each activity for each period of the project; The way in which these costs have been calculated; The total funding requested from the IFCD; The total amount contributed by the applicant organisation (self-funding) and other

agencies/organisations/donors (co-funding).

EXAMPLE FROM IFCD APPLICATION FORM 8.2 Budget breakdown Please fill in the table below with information on all foreseen expenditure items and their cost in USD. Please note that you should only use the sections relevant to your project and adapt them as necessary. If the funds requested from the IFCD are meant only to cover a portion of a larger project, please specify the amount that will be IFCD and self/co-funded. Please note that at the end of the project, all original invoices and supporting documents must be sent to UNESCO. A pro forma invoice for equipment will be required. Overhead costs should not exceed 30% of the total budget. Expenditures such as the purchase of a vehicle or construction/ renovation of a building are not eligible for IFCD funding. Type of Expenditure

Description

Related Activity/ ies

Cost for Unit (USD)

Unit

Number of Units

Total Cost

Amount co/self funded

Amount funded by IFCD

Salaries / fees Subtotal % of the Grand Total

0.00

[0.00

0.00

[0.00

0.00

[0.00

0.00

[0.00

0.00

[0.00

0.00

[0.00

Travel and per diem Subtotal % of the Grand Total Equipment and supplies Subtotal % of the Grand Total Communication Subtotal % of the Grand Total Other costs, services Subtotal % of the Grand Total Overhead Subtotal % of the Grand Total

Sum of the Subtotals

Percentage of Grand Total

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There are many methods and approaches for preparing a budget. Below are some suggestions:

1. List items: Looking at the project activities entered in Section 6 (“Expected results and main activities”), list all the possible items of expenditure. What is most important in this phase is to account for all expenses likely to be incurred throughout implementation of the project.

2. Group expenses under main expenditure headings: In the budget table, each main expenditure heading (i.e. 1. Salaries/fees; 2. Travel and per diem; 3. Equipment and supplies; etc.) is broken down into different categories of expenditure. For example, the categories “1.1 Project staff”, “1.2 Contractor/subcontractor/consultant/expert” and “1.3 Administrative/support staff” come under the heading “1. Salaries/fees”. The applicant is not obliged to fill in all the different categories of expenditure. However, for those categories that concern the project, specific items of expenditure should be entered in the Description field.

3. Related activities: the applicant has to indicate the activities that justify the expenditure. 4. Note unit costs: Indicate the unit cost for each input. For example, if the applicant needs to print 1,800 brochures and for this needs to purchase eight reams of paper, the price per ream of paper should be shown.

5. Determine the unit: the applicant has to indicate the type of unit (e.g. per person, per week, per month, per ticket, per item, etc).

6. Determine the number of units: Estimate the quantities required for each input (taking the example from Step 3 above, the number of units would be eight).

7. Consult colleagues and the project team: Ask the question “If I had these resources, would I be able to carry out all the activities that I have described in the proposal?” and find out what your colleagues think.

8. Make a final check of your calculations: It’s easy to make errors, and so double-check the numbers and totals. Expenditure in the IFCD Application Form is divided into the following main headings, and each heading has specific categories:

Salaries, fees Fees for project staff and administrative staff should be calculated on the basis of the average salary in that field in each country. Take into consideration the amount of activities or the hours spent on the project. Fees for experts and consultants will depend on hours worked or services provided and should reflect average fees in the experts’ countries.

Travel and per diem This heading includes a wide range of expenses: travel and transport, visa fees, per diems, accommodation, etc. Per diems should be calculated with reference to the legislation in each country.

Equipment and supplies The need for equipment will depend on the activities planned for the project. It is possible either to hire the equipment or to buy it. If equipment is hired, consider the need for

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professional technical assistance. When buying appliances, check the conditions of warranty: some vendors require paid maintenance for the warranty to be valid. If equipment is bought, consider whether installation services or team training might be needed. For all purchases of equipment and supplies IFCD requires pro forma invoices. All prices should include VAT (value added tax).

Communication Communication costs include the costs of promotional activities, press conferences, events and advertising to reach participants and beneficiaries. They can also include designing, editing and printing project materials and publications. When developing the project, check that all the low-cost options have been explored: social networking, word-of-mouth to spread information about the project, etc.

Other costs, services This category of expenditure will depend on project activities: translating or interpreting costs, hire of seminar rooms, purchase of data for research, evaluation costs, etc. Expenditure such as vehicle purchase or construction/renovation of buildings is not eligible for IFCD funding.

Overheads Overheads can include rental of office space, postage, telecommunications, electricity/ heating maintenance, office supplies, etc. For the IFCD application they cannot exceed 30% of total budget expenditure. It would be advisable not to come too close to this maximum if the applicant wants to demonstrate the project’s sustainability and its own capacity for professional financial management. In short, it is a matter of striking an appropriate balance between overheads and the rest of the budget.

Some budgeting tips Make your budget realistic. Carefully think through exactly what will be needed from the

IFCD to carry out the project and establish the budget around this amount. (Don’t forget that the evaluators can easily see if the budget is overestimated). Have several people in the organisation review the budget. Check again that the project’s budget categories correspond to the required budget

categories of the IFCD. Consider carefully whether all the activities included in the project application are

covered in the budget and conversely whether all expenses are needed for the planned activities. In some cases it is important to look at ownership of equipment (if any equipment is to be purchased out of IFCD funding) or ownership of copyright (if cultural industry products are to be produced). The budget breakdown may provide an indication regarding sustainability issues as well. For example, if a large proportion of the budget is allocated to salaries, there may be a problem sustaining project activities and results in the future.

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Financial management It is important to prove that the applicant has the capacity to ensure financial accountability. Mention in the application whether the applicant has previous experience managing projects of similar scale and describe staff members’ background and experience (is there an experienced accountant or financial manager in the team?). The involvement of a financial officer in implementation of the project is strongly encouraged. A system of sound financial management will be characterized by use of a coherent set of accounting standards and procedures showing that money has been spent in accordance with the project budget, all transactions have been correctly recorded and a complete audit trail exists to facilitate expenditure review. It is important to bear in mind that if the project is approved for IFCD funding, the applicant will usually receive 50% of the total amount at the beginning of the project, another 30% midway through, and the remaining 20% once all activities have been completed and the final reports have been submitted. In this respect, it would be useful for the project team to draw up a preliminary monthly cash-flow plan to make sure that the necessary funds are available and, if necessary, can be advanced by the applicant to ensure timely implementation of activities. Day-to-day management of cash and other assets is a crucial area for achieving the project’s objectives efficiently, effectively and accountably.

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UNIT 4 – NEXT STEPS. SESSION 7

Unit 4:

Next steps Session 7 This unit contains materials for Session 7, which deals with evaluation of the proposals submitted to the IFCD and explains post-approval procedures.

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Session 7.1: Proposal evaluation and decision LEARNING OBJECTIVE:. To explain the evaluation and decisionmaking process. By the end of the session, participants will be able to write a proposal taking into account the evaluation criteria.

Who is involved in the process and what are their roles? The IFCD application, pre-selection and evaluation process involves the following stakeholders:

National Commissions for UNESCO1 The National Commissions disseminate the call for funding requests at the national level. Each puts together its own IFCD Pre-selection Panel and submits the pre-selected

applications to the UNESCO Secretariat through the IFCD On-line platform. Following technical assessment by the UNESCO Secretariat, the National Commissions

inform applicants of the status of their applications.

IFCD Pre-selection Panels 2 The IFCD Pre-selection Panels, which are set up by the National Commissions for UNESCO,

make sure that applications are relevant, meet the country’s needs and priorities and have undergone stakeholder consultation. Each panel performs an initial assessment and pre-selects a maximum of four

applications (two maximum from public authorities/institutions and two maximum from NGOs, per eligible country). 1. UNESCO is the only United Nations agency to have a global network of national cooperating bodies known as the National Commissions for UNESCO. They are set up by their respective governments on a permanent basis in order to involve the governmental and non-governmental bodies working in education, science, culture and communication in the work of UNESCO. At present, there are 199 National Commissions for UNESCO across the world. 2. According to Article 12.2 (“Pre-selection process at the country level”) of the Guidelines on the use of the resources of the IFCD, “National Commissions or other official channels designated by the Parties shall form a pre-selection panel made up of, in particular, Ministries of Culture and/or other Ministries responsible for the cultural industries, and members of civil society organisations specializing in the field of culture to evaluate and pre-select projects to be submitted to the Secretariat”. Available at: https://en.unesco.org/creativity/sites/creativity/files/convention2005_ operational_guidelines_en.pdf#page=57

FIGURE 5:

THE IFCD CALL, APPLICATION AND SELECTION PROCESS

STEP 1: LAUNCH OF THE CALL FOR FUNDING REQUESTS

STEP 2: SUBMISSION OF APPLICATIONS

STEP 3: PRESELECTION AT THE NATIONAL LEVEL

STEP 4: TECHNICAL ASSESSMENT

STEP 5: COMMUNICATION OF STATUS

JANUARY The UNESCO Secretariat launches the call. National Commissions for UNESCO disseminate the call at national level.

DEADLINE: 15 APRIL All funding requests are submitted by applicants through the IFCD On-line platform.

DEADLINE: 15 MAY The National Commission for UNESCO forms the IFCD Pre-selection Panel, which carries out a first assessment and pre-selects the applications for submission to the UNESCO Secretariat through the IFCD On-line Platform.

JUNE The UNESCO Secretariat performs a technical assessment to ensure that project proposals are complete and fall within the areas of intervention of the IFCD.

JULY-AUGUST National Commissions for UNESCO and international NGO applicants are informed by email of the results of the technical assessment.

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UNESCO Secretariat The UNESCO Secretariat launches the IFCD call for funding requests and publicizes it in

cooperation with the National Commissions and through its networks and website. It performs a technical assessment of applications pre-selected at the national level and

those submitted directly by INGOs to ensure that they are complete and fall within the IFCDâ&#x20AC;&#x2122;s areas of intervention. Upon completion of the technical assessment, the UNESCO Secretariat submits eligible

applications to the IFCD Panel of Experts for evaluation. Following this technical assessment, the UNESCO Secretariat informs National

Commissions for UNESCO and INGO applicants of its results. Once an application has been approved by the Intergovernmental Committee for the

Protection and Promotion of the Diversity of Cultural Expressions (IGC), the UNESCO Secretariat establishes a contract with the applicant for implementation of the project. The UNESCO Secretariat monitors project implementation and analyses its results.

IFCD Panel of Experts The IFCD Panel of Experts is made up of six international members who evaluate all

eligible applications and recommend a list of projects to be funded by the IFCD to the Intergovernmental Committee.

Intergovernmental Committee The Intergovernmental Committee, which is composed of representatives of 24 States

Parties to the 2005 Convention elected for four years, examines and approves applications for IFCD funding at its ordinary session in December at UNESCO Headquarters in Paris. Consult the list of the current Members of the Intergovernmental Committee at: www.unesco.org/eri/la/convention.asp?KO=31038&language=E&order=alpha

STEP 6: EVALUATION

JULY-SEPTEMBER Following the assignment of projects to the experts, the IFCD Panel of Experts evaluates all eligible project proposals and prepares recommendations for funding.

STEP 7: EVALUATION RESULTS

STEP 8: FUNDING APPROVAL

NOVEMBER The results of the evaluation and the recommendations are made publicly available on the IFCD website.

DECEMBER The Intergovernmental Committee of the 2005 Convention makes the final funding decisions during its annual meeting.

STEP 9: LAUNCH OF NEWLY-FUNDED PROJECTS

MARCH (the following year) The UNESCO Secretariat prepares the contracts for the newly approved projects and processes their first payments. Beneficiaries of IFCD funding start project implementation.

STEP 10: PROJECT IMPLEMENTATION

NEXT 12 TO 24 MONTHS The UNESCO Secretariat monitors project implementation and analyses results.

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How the proposal will be evaluated? The evaluation criteria are provided in the information available to applicants on the IFCD website. There are five criteria, each of which is evaluated through practical questions, e.g. how specific and measurable the project objectives are, how they relate to the needs in the country and whether they correlate with project activities and outcomes.

EVALUATION CRITERIA Relevance/appropriateness of the project to the objectives and areas of intervention of the IFCD, including the promotion of gender equality, youth, South-South and North-South-South cooperation and the participation of various social groups. Feasibility of the project, as well as the relevance and effectiveness of its modalities of execution. Financial management and accountability. Impact and expected results, including potential for structural change. Sustainability, reflecting the level of ownership demonstrated by the beneficiaries and plans for longer-term expected results that go beyond the output level. Overall score

When assessing project proposals against the IFCD evaluation criteria, experts make a judgement about the extent to which applications meet the defined criteria. This judgement must be based on the information provided in the IFCD Application Form, the National Commission Review Form, and supporting documents, if available. Experts cannot infer information that is not explicitly provided. Don’t disregard any information required in the Application Form!

Each proposal is evaluated by two experts individually. Experts complete a detailed evaluation form in which each question relates to one or more sections in the Application Form filled in by the applicant. The IFCD evaluation criteria match the IFCD pre-selection criteria, which are what the members of the Pre-selection Panel use to assess and pre-select project proposals at the national level. The most common mistakes in Application Forms, acknowledged by the experts in their evaluations, are as follows: Lack of information (applicants do not provide all the information requested, or the

information is too concise to evaluate the quality and relevance of certain aspects of the project); Lack of coherence between different parts of the project (country context, objectives,

activities, outcomes, budget); Beneficiaries are described in too general terms (experts cannot evaluate whether

activities and expected results meet their needs); Information is not sufficiently explained (use of abbreviations, names of local

organisations with no explanation, staff members’ skills not explained, problems not described in a broader context, etc.); Budget is overestimated (lacks detail and does not reflect activities);

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Sustainability and long-term impact is questionable (lack of measures showing evidence

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of sustainability, too large a part of the budget allocated to salaries, thus raising the question of sustainability of these activities in the long run, etc.).

EXERCICE: Ask participants to read the information provided below and say what conclusions the experts might draw from it.

QUESTION IN INFORMATION PROVIDED BY EVALUATION FORM APPLICANT IN APPLICATION FORM WHAT ACTIONS HAVE BEEN FORESEEN TO ENSURE FINANCIAL ACCOUNTABILITY?

2.2 KEY STAFF MEMBERS Name: XXX Responsibility in the activities of the project: Executive Chairman, responsible for financial oversight of the project Skills/ background/qualifications: Chairman of the Board and acting Executive Director, former Attorney General and practising lawyer, with over 25 years’ experience.

COMMENTS

Sufficient information is provided by the applicant. The expert can see that financial management will be overseen by an experienced manager and that there are procedures in the organisation to ensure financial accountability.

8.5 FINANCIAL MANAGEMENT All work carried out will be under the review of the Executive Director and through him the Board of Directors. In addition, spending will be monitored through the Finance Department and, through them, the Finance and Admin Committee of the Board. WHAT ACTIONS HAVE BEEN FORESEEN TO ENSURE FINANCIAL ACCOUNTABILITY?

2.2 KEY STAFF MEMBERS Only artistic staff is included. 8.2 BUDGET BREAKDOWN Salary for financial manager is not explicitly planned in the budget. 8.5 FINANCIAL MANAGEMENT During the implementation of the project, a financial manager will be employed.

The evaluating expert has to conclude there is not sufficient information to indicate that the project’s financial accountability will be guaranteed. The expert has to give a lower score for this evaluation criterion.

How and when the decision is made about projects to be funded by the IFCD? Following evaluation of eligible project proposals by the IFCD Panel of Experts, the UNESCO Secretariat makes the results of the evaluation and the recommendations publicly available on the IFCD Platform in November to facilitate the Intergovernmental Committee’s decisionmaking. In December, during the Intergovernmental Committee’s annual meeting at UNESCO Headquarters in Paris, the coordinator of the IFCD Panel of Experts presents the recommended project proposals to the Committee, which makes the final funding decisions.

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Session 7.2: Post-approval LEARNING OBJECTIVE:. To explain what happens when a project has been approved.

Signing the contract Once the Intergovernmental Committee has approved applications for IFCD funding in December, the UNESCO Secretariat starts preparing the contracts for the newly approved projects. The beneficiaries of IFCD funding: confirm acceptance of the Intergovernmental Committee’s decision; make proposed modifications, if required; review and accept the terms of reference of the contract to be established between the

funding beneficiary and the UNESCO Secretariat; sign the contract.

In March, three months from the date of approval of the projects, the first payments to the beneficiaries are processed and project implementation is launched.

Implementation Following signature of the contract, the IFCD beneficiaries start implementing the project activities. They are responsible for managing the activities and the budget as well as reporting to the UNESCO Secretariat throughout the duration of the project by submitting a mid-term report, a final report and a financial report. During the 12 to 24-month project period, the UNESCO Secretariat monitors implementation of projects and analyses results. If any changes in project implementation occur, funding beneficiaries should contact the IFCD Secretariat to consult about necessary modifications. Modifications, if any, should not affect or change the project’s overall objective and expected results. In addition, beneficiaries must publicize IFCD support by using the emblem of the UNESCO 2005 Convention in all project-related activities.

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Notes and observations

Unit 5

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UNIT 5 – WORKING ON YOUR OWN PROPOSAL. SESSION 8

Unit 5:

Working on your own proposal Session 8 The final session is devoted to practical exercises for developing proposals for the IFCD, becoming familiar with the IFCD Platform and working on project ideas.

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Session 8.1: Defining the problem LEARNING OBJECTIVE:. To introduce participants to a method of problem identification and apply it in practice.

Proposals need to include a sound statement of the main problem that a project proposes to solve. Sometimes a problem is obvious, but sometimes the real problem is hard to discover. The “problem tree” method helps to identify it. It is a tool for mapping out core problems and negative aspects of a given situation, along with their causes and effects, which helps project planners to identify clear and manageable objectives. Like any other tree, the problem tree has three parts: a trunk, roots, and branches. The trunk is the core problem. The roots represent the causes of this problem, while the branches represent its effects.

FIGURE 6:

PROBLEM TREE

EFFECTS

PROBLEM STATEMENT

CAUSES

Source: Clipart Panda www.clipartpanda.com/clipart_images/downloads-29566249

See Annex 6 worksheet, which introduces the problem tree method.

EXERCICE: Ask participants to design their own problem tree. See Annex 6 worksheet (Problem tree).

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We suggest taking 20 minutes to briefly go through the IFCD On-line Application Platform.

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Session 8.2: IFCD On-line Platform LEARNING OBJECTIVE: . To familiarize participants with the IFCD On-line Platform.

Additionnal information How to apply to the IFCD? http://en.unesco.org/ creativity/node/71 IFCD Annotated Guide https://en.unesco.org/ creativity/sites/creativity/ files/ifcd_annotated_guide_ en.pdf

Session 8.3: Developing your own proposal See Annex 9 worksheet (Project draft).

LEARNING OBJECTIVE: . To undertake practical exercises for developing proposals for the IFCD.

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ANNEXES