Annex 1 Proposal of an exit plan for

Transcription

Annex 1
Proposal of an exit plan for
Prompted by the Foreign Ministry in connection with budget proposals 2016
Purpose
The purpose of this proposed termination plan for CKU's activities is to secure agreement on the
termination process for CKU, if the government's Budget Proposal regarding the closure of CKU is
adopted in its current form.
The national budget proposal states, inter alia:
"Considering Danish development priorities and overall focus of the development partnership, no further
contributions to the Centre for Culture and Development (CKU) are planned. In order to ensure the proper
termination of CKU's ongoing activities in Denmark and abroad, including compliance with legal obligations
to employees and partners, support for the phasing out of CKU's activities is planned for 2015.
The decision to close down the CKU also means termination of the Culture fund, through which Danish
embassies were able to apply for funding for cultural and dialogue projects. The projects, which aim to
contribute to a free and vibrant cultural life by building platforms for artistic activities and the capacity,
through training, to provide an important tool for Danish embassies' communication with the public in the
country of residence.
In order to maintain this foreign policy tool, DKK 10 million shall be set aside in 2016 in the current account
for the costs of the embassies' cultural endeavours. In addition, costs will be incurred for organizing the
efforts. "
The minutes from the MFA from the meeting between MFA and CKU 07/10/15 states:
"Although there is as yet no agreement on the National Budget for 2016, the Ministry of Foreign
Affairs of Denmark, acting in partnership with the CKU, has been tasked with preparing a
termination plan that will be ready when the national budget agreement is in place. Should the
national budget agreement in this area lead to a different result than the government has
proposed, the termination plan will clearly not be implemented. This not only applies to the CKU,
but also to other areas. The execution will of course only be implemented when there is a budget
agreement."
Based on the above, the CKU has considered the following assumptions for the phase-out plan:
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The entire termination plan must be kept within a financial framework of DKK 65
million and not the DKK 85 million that was expected as a two-year grant in the national
budget 2015. I.e. DKK 20 million must be saved for the years 2015-2016 - informed by
telephone by Martin Bille 28/09/15.
Country programmes shall be implemented, as far as possible, as described in the country
programme agreements entered into with the embassies.
The country programmes with a time horizons that go further than 2016, shall be
transferred to the embassies during 2016. The time frame and form shall be agreed
individually by the embassies, MFA and CKU.
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CKU shall implement all of the activities that have been agreed in connection with IMAGES
2016, including evaluation and reporting to MFA.
CKU shall continuously terminate the CKU Secretariat during 2016 as the programme is
phased out or transferred to the embassies.
All transferrals must be completed by the end of 2016.
CKU shall transfer/hand over all relevant documents, files and archives to MFA with
regards to compliance with archiving and accounting legislation.
The final technical closure of CKU with the presentation of the final accounts in the first
quarter of 2017.
Proposal for a termination process
The proposed termination plan consists of two phases:
1) The Finance Act's proposal period
2) Following the adoption of the Finance Act 2016
1) The Finance Act's proposal period:
Week 43
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Week 44
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Week 45
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Week 46
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CKU and MFA's termination consultant shall review the first draft of the financial
termination plan with regards to clarification and verification.
CKU shall prepare a first draft proposal for the external appropriation committee
with regards to releasing the appropriation of DKK 65 million.
According to the agreement with Samuel Magid, CKU shall send a country
programme with associated partner agreements to MFA's termination consultant
CKU shall review planned activities in Denmark with MFA's termination consultant
CKU shall review accounting principles and monthly reporting with MFA's
termination consultant.
CKU and MFA shall agree in writing on the process and timing of the termination
plan.
CKU shall inform MFA about the conditions for the dismissal of employees.
MFA shall forward guidelines to CKU regarding the state's requirements for
transferral with regards to compliance with the Archives Act - i.e. what, how, when
and in what form the information must be handed over to MFA. This is essential for
the clarification of CKU's resource needs during the termination phase.
MFA shall provide information on which reports/accounts MFA expects to receive
from CKU in connection with the termination of CKU (format and date).
CKU shall develop a plan for decommissioning CKU's offices. Including termination
of various rental, leasing and service agreements.
CKU shall prepare and submit a first revised plan for terminating the Secretariat and
CKU staff to MFA
CKU shall review the plan with MFA to clarify any unresolved issues and questions
related to the process, schedule and workflows with regards to written approval of
the plan.
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Week 48
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The overall termination plan shall be incorporated into the proposals for the
external appropriation committee.
Final proposals for the external appropriation committee shall be forwarded to
MFA.
Outline of the agenda for video conferences with embassies shall be agreed
between MFA and CKU with regards to agreeing a process for phasing
out/continuing the cultural programmes.
After adoption of the Finance Act 2016:
+ 1 week
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+ 2 weeks
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Beginning
of 2016
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CKU and MFA video conferencing with embassies with respect to agreeing the terms
for phasing out/continuing the cultural programmes.
Preparation of revised plans for the phasing out of programmes, dismissal of staff,
closure of offices and revised liquidity requirements based on the discussions with
the embassies.
CKU shall initiate the plan for the dismissal process based on the plan drawn up in
cooperation with the embassies. All CKU staff shall be informed at the same time
about the staff termination plan and simultaneously receive dismissal notification
with the date of each termination.
CKU and the bodies that will take over programme activities shall initiate close
cooperation for phasing out/handover.
MFA shall provide information on how material from the CKU secretariat shall be
transferred/handed over.
CKU shall draw up a plan for the security of IT operations during the termination
period, and the structuring of data for transferring (CKU's knowledge base, financial
records, etc.).
A detailed plan shall be prepared for the termination of CKU, which shall be
approved by the MFA in writing.
Below please find a Gannt chart of the planned programmes at CKU and an indicative plan for termination
of personnel as the programmes and projects are finalised or handed over to Embassies.
2015
(minus shows the amount of dismissals)
FTE
Personnel
2017
Culture Program Burkina Faso 2014-2017
Culture Program Ghana 2015-2018
2016
21
15 Q3
19
15 Q4
IMAGES Youth 2015
Art funds 2015
14
16 Q1
12
16 Q2
16 Q3
7
16 Q4
2
17 Q1
IMAGES Biennale 2016 exibitions
IMAGES Biennale 2016 evaluation
IMAGES LAB Symposium
IMAGES LAB Curator panel
IMAGES LAB Dialog programme at the Biennale
IMAGES Youth 2016 part of the Biennale
0
2018
Nepal - 2nd phase
Palestine - 2nd phase
Uganda - 2nd phase
Mali - 2nd phase
IMAGES Youth 2017-2018
IMAGES Biennale 2018
Egypt - finalising 1st phase
Culture Program Nepal 2014-2016
Culture Program Pakistan 2015-2016
Culture Program Indonesia 2014-2017
Peace and reconciliation seminar
Exit Projekt Bhutan
Exit Projekt Afghanistan
Culture Program Egypt 2015-2016
Culture Program Palestine 2014-2016
Culture Program Uganda 2014-2016
Culture Program Tanzania 2014-2017
Culture Program Kenya 2014-2017
Creative Industries Africa
Culture Program Mali 2012-2016
Vietnam Kontrakt 2011-2015
2014
Planned programme activities in 2016 that will not be initiated because of the discontinuation of CKU
2013
C
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Bilag 2A CKU National Programmes
2 Complete overview of programmes, projects, planned outputs and budget related to the MFA framework
3 Images
agreement
2015-2016
Biennale
Theme in strategy:
Projects
Planned outputs and time of
Comment on exit plan
Timeframe
4
achievement
Intercultural dialogue 1:Dias/Jogia Biennale Indonesia - Focus: Asia, DK-Region: 1: Exhibition at Vallensbæk Station:
All activities are expected to be
All of 2016.
and collaboration
Hovedstaden
25.500 visitors
finalized as planned by end of 2016
2:Gallery Image/Photo exhibition focused on Kenya, DK2: Exhibition in Aarhus 5.000 visitors, 1
Region: Midt
publication
3: Holbæk Munisipality/Exhibition in public space and on 3: Exhibtions in coorporation with 8
Charlottenborg focused on Asia, Africa and MENA, DKvenyes, visitors 102.280, 1 publication
Regions: Sjælland, Hovedstaden
4: Art Labs at 3 venues; 1700 visitors, 1
4: Art Labs focus on: Asia, Africa, MENA, DK-Region:
publication
5:
Sjælland, Hovedstaden
Exhibition in Aalborg, 33000 visitors, 1
5: Kunsten/Exhibition focused on Pakistan, DK-Region: Nord publication
6: Kunsthal Nord/Al Hoash - Exhibition focus on: Palestine, 6: Exhitibition in Aalborg 3.200, 1
DK-Region Nord
publication
7:
7: Kunsthal Aarhus Exhibition focused: Asia, Africa and
Exhibition in Aarhus, 2700 visitors, 1
MENA, DK-Region: Midt
8:
publication
8:
MFSK Exhibition focused on Palestine, DK-Region: Sjælland Exhibition in Roskilde, 3.200 visitors, 1
9: Moesgaard Exhibition focused on Nepal, DK-Region: Midt. publication
10: Trapholt Exhibition focus on Asia, Africa, MENA, DK9: Exhibtion in Aarhus 55.500 visitors, 1
Region: Syd
11: puclication
Dialogue programme, Images Panel and evaluation 10: Exhibition in Kolding, Outreach in 6
Focus: Asia, Africa, MENA, DK-Region: Hovedstaden, Midt, muncipalities, 66.000 visitors, 2
Nord, Syd, Sjælland
publications
11: 6 Network Meetings, 1 publication,
5
6 Youth Programme
Intercultural dialogue
and collaboration
7
8 Art Funds e.t.c.
Intercultural dialogue
and collaboration
9
10
I
A.1
Budgetline
A1.1-A1.11
A.2
Workshops for school children 8-10. grade Focus: Asia,
Africa, MENA, DK-Regions: All regions
Online educational material - Focus: Asia, Africa, MENA,
DK-Regions: All regions
Teaching courses,
review and evaluation, - Focus: Asia, Africa, MENA, DKRegions: All Regions
10 workshops, 10 publications, 16 events, All activities are expected to be
Spring and
A.2.1-A.2.3.
students invovled 5.800 13.000 online finalized as planned by end of 2016 Autum 2015 and
users 1 publication
2016
A.3
1: CPH PIX- Film festival focus on East Africa, DK-Region: All
Regions in Denmark
2: Den
Frie - Exhibition focused on: Asia, DK-Region: Hovedstad
3: Holbæk Kommune/MFSK Performance Festival focused
on Asia, Africa and MENA , DK-Region: Sjælland.
4: Royal Danish Academy Symposium, Seminar, workshops
and anthology focused on Asia, Africa, MENA, DK-Region: All
regions.
5: Open Calls
for projects under 150.000 kr. in 2015, Focus: Asia, Africa,
MENA, DK-Region: All regions.
1: Filmfestial 2.200 viewers, 1 publication Due to the exit plan the Art Fund will 2015 and 2016
2: Exhibition 2.200 visitors, 1 publication be closed down in Q1 2016
3: Performance Festival at Roskilde
Festival 26.000 participants, 1 publication
4: Dialouge Programme 500 participants,
1 publication
5:
Exhibition in Odense, Viborg, Women
Deliver Conference, Folkemødet
Bornholm, Cultural Political Festival at
Mors 16.200 participants, 1 publication
A.3.1-A.3.5.
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CKU International
2 Complete overview of programmes, projects, planned outputs and budget related to the MFA framework agreement 20153
4 Theme in strategy:
5 PALESTINE
Empowerment through
active participation in
art and cultural
activities
Comment on exit plan Timeframe
Budge
tline
Projects
Planned outputs
Nablus Circus School provides trainings in circus
and performance arts. Activities in refugee camps.
Yafa Cultural Center produces theatre shows and
create spaces of debate amongst youth.
Cultural Forum Society implements music and
choir summer camps.
Ya’bad Cultural Centre creates music classes for
children.
Madaa Silwan Creative Centre use Hip Hip as a tool
to enable youth to gain self confidence.
Oushaq Arts Centre communitie work in Jerusalem.
The Open Studio implementing art workshops.
700 children and marginalised persons participate in the arts and
cultural activities.
Participants are trained and inspired to use non- violent ways of
self-expression.
1.400 people are involved in activities that uses culture as mean of
free expression.
Strengthened quality and sustainability of local cultural operators.
3-5 people from each centre is trained in artistic and pedagogical
fields.
All activities are
expected to be
finalized as planned
by the end of 2016.
Review planned for
Q4 2016.
B1.1.
Public site in East-Jerusalem is turned into an open cultural space
with cultural activities.
Independent arts operators in Gaza have strengthened their artistic
and organisational skills.
2 cultural platformshave been established that support
productions, exchange and training.
Palestinian artists have strengthened international network.
10 performances/productions with an audience of 1.000
All activities are
expected to be
by end of 2016
Review planned for
Q4 2016.
B1.2
6
Enhancing economic
The Palestinian Art Court works on art in public
growth through creative space in East Jerusalem.
industries
Film Lab Palestine establish platform for aspiring
and experienced filmmakers in Palestine.
AM Qattan Foundation supports contemporary
arts production and practices in Gaza.
7
8 EGYPT
Empowerment through
art and cultural
activities
9
CLUSTER, Cairo Lab for Urban Studies and
Increased capacity of platforms and creative hubs to provide access
Environmental Research (in cooperation with DEDI) to art and cultural activities for youth, access to culture by showing
“Women’s Museum Egypt” by Women and
contemporary arts in public spaces
Memory Forum (in cooperation with DEDI), and
Women’s Museum Aarhus).
“Shababeek” Contemporary Art, art in public space.
An early phase out or
hand over of project
has to be agreed upon
with DEDI.
Review planned in
2018
Projects are planned B2.1
until 2018. Review
planned in 2018.
Time frame has to be
revised.
C
D
Enhancing economic
Building Careers for Young Talents in the
growth through creative Independent Music Industry
industries
10
11 TANZANIA
Empowerment through
art and cultural
activities
E
F
H
I
Increased focus on cultural and creative industries through projects An early phase out has Projects are planned B2.2
that support research and dissemination of results
to be agreed upon
until 2018. Review
Develop capacity of artists and artistic companies
with DEDI.
planned in 2018.
Time frame has to be
revised.
Nafasi Art Space training and workshops in
entrepreneurship, theory (art history, and practical
skills).
SOMA Book
Café, creative writing workshops, short story
competition, Young Peoples’ Literary Platform.
Zanzibar International Film Festival - ZIFF
workshop on mobile cinema craft and
management. Improve participation of youth in film
activities in various villages.
4 art trainings per year on technique, entrepreneurship and art
theory carried out. 3 East Africa Artist exchanges per year and 10
artist discussions per year.
12 Nafasi organized public art events (36 in total).
6 Nafasi partner organized public art events (18 in total).
6 community events in different neighborhoods in Dar es Salaam as
a part of public outreach.
Creative writing skills enhanced among youth. 5 alumni stories
accepted for publication.
Public reading of alumni works and young writers’
Film screenings conducted in 21 villages on Zanzibar.
Films with topics relevant for women and youth discussed during
events.
Activities have only
taken shape in 2015
and a difficult replanning phase is
needed if activities
have to phase out in
2016.
Conctacts are made B3.1
until October 2017.
Review planned in Q1
2017.
Enhancing economic
Culture and Development East Africa - CDEA
growth through creative research and documentation for the film and music
industries
subsectors, and on advocay and dialogue with key
strategic stakeholders from film and music sectors
4 Analytic research reports published. 2 annual publications of
Mashariki Journal published in 500 copies. 2 annual meetings.
Physical resource centre established.
Pilot projects based on research findings implemented by Dec 2017
taken shape in 2015
2016.
Conctacts are made
until October 2017
Review planned for
Q1 2017.
B3.2
High quality festival in 2015 and 2016.
30 artists have Improved entrepreneurial skills
19 Hip Hop events
Audience of 5000
Increase in numbers of documentary film viewers
Increased number of (good /great ) documentary films submitted
for DOCUBOX screenings
Poetry slam held in to Kisumu, Nakuru, Machakos, Mombasa and
Nyeri.
taken shape in 2015
2016. C
onctacts are made
until October 2017
Review planned for
Q1 2017
B4.1
12
13
14 KENYA
Empowerment through
art and cultural
activities
15
Sawa Sawa Festival (Performing Art Festival) by
Sarakasi Trust.
DocuBox Introduce basic film
production classes in collaboration with
universities.
Kenya Poet’s Lounge poetry events in the Counties.
C
D
Enhancing economic
The Nest/HEVA Fund Learning, exchange, and
growth through creative mentorship forum for artists. Training and
industries
networking. Mobile phone film production project
in the counties + screening.
E
3 Value Chain Analysis Conducted.
Training program designed and published.
Industry conversation program schedule published.
HEVA Forum training sequence creative entrepreneurs conducted.
F
H
Main focus of the
Review planned for
programme will be in Q1 2017
2016. If 2017 is
removed a re-planning
is necessary.
I
B4.2
Access to film by youth in northern Uganda through film clubs
6,600 in 2015 and 8,800 in 2016. Gulu and Kitgum out of school
increases to 1,800 in 2015 and 2,160 in 2016.
500 young people in Gulu-Kitgum reached annually through film
festival event
40 young people gets film making training annually. 4 short films
produced i
Capacity build to play a leading role as film institute in Uganda
Some adjustments
may be needed to
secure that key
elements of the
project can carry on
without CKUs support.
All outputs are likely B5.1
to be achieved by
end of 2016 as
planned. Programme
review is planned in
2016.
20 Functional Clubs
600 Students trained in creative writing skills and literary activism.
600 participants in Workshops. Prticipating schools receiving a
book donation of 2,600 books for young adults and children.
50 writers participating in public event with audience of 1,000
people.
Survey carried out on the market for literature in Uganda.
It is not likely that
activitiets will continue
after end of this
project (the partner
organization will need
to find a new donor).
Programme review is B5.2
planned in 2016.
All outputs are likely
to be achieved by
end of 2016 as
planned.
16
17 UGANDA
Strengthening peace
Maisha Film Lab, new opportunities to solicit films
and reconciliation in
from film makers in Uganda and across Africa.
post-conflict areas
through art and cultural
activities
18
Empowerment through Femrite - Uganda Women Writers Association is
designing of training materials for clubs, novel
art and cultural
writing mentoring scheme, workshops and debates.
activities
19
C
Empowerment through
art and cultural
activities
D
Bayimba Cultural Foundation is doing hip hop
trainings in five regions, arranging Hip Hop Boot
Camps, training in creative entrepreneurship,
mentoring in creative business development,
equipment support, performances at festivals,
recording of artists and production of Hip Hop TV
Shows.
E
11 Hip Hop trainings in 5 regions. 100 youth in Northern Uganda
trained on an annual basis.
Hip Hop Boot Camps in 3 locations.
300 participants trained in entrepreneurial skills.
10 mentors identified / 30 participants mentored 10 participants
selected to participate in creative business development.
Equipment support in 10 regions.
1 Performing arts market survey
Performances at festivals for artists from 11 regions.
50 artists participating in festivals on an annual basis
4 Hip Hop events held on an annual basis
40 artists recorded on an annual basis
30 initiatives promoted through weekly Hip Hop TV Shows.
F
Some adjustments
may be needed to
secure that key
elements of the
project can carry on
without CKUs support,
e.g. can the Hip Hop
Activities be
concentrated into a
Hip Hop Academy run
by the partner
organization
H
I
Programme review is B5.3
planned in 2016.
All outputs are likely
to be achieved by
end of 2016 as
planned.
Projects are currently being finetuned.
Training and advisory programme on business planning and market
development established. Cultural entepreneurs have received
training and mentoring and build models. Network for sharing of
knowledge established.
Training for animators strenghening both business skills and skills in
3D animation, will enhance business opportunies. Establishing
foundation for a "jazz hub" in Ouagadougou.
With an early phaseout, the planned
research and training
programme will only
reach the pilot phase
and the effect to the
creative sector in
Burkina Faso will be
limited.
Review planned for
Q1 2018.
B6.1
Cultural activities will take place in 5 cities outside Ouagadougou.
Youth in five different towns will recieve training and particiapte in
national pocket film screenings and festival.
Intervention for youth in Koudougou district with training in
creative diciplies and linking up to annual festival.
Training in animation film for youth in two cities outside
Ouagadougou.
The consequences of Review planned for
an early phase out will Q1 2018.
imply that activities
outside Ouagadougou
(where very little is
going on already) will
be very short and have
limited effect in
relation to building
new creative
capacities and
facilities.
B6.2
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21 BURKINA FASO
Enhancing business
approach and market
relations for creative
business.
22
Empowerment through Projects are currently being finetuned.
art and cultural
activities
23
24 GHANA
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D
Enhancing economic
growth through creative
industries
E
Creative business Incubator programme is established and has
supported cultural entrepreneurs and start-ups. Training and
workshop activities on business planning developed. Cultural
organisations, businesses, entrepreneurs and start-ups have
received training and advisory in business development and
applied their knowledge in developing new business opportunities.
50 creative businesses and cultural entrepreneurs have received
training in business development. Minimum 15 cultural
entrepreneurs and start-ups have received support from the
incubator programme.
F
H
Phasing out before
Review planned for
end of the programme Q1 2018.
phase 1 (March 2018)
would mean that the
planned incubator
programme will only
have very limited
effect on the
incubatees and the
prospect of creating
sustainable business is
limited.
I
B7.1
Enhancing economic
industries
Funding mechanism for investment in creative businesses and seed
funds for creative start-ups have been established. Creative
entrepreneurs have been able to grow their commercial activities
and make profit.
20 creative businesses and start-ups have been assessed qualified
to receive funding. 15 Creative entrepreneurs have received
investment from the fund. 11 creative businesses have established
a business and been able create revenue from their activities.
It is expectd that an
Review planned for
early phase out, will
Q1 2018.
prevent many creative
entrepreneurs from
getting seed funding
and it there will also
not be enough time
for the programme to
receieve potential
returns on
investments.
B7.2
Enhancing economic
industries
Network building activities for the Ghanaian cultural and creative
industries and potential business partners from other sectors
carried out. Market oriented activities such as expos reaching out
to regional and international creative businesses carried out. 5 key
activities for creative businesses which gives potential of creating
new commercial relations held.
An early phase out will Review planned for
block the network
Q1 2018.
building methodology
and the effect of
creating stronger
business linkages and
business environment
for the creative sector
in Ghana will not
appear.
B7.1
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26
27
28 NEPAL
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D
Enhancing economic
South Asia Communication: Youth TV programmes
growth through creative “Pattern Breakers” with a focus on positive, young
industries
role-models within Nepal + job-creation in the
media field.
Siddhartha Arts Foundation: Education Initiative –
with a focus on arts management, curation, and art
critique
Photo.Circle: Inclusive history project (through
curriculum development, teacher training, curation,
and museum outreach) – creating a new, inclusive
narrative about the history
E
164 new employment/internships etc. within creative industries
created.
65 trainings/workshops carried out to improve capacities of
creative entrepreneurs
Contemporary art is being popularised through the programme
with an increase in demand as a consequence.
Change in perception among the youth that a career within art and
culture is a viable option.
F
Whithout a second
phase of the
programme (that was
planned for 2017-19)
the sustainability,
consolidation and
geopgraphic spread of
the activities and
results will be minimal.
H
All activities are
expected to be
by end of 2016
Review planned for
Q4 2016.
I
B8.1
Empowerment through
art and cultural
activities
7000 youth (outside Kathmandu) take active part in cultural
activities promoting democratic values (millions more are reached
as audiences). Traditionally excluded youth involved in voicing
issues through art and cultural activities.
Increased promotion of democratic values, participation/inclusion,
respect for diversity, transparency, accountability, respect for
human rights through 101 activities.
The shared stories demonstrate an alternative narrative to the
negative narrative of traditionally excluded youth in Nepal.
The consolidation and
future mentoring of
new initiatives started
outside kathmandu
will be very difficult
without further
funding. This will make
the sustainability of
these new and much
needed intitatives very
hard to achieve.
All activities are
expected to be
by end of 2016
Review planned for
Q4 2016.
B8.2
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30
31 INDONESIA
Artlab: "Prasad project" Street art workshops and
exhibitions focusing on local, unsung heroes.
Karkhana: Science, technology, Engineering, Arts
and Math curriculum development and teaching,
preparing young people for the future jobmarket in
Nepal
Word Warriors: Nepali’s first spoken-word group.
Word Warriors mobilise youth – in particular
women - to lead regional youth collectives across
Nepal.
C
Ensuring freedom of
expression for artists
and cultural actors.
D
Jakarta Biennale focus on providing market
linkages for upcoming artists and curators living
outside Java, ensuring a platform for freedom of
expression, and on public education programme.
Indonesia Art Coalition is creating new cultural
hotspots and connecting them to existing and
capacity development activities (Art Management
in theory and practise + Advocacy).
E
800,000 audience expected for the showing of local contemporary
art works
Art educational book publishing.
15 workshops and symposiums, involving 15 schools directly and
650 schools indirectly = 292,500 students in total.
The emergence of discourses on freedom of expression in art and
cultural developments (500 media coverage from 300 media)
Establishment of the cultural hotspots in 4 cities. Partnership with
at least 4 communities at 4 cultural hotspots.
Collaboration between artists/communities with local stakeholders
including the private sector, government, civil society, and media.
4 Knowledge exchange programs.
F
H
Projects formulated
Review planned for
will have to cut out a Q4 2017.
significant amount of
activities in order to fit
a timeline shorter
than expected. Thus all
the expected results
will not be achievable.
Sustainability is
questionable if the
projects are phased
out now.
I
B9.1
Strengthening peace
and reconciliation in
post-conflict areas
through art and cultural
activities.
Kelola, peace and reconciliation efforts through art
and cultural activities in central and eastern
Indonesia. Through a small grant scheme (12)
prioritizing young emerging artists, informal cultural
organizations and cultural NGO’s.
Search for Common Ground is promoting conflict
prevention and reconciliation on land and resource
conflicts, gender-based violence, and identity
conflicts through contemporary art. Also, improve
the capacity of at least 15 artists and 3 civil society
organisations in promoting conflict prevention and
setting up creative means for dialogue as
mechanisms for reconciliation.
Exposure of artists and cultural organizations from eastern
Indonesia through an online catalogue (100 artists and 20 cultural
organizations).
Increase the capacities of local cultural organizations and artists in
executing and managing the project (4 workshops in 4 locations
with 90 artists).
Establish regional linkages between the artists and cultural
organizations (30 new linkages for 20 grantees).
Performances, workshops, exhibitions, literary events, mini
festivals focusing on peace, dialogue, diversity presented in the
communities where the artists work (2000 audience in 20
communities).
Improved skills of artists in promoting conflict revention and
reconciliation through art.
Established means for dialogue among stakeholders in conflict led
by artists and NGOs.
Projects formulated
Review planned for
will have to cut out a Q4 2017.
significant amount of
activities in order to fit
a timeline shorter
than expected. Thus all
the expected results
will not be achievable.
Sustainability is
questionable if the
projects are phased
out now.
B9.2
32
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Annex 3
Annex 3 – Examples of CKU interventions under the five development engagements.
Development engagement 1. Active participation in cultural activities can mobilise marginalised
population groups to express themselves and take part in development initiatives in their areas.
FEMRITE in Uganda adds virgin voices to the literary canon: The CKU-supported literary NGO FEMRITE
in Uganda is famous for democratizing the literary canon by including new voices from neglected or
unreported spaces. With support from CKU FEMRITE has initiated writers/readers clubs for youth in
Northern Uganda and including what they call ‘virgin voices from hard-to-reach areas’. “What they need
is a little push for them to realize their potential and make a contribution. If we do not open up literary
spaces we shall limit the ability for young people to realize their potential. says Hilda Twongyeirwe,
FEMRITE’s director.
Towards a dynamic film industry in Palestine: “For decades, our stories have been dictated or
manipulated by others to fit within a set framework. So many stories have been told about us, so few by
us. We undoubtedly have the talent pool of young Palestinians eager to tell our story, but we are faced
with a weak local film industry, which lacks basic resources to support filmmakers on the ground. The
time has come to win back our narrative and give voice to our diverse realities,” says Alexandra MaurerChammas, on Film Lab Palestine (Source: This Week in Palestine 12/2014).
Street art in Nepal gives youth space to voice their messages: The second Prasad Project, funded mainly
by CKU, will feature community workshops on technique, like stencilling and basic letter design.
Afterwards, participants and Artlab artists will take to the streets and create open-air galleries to display
their work. “Their project is to use street art as a medium to give voice to the youth and those from
marginalized communities and teach them how street art has the potential to spread their message,” Mr.
Oli said to the New York Times, December 4, 2014. An important part of Artlab’s mission is to nurture the
developing art scene.
Development engagement 2. Freedom of expression for artists and cultural actors is enhanced through
securing open and democratic spaces where art can be expressed
Women in Nepal speak out to be heard: The NGO Word Warriors cooperate with LGBTI-communities,
organisations for differently abled people, women’s groups as well as local communities, who are all encouraged to
express themselves and speak out through spoken word. Coordinator Ujjwala Maharja recently reported: “One of
our participants from our (…) annual youth poetry slam workshop as well as the introductory workshops for Write
to Speak, Deepti Gurung, who is also an activist for the Citizenship Through Mothers campaign, wrote her first
spoken word poem regarding her own story and struggles (and that of many others) with trying to provide a
citizenship for her children through her name.
Vietnamese photographer shows romantic love between homosexuals: The Vietnamese photographer Maika Elan
has in her series of photos ‘The Pink Choice’ portrayed homosexuals in their daily surroundings. While Vietnam is in
a process of accepting homosexuality and give better rights for LGBTI-people, Maika Elan’s photos won a World
Press Photo award in the category Contemporary Issues. “I want to tell the story by going into the great depth of
love and intimacy. I want to avoid stereotypes of homosexuality. I also want to avoid the tabloid/shocking news
style. I want to show simply how they care and love each other in daily activities. More strongly, I want to show
that their loving and caring for each other is nothing deviant. They are all normal and natural behaviours, attitudes,
thoughts and emotions.”
1
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Annex 3
Development engagement 3. A boost to cultural and creative industries generates employment and
income and strengthens national and international market opportunities
Designers in Africa lift each other through network: “Before I entered the DNA arena, I had been cut off
because of our political and economic circumstances. I was going under, drowning. It’s as if someone
threw me a lifeline,” says Marjorie Wallace. To her Design Network Africa has been a way out of an
isolated existence in Zimbabwe. Now, she is a member of the DNA-network and is selling her ceramics to
different shops in European cities including the Terence Conran Shop, a London-based luxury retailer
selling design home ware and furniture. Marjorie Wallace is not the only one, who has experienced, that
DNA was a game changer. Significant uptick in sales and new chances of hiring employees has been the
reality for many of the designers. More than 220 people have found full-time employment in the
workshops of DNA-designers – while additional part-time and seasonal workers are hired, when the
workload becomes too big for the permanent staff.
Visibility has led to income generating activities for street artists in Kathmandu: After receiving
capacity development in conducting workshops ArtLab has expanded their business by providing
workshops at their studio for young people, who want to learn basic skills in street art (wheat pasting,
letter writing, stencils etc.) for a fee (500 Rupees). "This workshop has helped me to think in a wider
perspective, I thought art was limited to paper and canvas. With this workshop, I now know that the
urban landscape can be my canvas," said Suman Tamang, one of the workshop participants. This has led
to income generation for ArtLab’s artists collective. Furthermore, through the exposure of their project
supported by CKU, they have received additional commissioned work in restaurants and cafés in
Kathmandu further contributing to strengthening their business. ArtLab is now also entering
collaboration with Vespa Nepal, to have artists do commissioned artwork on Vespas.
Professional film kits give young filmmakers in Uganda new income sources: “Apart from employment
the filmmaking gives us a way to keep our own culture alive. The majority of the films and stories told
about Northern Uganda, the war and the Acholi culture are told by the Americans or other foreign
filmmakers and journalists or filmmakers based in Kampala who produce films in Luganda. We
appreciate they come, but we want to tell the stories ourselves and promote our own languages,” says
the Ugandan filmmaker Daniel Komakech. Like all other young people trying to make a living from
filmmaking in Gulu the participants have never received any economical support for neither script
writing, rental of equipment, editing nor marketing. Unlike in Kampala young people in Northern Uganda
have never had permanent access to professional film kits.
Rapper on news show on female genital circumcision: The hierarchical media landscape of Uganda has
been challenged by the news show ‘Newz Beat’, where Ugandan rappers present the news – with beats
and rap. Ugandan Sharon Bwogi initiated the programme with the purpose of giving the youth of Uganda
an independent platform to actively contribute to development of country. “Besides corruption, poverty
and health problems youth are struggling with high unemployment. It is important, that youth get
influence on the society on Ugandas future,” says 28 years old Lady Slyke, who is the first female rapper
of Uganda. The 22-year-old Ugandan rapper Byg Ben Umumasaba, who had participated in the CKUsupported hip-hop workshop, had his debut on the TV-show, where he raised the story of traditional
circumcision in his local area Mbale.
2
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Annex 3
Development engagement 4. Art and cultural activities can strengthen peace and reconciliation in
post-conflict areas
A new generation of writers and rappers tackles trauma in Northern Uganda: ”The poems and texts
about the memory and consequences of war are very touching. They shed light on stories that the young
people want to forget but that they should never be silent about. Hopefully the writings will contribute
in helping the communities to rebuild themselves,” says Hilda Twongyeirwe, director of the literary NGO,
Femrite, who initiated the Tukosawa School Writing Clubs with support from CKU.
“For many years I felt mentally tortured. Many of us here (in Northern Uganda, ed.) have used rap-music
as therapy. The music gives as an outlet to grief,” said the popular rapper MC Wang Jok as CKU met him
during the hip-hop bootcamp in Gulu.
Afghanistan Youth House keeps Taleban at bay 21-year old Shahira Mohseni, who is the current youth
leader at the Afghanistan Youth House in Kabul, is ready to welcome her peers every day when they
arrive from school or university. According to Shahira Mohseni, the Youth House's many activities make
for a healthy and useful alternative to wandering the streets at great risk of falling into the wrong circles:
”Young men are easily influenced by people who wants to exploit them and convince them to become
criminal, extremists or even members of the Taleban," says Shahira Mohseni. The Youth House, which
Denmark has supported since 2009, is a haven for young Afghans, where they can meet without pressure
from criminals and extremists. Instead, they are given the tools to develop their talents, strengthen their
position on the job market and improve their possibilities to contribute to social change in their war-torn
country.
Refugees tell their own stories in Palestine Young Iraqi refugees in Jordan and in the Balata refugee
camp on the West Bank participated in a project initiated by the Danish Betty Nansen Theatre’s
international department for education and integration C:NTACT. In cooperation with local partners,
C:NTACT trained young people in telling their own stories through dance, theatre and film. They
contributed to creating identity and a space in which the young people could express their own feelings,
thoughts and emotions from a childhood and youth with many limitations and lack of freedom. "In the
Middle East, everybody's talking about the displaced Palestinians and what to do about the problem. But
young people are never even heard in this discussion, and it creates a huge frustration. It is precisely
when people feel neglected, that they end up being frustrated and radicalized," Najat El-Ouargui, head of
C:NTACT/international.
Music as platform for inclusion in the country where music was banned: Greeting from Dr. Ahmad
Naser Sarmast, founder and director for Afghanistan National Institute for Music (ANIM), after the attack
of a concert (extremists sent a 15 year old suicide bomber into the audience of a cultural performance in
Kabul). The institute provides music education to all Afghan children regardless of gender, ethnicity,
social and economic backgrounds. ”I am very grateful that all ANIM students escaped without any
physical injuries. I was in the audience and sustained many injuries. I do not wish to dwell on the
tragedies – instead I would like to express my gratitude for everyone for their support and
encouragement. Today I am more resolved to continue the important work of ensuring that all Afghan
children and youth have access to music education and art. It is even more apparent to me today than
ever, that the only way forward is through education, through intercultural dialogue, and building bridges
through music education and music with the underlying theme of inclusion. At the Afghanistan national
institute of music we witness every day, that music is a natural platform for inclusion. It is through
inclusion that we are able to repair broken communities, heal a war-torn nation, and move forward
towards peace.”
3
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Annex 3
Development engagement 5. Promoting intercultural dialogue and intercultural collaboration
Learning and understanding through face-to-face meetings: "I experience that kids stand face to face with the
global world and our fellow human beings, and it promotes learning and understanding on many levels," said Iwona
Abilgaard, children's and network coordinator in the Municipality of Copenhagen about CKU’s workshops at
schools.
International dimension of education fulfilled: "During the workshops the international and the creative move up
to a higher level and fits elegantly to the international dimension that we would like to be part of all school
subjects. Students learn that art plays an important role in the countries the artists come from, "said Kent Poulsen
from Pedagogical Centre in Frederikssund,that has coordinated cooperation between CKU and schools in
Frederikssund Municipality since 2010.
New insight and learning: "The workshop gave students insight into the culture and life under completely different
conditions, and how words can change the world. Students learned about rhythm and rhyme. They learned English
words and was also challenged by having to stand up," said Karin Keller Larsen, teacher at Vestbjerg Skole, Aalborg
Intercultural dialogue practiced through meeting with artists from developing countries: "The collaboration with
CKU fits very well with our focus on intercultural dialogue. We would like to offer our students opportunities to
meet people from other cultures and countries," said Jan Niemeier, Head of School, Humlebæk Skole,
Frederikssund.
4
Annex 1
PARTNERS IN INTERNATIONAL PROGRAMMING
Palestine
A.M Qattan Foundation, is an independent, not-for-profit developmental organisation working in the fields
of culture and education, knowledge and creativity sectors with a particular focus on children, teachers and
young artists. The Foundation seeks to empower free individuals within a dynamic Palestinian and Arab
culture, through a long-term, participatory developmental ethos. This is achieved through programmes that
foster critical thinking, research, creativity and the production of knowledge, and that aim to provide inspiring
models of giving, transparency and excellence.
Film Lab Palestine is a non-profit company established in 2014 and based in the old Town of Ramallah.
Inspired by personal experience to empower Palestinian youth in refugee camps in Jordan to tell their own
personal history and document their collective memory through film art, the Film Lab uses international
models of public and private partnerships to effectively promote film art and film culture in Palestine with
the greater aspiration to create a productive, dynamic film industry in Palestine.
Al Hoash Art Court is a non-profit organisation based in East Jerusalem, in Zahra Street, which historically
was a cultural hub of Jerusalem in the first half of the 20th century, but which has suffered significantly under
occupation laws of the city. Al Hoash mission is to provide and sustain a knowledge-based platform for
Palestinians to express, strengthen and realize national identity through visual culture.
The Open Studio is an artist run initiative located in Shufat camp working in collaboration with local
community centres and UNRWA schools. It aims to expose children to the different mediums in art, to
develop their competence in various forms of art, and to provide a safe space to explore and express ideas
and to develop individual creativity through long-term programmes.
Madaa Silwan Creative Centre, based in Silwan is a nongovernmental non-profit organization that aims to
empower the community and build community networks by providing and subsidizing recreational,
educational and social activities as well as courses. Madaa Silwan promote dialogue and exchange of ideas
by organizing events and activities which inform and educate.
Oushaq Arts Centre is specialized in folkloric arts, dance, and drama. Oushaq aims to promote culture and
arts as distant from political affiliations, and supporting a generation of Jerusalemites who believe in their
Palestinian identity through arts and culture without discrimination based on gender or religion.
Assirk Assaghir/Nablus Circus School aims to offer safe places to learn, play and foster creativity through
freedom of expression not only to children able to attend the Nablus Circus School, but also to those living
in remote areas.
Yafa Cultural Centre is a non-profit cultural NGO that is a key player for providing services and activities to a
wide range of the population in particular children and women within Balata refugee camp. These include
children’s drama, media centre, library and psychosocial unit.
Ya’bad Cultural Centre is under the auspices of the Municipality of Ya’bad, focusing on providing cultural
activities to Ya’bad’s community, surrounding villages and Bedouin community.
Cultural Forum Society is a civil institution, founded in 2004, it aims to develop cultural, artistic and
educational needs in Qalqilia and in the north, through programs and activities to activate the cultural,
artistic, educational scene and promote community participation and the values of pluralistic civil society.
Egypt
The Danish Egyptian Dialogue Institute is a strategic partner of the CKU Egypt Culture and Development
Programme. DEDI is an intergovernmental body with a strong dialogue mandate under the Danish Arab
Partnership Programme (DAPP). Established in 2004, DEDI’s core mandate as a centre of excellence is to
promote political and cultural understanding between Denmark and Egypt and Europe and the Arab World.
CLUSTER, Cairo Lab for Urban Studies, Training and Environmental Research is a platform for urban research,
art and design initiatives in downtown Cairo that aims at establishing a critical space for urban discourse.
CLUSTER engages critical theorization while being grounded in professional practice, negotiating the blurred
boundaries between formal/institutional regulations and everyday urban informality. Cluster are registered
as a Limited Liability Company.
Mahatat for Contemporary Art works toward the accessibility and the decentralization of contemporary art
by developing art in public spaces and community art projects. Mahatat focus on Cairo and the Delta Region
namely Port Said, Damietta and Mansoura as geographic areas targeting artists, emerging artists and art
initiatives, community-based associations and audiences (citizens). Mahatat are registered as a Limited
Liability Company under the Ministry of Investment.
Alwan wa Awtar is an NGO registered with the Ministry of Social Solidarity, that targets children and youth
in marginalized communities who have little or no access to after-school activities, let alone visual and
performing arts. The organization offers an innovative setting which combines art and non-formal
education; a setting that is designed to enrich the learning experience of the children.
100Copies is a music label and studio space based in Cairo/Egypt, releasing music from Egypt, the Arab world
and internationally. 100COPIES focus on experimental music, sound and jazz-related. The main intentions of
the label/space are promoting talents locally and internationally; creating a platform/network for the
independent music scene in Cairo, introducing international artists and independent music internationally,
to the Egyptian music scene, and building careers for young talents in the local and international music
industry.
Burkina Faso
ABCA (Association burkinabè du cinéma d’animation) is a non-political, secular and nonprofit organization
created in 2008. Its main objective is to promote animated cinema in Burkina Faso by intervening in differet
focus areas such as celebrating annually the International Animation Day; organizing training workshops in
animated cinema, providing technical and financial support for the production animated film.
Institut Imagine is a not for profit organization established in 2003. As a world-class training center with a
strong professional network worldwide, Imagine provides training opportunities for beginners and
professionals in the sector of cinema, television and multimedia from African countries The institute also
hosts since 2008 an audiovisual archives and organizes subsidiary activities: seminars, symposiums,
conferences, one-off exhibitions and memory camps.
Jazz à Ouaga was launched in 1992 by not for profit organization Jazz à Ouaga which is composed of 10
members and supported by volunteers. Jazz à Ouaga, which takes place every year, starting from every last
Friday of April, is a major cultural event in Burkina Faso and one of the oldest jazz festivals of the African
continent. The festival advocates for the promotion of jazz culture in Burkina Faso through a large array of
events at each edition: concerts, jam sessions, training programmes for artists and arts managers, exhibitions
on jazz, screenings, conferences and jazz contest “Jazz Performance”.
Association Benebnooma in Koudougou was founded in 1984 by Koudbi Koala and registered in February
1991. Benebnooma literally means “it is good to have people around”, but can be translated as “United we
stand, divided we fall”. Benebnooma strives to provide development opportunities to the most vulnerable
by empowering them and by enhancing the human being and socio-cultural potentialities. Benebnooma is
known for its annual international festival “Les Nuits atypiques de Koudougou”, but it also develops other
cultural initiatives like dance troop Saaba and Benebnooma band.
Association Passaté is based in Kaya. It is a non-profit organization founded in 2001 by a group of people
from the Sanmatenga province, concerned with the future of the rich cultural heritage of the centre-north
region of Burkina Faso. The organization advocates for the professionalization of artists and seeks to offer
them training, meeting and exchange opportunities. Its multidisciplinary activities contribute to the
protection and promotion of local cultural heritage.
Centre Silmandé was inititiated by Burkinabe singer Patrick Kabré. Based in the popular neighbourhood of
Gounghin in Ouagadougou, Silmandé is committed to ensure exposure of children to cultural at their
youngest age. The center proposes a large set of programmes, among which the Silmandé workshops. These
early-learning workshops permit children to have their own experience through arts, to open up, to meet,
share and exchange with others.
Afrika Tiss’s main goal is to contribute to the development of small-scale textile sector in West Africa,
through human-centered and environment-friendly methods. Ranging from the production of natural fibers
to the transformation of cotton locally, Afrika Tiss develops many activities revolving around the textile
sector: beginners and advanced workshops (in weaving geometric patterns, weaving with large looms,
dyeing with eco-friendly dye and entrepreneurship) and the development of top-of-the-range textile
accessories collection via Tiss & Tik trademark.
Ghana
Impact Hub Accra (IHA) is a Non- Governmental and Not for Profit organization which has among others
goals, to curate programmes and build connections that empower the entrepreneurs and businesses to
address the incidences of high youth- unemployment through the creation of sustainable and socially
responsible enterprises. IHA has operated as a co-working space in Accra for the past 5 years
MESH Ghana is a Non-Governmental Organization (NGO) which provides a platform for creative and
entrepreneurs and businesses of different domains to present their creative projects and business for
criticisms, feedback, collaborations and even promotion. The MESH platform serves creative entrepreneurs
in filming, photographic, painting, architecture, fashion music and many other domains of the culture and
creative arts in Ghana. MESH Ghana also organizes events for creative entrepreneurs to meet, explore and
share their creativity with the aim of helping to fuel a creative revolution that will help accelerate national
development.
Accra (Dot) Alt is an organization based at James Town, an urban fishing community in Accra, which is
committed supporting artists and creative businesses through trainings and creation of market access for
their artistic products and services. ADA has again local and international recognition as the organizers of
the Chale Wote Street Arts Festival and the Sabolai Radio Music Festival.
Nepal
Karkhana: A collective of young programmers, engineers, artists and hackers dedicated to the integration
of interdisciplinary teaching method. Karkhana work in both public and private schools in and outside
Kathmandu (see http://www.cku.dk/nepals-unge-laerer-at-bygge-jordskaelvssikre-boliger/ for article and
video).
Artlab: Art collective who explores constructive solutions to societal challenges through community-based
art and cultural activities. Artlab conduct workshops in 4 cities in Nepal (see
http://www.cku.dk/workshops/streetart-meets-local-heroes/ for an article about Artlabs participation in
the youth programme in Denmark, September 2015).
Photo.circle: Platform for photography nurturing unique voices that document and engage with social
change in Nepal. Photo.circle are based in Kathmandu, but collect photos and stories from all over Nepal in
their Nepal Picture Library.
Word Warriors: Nepal’s first spoken-word group. Word Warriors mobilise women to lead regional youth
collectives across Nepal through intensive workshops, trainings and regional events. (see
http://www.cku.dk/nepalesere-bearbejder-jordskaelvstraumer-med-poesi/ and
http://www.cku.dk/en/speak-out-and-be-heard/ )
Siddhartha Arts Foundation: NGO promoting the contemporary art of Nepal and engaging in the
community through debate on social issues. Siddhartha Arts Foundation has established the first ever
academic programme on curating, arts management and art critique involving students from inside and
outside of Kathmandu. The greater aim being to provide access to high quality art experiences for all Nepali
people.
South Asia Communication (SAC): Media company working on leading youth television shows, public
outreach programmes and training programmes for youth. (see http://www.cku.dk/unge-nepaleserebryder-monstre-i-nyt-tv-program/)
See: http://www.cku.dk/kreativ-katastroferespons-fra-nepals-kulturorganisationer/ and
http://www.cku.dk/kronprins-frederik-moder-katastroferamte-kulturorganisationer-i-nepal/ for articles
about the earthquake response of all partners
Indonesia
Kelola Foundation: For 15 years Kelola has consciously reached out to emerging artists and art workers not
only in Java, but in other parts of Indonesia. In the spirit of engaging in dialogue, sharing information, building
skills and knowledge, and strengthening networks within Indonesia, Kelola has connected and worked with
thousands of artists in 28 provinces in the country – among other activities a small grant scheme has been
part of Kelola’s portfolio of activities throughout the 15 years.
Indonesia Arts Coalition: The shared vision and mission of Indonesian Art Coalition is to strengthen
Indonesia’s arts sector by engaging a network of stakeholders to mobilize resources and advocate public
policies for a sustainable infrastructure while promoting the diversity of Indonesia’s arts and culture. Its
founding members include individuals working in the field of film and visual arts, nonprofit arts
organizations, performing art groups, and community organizations in the Republic of Indonesia. Current
members, and still growing, are 110 arts and cultural organizations and individuals from 13 provinces
throughout Indonesia.
Jakarta Biennale: Jakarta Biennale is a continuous reading on the development of the arts and cultural
ecosystem in Indonesia. The arts and cultural ecosystem is seen as a dynamic and complex area moving
along with the current local and global change. As part of the arts and cultural ecosystem, the biennale
plays an important role as a platform for showcasing contemporary art achievements, this includes
ensuring freedom of expression for artists and cultural actors, exposure of artists to a national, regional,
and international market, as well as offering inspirational ideas and artistic practises to society. Ideas and
art works revolving around social, political, economical and cultural issues is presented to the public once
every two years, in a biennale format.
Search for Common Ground: SFCG is an INGO working within the field of conflict prevention globally.
Conflict and differences are inevitable. Violence is not. SFCG partner with people around the world to ignite
shared solutions to destructive conflicts. They work at all levels of society to build sustainable peace
through three main avenues: Dialogue, Media, and Community. In Indonesia SFCG is implementing a
project focusing on peace and reconciliation through contemporary art in Bali.
Kenya
The Nest is a multidisciplinary arts collective established in 2012 with the aim of exploring Kenyans
troubling modern identities, re-imagining their pasts and inhabiting mythical African futures. They create
work within the fields of film, visual arts, music and fashion. Most recent projects include the queer film
Stories of Our Lives, and the fashion short-film To Catch a Dream. A separate programme under The Nest is
the HEVA Fund, which looks to deepen financial inclusion for producers of creative goods and services,
invest in development of capacities among creative producers and provide debt financing and equity
investment solutions to support creative businesses.
DocuBox – The East African Documentary Film Fund exists to enable talented, driven, focused and
accountable East African artists to produce unique films that unearth new realities and cross trans-national
boundaries. Through training, development and production grants, screenings for people who love
documentary films, DocuBox promotes East African filmmakers and share their unique stories with the
world through creative documentary.
Kenya Poets Lounge is a poetry hub for all poets, lovers and admirers of poetry. It is the first of its kind in
Kenya, incorporating poets from a wide range of poetry groups. It is a place of discovery and growth. Their
main product is the weekly event of Fatuma’s Voice, which is an arts forum for discussion through poetry,
music, motivational talk and interaction. Building an Africa that can speak for herself.
Sarakasi Trust is a performing arts development organization working toward building capacity in the
performing arts sector in Kenya. The organizations' core stems from a firm belief in the use of Culture for
Development. Since its establishment in 2001 the Trust has run training and outreach programmes that
continues to touch lives of thousands of children and young adults growing up in the slums of Nairobi.
Sarakasi Trust is known for its yearly Sawa Sawa Festial, and monthly Hip Hop Hook-ups.
Kwani Trust is a Kenyan based literary network dedicated to developing quality creative writing and
committed to the growth of the creative industry through the publishing and distribution of contemporary
African writing, offering training opportunities, producing literary events and establishing and maintaining
global literary networks. Their vision is to create a society that uses its stories to see itself more coherently.
Craft Afrika is a partner to CKU under the umbrella of the regional Design Network Africa (DNA). Founded
in 2012, Craft Afrika is a social enterprise that identifies, creates and supports market access opportunities
for contemporary artisan and design products, specifically within domestic and regional markets.
Tanzania
Nafasi Art Space is a centre for contemporary art (visual and performing arts) in Dar es Salaam, Tanzania,
situated at a large industrial plot in Mikocheni B. It is the leading Contemporary Art Centre in Tanzania and
provides a platform for artists through development, production and entrepreneurship by providing
training, exchange and exhibition of contemporary arts locally, regionally and beyond. In 2015 they host up
to 40 artists and several groups of artists.
Culture and Development in East Africa (CDEA) is a creative think tank that provides services to artists,
cultural leaders, creative entrepreneurs, cultural officers and civil society organizations in innovation,
research and policy analysis. They advocate for a cultural dimension in all public policies and development
programmes. They host an Art Space for film and music events, a digital online radio channel, a research
programme and journal.
Soma Book Café contributes to the creation, promotion and sustenance of a reading culture by actively
participating in the development of readership in Tanzania; designing and implementing readership
activities; and joining hands with others in advocating for a social and policy environment that fosters
reading for pleasure and pursuit of knowledge. Key activities include a nationwide writers competition at
secondary schools and an annual children’s book fair.
Zanzibar International Film Festival (ZIFF) is East Africa’s largest film, music and arts festival, bringing new
talents together from all over the world. Each year, some of the most captivating and cutting-edge cinema
from Africa and beyond is screened in venues across the island. In addition to the annual festival film
screening events (Village Panorama, Women’s Panorama, Children’s Panorama) are organized throughout
the year.
Bagamoyo College of Arts (TASUBA) is a semi-autonomous government institute that provides training,
research and consultancy service in arts and culture. The college is recognized as an East African Centre of
Excellence and is regionally known for hatching young talented performing artists.
Uganda
Bayimba Cultural Foundation works for a vibrant arts and culture sector that is professional, creative and
viable and contributes to social and economic development in Uganda and East Africa. Bayimba is therefore
dedicated to contribute to making Uganda a significant hub for arts and culture on the African continent
and led by its values of respect, shared leadership, transparency, accountability, learning, and
collaboration. The organization is regionally known for its performing arts Festival, for the DoaDoa Market
Days and for its nationwide support to Hip Hop artists.
Maisha Film Lab is a non-profit training initiative for emerging East African filmmakers. They provide handson intensives in screenwriting, directing, producing, cinematography, editing, sound recording, and acting.
As a leadership development organization, Maisha Film Lab invests in an emerging film industry in East
Africa—with the twin goals of creating economic capacity while contributing vibrant new voices to an
increasingly international film world.
Femrite – The Uganda Women Writers Association is a Non-Governmental Organisation that promotes
women writing in Uganda. The organisation aims at creating an enabling atmosphere for women to write,
tell and publish their stories. FEMRITE has since inception spread wings and grown in membership,
publishing, training and promoting writers. Activities include Writing workshops, Regional Residencies for
African Women Writers, and a school programme on creative writing.
PARTNERS IN NATIONAL PROGRAMMING
IMAGES 2016 PARTNERS AND COLLABORATORS
Collaborating International curators
Ade Darmawan, Indonesia
Alia Rayyan, Palestine
Alia Swastika, Indonesia
Bisi Silva, Nigeria
Bonaventure Soh Bejeng Ndikung, Cameroon
N’Goné Fall, Senegal
Razia Sadik, Pakistan
Sangeeta Thapa, Nepal
Sarah Rifky, Egypt
International institutional partners
Al Hoash Gallery, Palestine
Beaconhouse National University, Pakistan
EcoArt, Uganda
Jakarta Biennale, Indonesia
Jogjakarta Biennale, Indonesia
Nafasi Art Centre, Tanzania
OK Video Biennale/Ruangrupa, Indonesia
Siddhartha Art Foundation, Nepal
The Nest, Kenya
Danish institutional partners
Arts & Globalization, Copenhagen
Brandts, Odense
CKI - Center for Arts and Interculture, Copenhagen
CPH PIX International Film Festival
Charlottenborg, Copenhagen
Den Frie, Copenhagen
Factory of Art and Design, Copenhagen
Folkemødet – The People's Political Festival, Bornholm
Gallery Image, Aarhus
Kraftværket, Copenhagen
Kulturmødet – national Cultural political Festival, Mors
Kunsten, Aalborg
Kunsthal Aarhus, Aarhus
Kunsthal DIAS, Copenhagen
Kunsthal Nord, Aalborg
Kunsthal Viborg, Viborg
Moesgaard Museum, Aarhus
Museum of Contemporary Art, Roskilde
National Museum, Copenhagen
Raaderum, Copenhagen
Rappolitics, Copenhagen
Roskilde festival, Roskilde
Royal Danish Academy of Fine Art, Copenhagen
Rønnebæksholm, Næstved
Teaterøen, Copenhagen
Trapholt, Kolding
Danish municipal partners
Frederiksberg
Fredericia
Frederikssund
Gladsaxe
Holbæk
Horsens
Høje Taastrup
Kolding
København
Middelfart
Odsherred
Ringkøbing
Roskilde
Slagelse
Vejle
Vallensbæk
Aabenraa
Aalborg
Aarhus
Annex 5 CKU Results Framework
Thematic priority #1: Empowering people through active participation in art and cultural activities
Thematic Priority Objective
Empowerment of marginalised groups including youth and women through active participation in art and cultural activities to include diverse and multiple voices in
processes of socio-economic development.
Intervention objectives
 Cultural activities targeted youth and women and other marginalised groups
 Strengthen capacity of platforms and creative hubs to provide access to art and cultural activities, facilitate artistic quality, and foster new talents
 Strengthen key organisations to reach out to geographically, economically, socially or culturally vulnerable groups with artistic and cultural activities.
Outcome indicators
 No. of participants have obtained self-confidence and skills to express issues that contribute to increased and diversified knowledge and understanding, which
have led them to participate in development processes in their local area.
 No. of new artistic talents fostered through targeted support programmes and actively using their talent
 Difference in no. of vulnerable groups included in cultural activities undertaken by the key organisations supported compared to earlier.
CULTURE AND DEVELOPMENT PROGRAMMES IN UGANDA, NEPAL AND PALESTINE:
Baseline 2014
Lack of fulfilment of the right to create, partake in and limited access to diverse cultural expressions for marginalised groups such as youth, women and rural
population groups. Limited number of contemporary art and culture venues, which are mostly available to urban audiences. 1
Progress to date 2015:
36 key activities: Uganda: Hip-hop workshops, Hip-hop boot camp, readers-writers clubs, film screenings; Nepal: Street art workshops, capacity course, Yantra
festivals, summer camp, youth club discussions; Palestine: Circus training, workshop, cultural talk.
Outputs
393 artists involved: Uganda: 158 young hip hop artists + 5 African writers; Nepal: 34 street artists; 13 artists in TV-production + 126 in collaboration teams + 50
presenters; Palestine: 3 international trainers (2 female + 1 male) + 4 in-house trainers.
498 participants actively involved: Nepal: 80 in TV-production training, 28 in street art workshop, 350 children in activities at Yantra Festival, 20 students in summer
camp; Uganda: 20 in recurrent film screenings including follow-up debate.
11.013.200 potential audiences: Uganda: 1700 to Bayimba Festival in Gulu and Bayimba International Festival in Kampala); Nepal: 11.000.000 radio listeners/TVviewers, 1500 YouTube-viewers, 10,000 audience for Yantra Festival.
 Through key activities, participants’ self-confidence in raising their voice in other arenas has grown. Examples: Case 1A. Nepalese youth breaking patterns in TV
programmes, Case 1B. The inclusion and role modelling of female artists has brought more attention to female participation; such as FEMRITE in Uganda bring
neglected stories out in public (Ref. Annex – PROGRESS TO DATE CASES).
Outcomes
 Artists and participants have used creative expressions as a medium to address social issues to a wider public. Examples: Case, 1C . Towards a dynamic film
industry in Palestine. (Ref. Annex – PROGRESS TO DATE CASES
 Through capacity strengthening of cultural venues, marginalised groups in rural, post-conflict or underprivileged areas are now participating in cultural activities of
the organisations supported. Example: Case 1D. Female first-movers in Afghanistan break taboos. Ref. Annex.
Expected impact
Through participation in cultural platforms and institutions, marginalised population groups have developed skills and strength that have enabled them to participate
in wider processes contributing to the social and economic development of their country on an equal basis with other groups.
1
Ref. CKU Country Analyses for Nepal, Palestine and Uganda
Thematic priority #2: Ensuring freedom of expression for artists and cultural actors
To strengthen the transformative role of art as a reference point for critical reflections, debate and dialogue in society through promoting open spaces
and democratic platforms for artists’ freedom of expression.

Promote pluralism, critical reflections and debates through a variety of contemporary art productions

Strengthen artists and their organisations, platforms to advocate for the right of freedom of expression for artists.
Outcome indicators

Increased visibility of art and culture in public sphere shown through increased number of artists, events and performances taking place in public
space.

No. of networks between platforms and open spaces strengthened and supported and actively engaged in advocating for art in public spaces and
freedom of expression.
Baseline 2014
Limited freedom of expression for artists and cultural operators as an integrated part of a democratic society. Insufficient number of spaces for free
practice of the arts and culture.2
19 key activities: Nepal: 9 spoken word presentations + 1 development of curriculum; Palestine: 1 film festival, 7 film workshops + 1 film programme.
1873 audience, participants: Nepal: 1800 audience for spoken word festival, Palestine: 23 in focus group meeting with Film Lab, 50 for workshops
Outputs
8700 online followers: Nepal: 5.301 members in Word Warriors Facebook group + 1.554 followers of Facebook page, Palestine: 1845 Film Lab Facebook
followers.

Artists and participants use creative expressions to raise awareness on social issues through performances at free and safe venues and platforms
(spoken word, film festival and screenings). Example: Case 2A. Vietnamese photographer showing romantic love between homosexuals.(Ref. Annex)
Outcomes

Partners have encouraged organisations, municipalities and governments to include art and culture in development efforts as a non-violent medium
for critical reflection and self-expression. Example: Case 2B. Women in Nepal speak out to be heard. (Ref. Annex)
Expected impact
A conducive environment for the fulfilment of the right to freedom of expression for artists and cultural operators has been established in the countries
covered.
2
Ibid.
Thematic priority #3: Enhancing economic growth through creative industries
Enhanced business capacities, financial growth and job creation in cultural and creative industries for heightened contribution of the sector to the
economic development.

Provide business development support to cultural and creative industries.

Improve opportunities to access seed capital for the cultural and creative industries.

Provide opportunities for market expansion and building business relations for cultural business and entrepreneurs.
Outcome indicators

Creative business Incubator programme established and supported cultural entrepreneurs, start-ups.

Cultural organisations, entrepreneurs received training, advisory in business development and applied their knowledge.

Creative start-ups, entrepreneurs successful in growing their commercial activities.

Market oriented activities reaching out to regional and international creative businesses.
CULTURE AND DEVELOPMENT PROGRAMMES IN UGANDA, NEPAL AND PALESTINE, DESIGN NETWORK AFRICA:
Baseline 2014
Lack of entrepreneurial leadership, training and marketing capacities for the economic growth.3
167 key activities: Design Network Africa: 3 workshops in Africa, 3 design fairs in London, Paris and South Africa, Nepal: 18 TV- and radio-programmes
about artists, 3 college presentations on art for profit, 136 recurrent classes, 3 workshops/lectures, 1 master class. Uganda: 7 entrepreneurship trainings
Outputs
780 participants: Uganda: 100 writers (Writivism festival); Nepal: 626 teachers, college and university students, and 54 in TV-production team.
237 decent jobs created: Design Network Africa: 220 jobs created in the members workshops since beginning of DNA in 2011, Uganda: 2 (DJ and rapper),
Nepal: 15 in TV-production, curatorial work for gallery and Kathmandu International festival).
6736 online activities: Nepal: 600 Facebook-followers, 2000 YouTube-viewers, Uganda: 4.136 Facebook followers for hip hop Uganda.

Increased orientation towards sustainability and the commercial side of art and culture integrated in all projects

Accomplished training activities in marketing, art for profit, and entrepreneurship have generated income opportunities in the cultural and creative
Outcomes
industries. Example: Case 3A. Designers in Africa lift each other through network (Ref. Annex).

Creation of local jobs linked to skills obtained in cultural activities and trainings. Examples: Case 3A. Designers in Africa lift each other through
network Case 3B. Visibility has led to income generating activities for street artists in Kathmandu.

Collaboration with either commercial or municipal structures has strengthened sustainability of cultural and creative projects.
Expected impact
Cultural and creative industries in the countries covered benefit from the same opportunities for growth and business development as other sectors of
the private sector and contribute significantly to employment and economic growth.
3
Ibid.
Thematic priority #4: Strengthening peace and reconciliation in post-conflict areas through art and cultural activities
To provide opportunities for active participation in dialogue and reconciliation processes though art and cultural activities involving refugees, internally
displaced and conflict-affected population groups.

Provide opportunities for active participation in cultural activities in post-conflict areas allowing participants to express traumas and socio-political
consequences of conflict in artistic forms

Utilize the potential of art and culture in reconciliation efforts in conflict-affected areas.

Involve vulnerable groups from areas characterised by conflict in artistic and creative activities and foster new talents.

Engage youth from different backgrounds in art and culture initiatives as a means of re-establishing trust and mutual understanding to counter
conflict and political instability.
Outcome indicators

No. of participants having raised socio-political issues and shared personal trauma to a wider audience

Artistic/cultural activities promoting peace and reconciliation have taken place regularly in target areas.

Youth from different background and from areas characterised by former conflicts involved in artistic and creative activities.
Baseline 2014
Lack of activities and platforms involving communities in post-conflict communities, engaging the public and initiating healing dialogue. 4
37 key activities: Uganda: 28 workshops; Nepal: 9 workshops + events.
21 districts covered: Uganda: 7 districts in Northern Uganda; Nepal: 14 zones.
Outputs
2688 online followers: Nepal: 2365 Facebook followers, 251 Twitter followers, 72 Instagram followers.
Outcomes
Expected impact
4
Ibid.
Participants in cultural activities (hip hop, readers/writers clubs etc.) use obtained artistic skills to address traumas and socio-political issues to a wider
audience. Safe and neutral spaces allow young people to express their own feelings, thoughts and emotions from a childhood and youth with many
limitations and lack of freedom Examples: Case 4A. A new generation of writers and rappers tackles trauma in Northern Uganda. Case 4C. Refugees tell
their own stories in Palestine. (Ref. annex)
Methodologies involving art and cultural activities are part of the state-of-the-art toolbox for conflict prevention, reconciliation and peace building, and
the tools and methods are used in concrete cases of conflict prevention and resolution in the countries of operation.
Thematic priority #5: Promoting intercultural dialogue and intercultural collaboration
Intervention Titles
Outcome indicators
Outputs
Outcomes
Impact Indicator
To provide opportunities for intercultural meetings between artists from Danida priority countries and a Danish public, including schools, art and cultural
institutions.

Images Biennale

Arts Fund

Images Youth

No. of Danish cultural institutions and exhibition venues have presented art from the Global South to broad and diverse audiences in all regions in
the country, leaving the audiences with increased interest and curiosity vis-à-vis art from Africa, Asia and the Middle East.

No. of artist from Danida priority countries and the OECD-DAC-listed low-income countries presenting or performing in Denmark

No. of Danish students having participated in creative workshops jointly facilitated by artists from developing countries and Denmark

Collaboration agreements entered between CKU and 15 cultural institutions including art galleries and museums for a comprehensive Images
programme throughout 2016 in different parts of Denmark

Over 100 artists from developing countries have through cooperation with Danish culture institutions, artists or others had the opportunity to exhibit,
talk or perform in Denmark, hereby contributing to a more vibrant Danish art scene reflecting the global trends.

Since 2010, CKU’s school workshop programme has challenged more than 10,000 young people on their perceptions and knowledge of developing
countries. More than 100 artists from the Middle East, Africa, Asia and Latin America have set the agenda on over 90 public, secondary schools and
youth institutions in 35 municipalities.

In 2014, 19 artists from eight different countries facilitated 56 workshops in schools and youth clubs in 12 Danish municipalities. Nearly 1,800 students
participated in the art professional workshops.

Teachers highlight the fulfilment of the international dimension in the Folkeskole-reform (ref. case #5A) and the new knowledge and deeper insight
gained about issues for artists and society in developing countries (Ref case #5A and #5C); the opportunity for practising intercultural dialogue in real
was mentioned by one head of school (Ref. case #5D).
Increased interest and demand in the Danish population regarding art from Africa, Asia and the Middle East, and lasting partnerships established across
borders.
Annex 6 - Budget at output level
Budget in DKK
2015
2016
Thematic Programme - Culture programmes in Denmark
For further description of the outputs related to the below budget lines, please refer to Annex 2A
Development engagement A.1 - Images Biennale
Engagement objective - Intercultural dialogue through institututional collaboration
Output A.1.1. Dias/Jogia Biennale Indonesia - Focus: Asia
Output A.1.2. Gallery Image/Bamako Photo Biennale - Fokus: Kenya
Output A.1.3. Holbæk Munisipality/An Age of Our Own Making - Focus: Asia, Africa and MENA
Output A.1.4. Råderum/Images Panel - Focus: Asia, Africa, MENA
Output A.1.5. Kunsten/BNU - Focus: Pakistan
Output A.1.6. Kunsthal Nord/Al Hoash - Focus: Palestine
Output A.1.7. Kunsthal Aarhus/Images Panel - Focus: Asia, Africa and MENA
Output A.1.8. MFSK/Al Hoash - Focus: Palestine
Output A.1.9. Moesgaard/Siddartha - Focus: Nepal
Output A.1.10. Trapholt/N'Gone Fall: Focus: Asia, Africa, MENA
Output A.1.10. Dialogue programme, Images Panel and evaluation
Contingencies (normally not exceeding 5 % of the above)
Subtotal Development engagement A.1
Development engagement A.2 - Youth Programme
Engagement objective intercultural dialogue through artworkshops for youth
Output A.2.1. Workshops - reach out to all DK regions - Focus: Asia, Africa, MENA
Output A.2.2. Online educational material - Focus: Asia, Africa, MENA
Output A.2.3. Teaching courses, review and evaluation
Contingencies(normally not exceeding 5 % of the above)
Sub-total Development engagement A.2
90.905
25.973
1.064.888
207.783
259.729
77.919
103.892
168.824
194.797
571.403
90.905
428.552
3.285.569
162.577
46.451
1.904.474
371.605
464.506
139.352
185.802
301.929
348.379
1.021.913
162.577
766.435
5.876.000
425.148
164.853
115.687
31.814
737.501
778.235
301.765
211.765
58.235
1.350.000
Development engagement A.3. - Arts Funds, Knowledge Center, Images Panel
Engagement objective - Intercultural dialogue through Open Calls
Output A.3.1. CPH PIX/The Nest Kenya - Focus: East Africa
Output A.3.2. Den Frie/Ruangrupa Indonesia - Focus: Asia
Output A.3.3. Holbæk Kommune/MFSK - Focus MENA
Output A.3.4. Royal Danish Academy/Images panel - Focus: Asia, Africa, MENA
Output A.3.5. Open Calls under 0,15 in 2015
Output A.3.1.
174.613
232.817
174.613
436.532
232.817
100.693
1.352.086
Cross cutting National activities regarding Images biennale and Images Youth
3.905.070
3.497.000
Sub total Thematic Programme - Culture programmes in Denmark
9.280.227
10.723.000
Thematic Programme - Culture Programmes in Priority countries
For further description of the outputs related to the below budget lines, please refer to Annex 2B
Development engagement B.1 - Palestine
Output B.1.1 Empowerment through active participation in art and cultural activities
Output B.1.2 Enhancing economic growth through creative industries
Other
Professional support
Subtotal Development engagement B.1
609.286
529.814
132.454
52.981
211.926
1.536.461
Development engagement B.2 - Egypt
Output B.2.1. Empowerment through active participation in art and cultural activities
Output B.2.2. Enhancing Economic Growth Through Creative and Cultural Industries.
Other
Sub-total Development engagement B.2
466.216
425.676
283.784
81.081
243.243
1.500.000
Development engagement B.3 - Tanzania
Output B.3.2. Enhancing economic growth through creative industries
Other
901.351
466.216
435.135
124.324
372.973
2.300.000
Annex 6 - Budget at output level
Budget in DKK
2015
Development engagement B.4 - Kenya
Other
590.541
777.027
435.135
124.324
372.973
2.300.000
Development engagement B.5 - Uganda
Output B.5.1.Strengthening peace and reconciliation through art and cultural activities - Film
Output B.5.2. Empowerment through active participation in art and cultural activities - Literary Art
Output B.5.3. Empowerment through active participation in art and cultural activities - Performing Arts
Other
343.835
191.020
305.631
267.427
76.408
229.223
1.413.544
Development engagement B.6 - Burkina Faso
Other
986.657
621.229
511.600
146.171
438.514
2.704.172
Development engagement B.7 - Ghana
Output B.7.1. Enhancing economic growth through creative industries - Creative Business Development
Output B.7.2. Enhancing economic growth through creative industries - Access to investment
Output B.7.3. Enhancing economic growth through creative industries - Market expansion
Other
1.046.455
647.805
498.312
697.637
199.325
597.974
3.687.507
Development engagement B.8 - Nepal
Other
515.753
361.027
267.427
40.114
229.223
1.413.544
Development engagement B.9 - Indonesia
Output B.9.1.Ensuring freedom of expression for artists and cultural actors.
Output B.9.2. Strengthening peace and reconciliation through art and cultural activities.
Other
Development engagement B.10 - Cross cutting International activities
Output B.10.1. Research- and knowledgement center, international symposium
Output B.10.2. Reports, international conference, security
Output B.10.3. Quality assurance, exit repporting, handover
Sub total Thematic Programme - Culture Programmes in Priority countries
Reviews, evaluations, appraisal, monitorering
Administration, audit and discontinuation of CKU
Total budget
397.297
245.946
189.189
264.865
75.676
227.027
1.400.000
683.784
745.946
372.973
124.324
372.973
2.300.000
768.231
1.241.461
2.009.692
300.000
2.160.000
2.500.000
4.960.000
12.764.921
14.760.000
Other planned frame activities, IT upgrade project, capacity building
2016
4.000.000
1.136.981
771.304
2.500.000
2.046.567
7.017.000
26.000.000
39.000.000
Contextual Risks
Context: CKU programme activities in Denmark and DANIDA Priority Countries
File No:
Risk factor
Likelihood
Background to assessement
Impact
Background to assessment
Risk response if applicable / potential effect on
development cooperation in context
1 Human rights violations by
Government bodies in programme
countries
Likely
Human Rights analyses conducted in
programme countries report
different types of violations
Major
Oppressive regimes can make it
difficult for CKU to address human
rights issues
Programmes are flexible and aligned with
recommendations from Danish representations in the
respective country
2 Threats against national security in
some programme countries
(including terror, political unrest,
crime)
Likely
Threats are likely in countries such as Major
Pakistan, Palestine, Egypt, Kenya and
Mali
Pattern of terrorism attacks changing CKU follows UM security travel guidelines. Each country
and becoming more unpredictable
programmes includes specific risk assessments. CKU has
than earlier
established security policy and procedures
3 Religious radicalization and ethnic
conflicts in some programme
countries
Likely
This is reported in countries such as Major
Kenya, Pakistan, Egypt, and
Indonesia. In other countries the risk
is unlikely to have influence
Conflict pattern is currently changing
and unrest due to radicalisation and
conflict tends to emerge in countries
earlier perceived as stable
4
5
6
7
8
9
10
1/4
Inclusive programme approach. Art and culture is used as
a tool for dialogue. For e.g. Egypt CKU is updating the
risk assessment every 6 months and adjusts programmes
according to the evaluated risk.
Programmatic and Institutional Risks
Title: CKU - Culture and Development Programmes
File No:
Programmatic Risks
Risk factor
Likelihood
Background to assessement of
likelihood
Impact
Background to assessment to
potential impact
Risk response
Combined
residual risk
P1 Governments restricting freedom of
expression hinders programme
implementation
Likely
Restrictions are reported in many
programme countries and critical in
few (e.g. Egypt)
Minor
In most countries programmes can
be formulated within the given
frame. (Few countries the impact is
major, e.g. Egypt)
Programmes will only indirectly
address freedom of expression (e.g.
Egypt where focus is on access to art
and cultural activities).
Minor
P2 Reduced programme effectiveness
due to bureaucratic barriers
Likely
Most programme countries have
reportedly a high level of
bureaucracy
Minor
Implementing partners know how to
deal with bureaucracy
Flexibility in implementation and
time planning. Work through local
implementing partners.
Minor
Exists in most programme countries
and especially strong in e.g.
Palestine, Egypt, Parkistan
Major
If not responded to this will hinder
the programme to reach the
marginalized population.
Special programme attention is given Minor
to proactive involvement of girls,
P3 Traditional barriers for girls'
Likely
participation in programme activities.
P4
P5
P6
P7
P8
P9
P10
2/4
Institutional Risks
Risk factor
Likelihood
Background to assessement of
likelihood
Impact
Background to assessment of
potential impact
Risk response
Combined
residual risk
I2 Weak financial management of some Likely
implementing partners
As documented by partner
assessments
Major
If not responded to impact will
reduce results
Financial and managerial
strengthening is included in
partnership agreements
Minor
I3 Difficulties in finding capable
implementing partners
The difficulty exists especially in the
least developed countries
Major
Impact limits the possibilities of
programme results
Strategies of capacity development
are included in partner agreements.
Minor
I1
Likely
I4
I5
I6
I7
I8
I9
I10
3/4
Deviations and follow-up
Title: CKU - Culture and Development Programmes
File No:
Planned date for first assessment:
Date of assessment:
Deviations from original assessment: Follow-up:
Date for next asssment:
Date of assessment:
Deviations from original assessment:
Follow-up:
Date of assessment:
Follow-up:
Date of assessment:
Follow-up:
Date of assessment:
Follow-up:
4/4
CKU ANNEX 8 - CKU Review Report with Summary
Summary: Review of the Danish Centre for Culture and Development (CKU) 2013 – 2015
June 2015. For the Danish Ministry of Foreign Affairs. By Cecilia M. Ljungman, consultant.
Objective
The main objective of the Review was to assess CKU's performance in implementing the Danish Strategy for Culture
and development (The Right to Art and Culture, 2013) with regard to: i) programmatic and organisational progress
and results so far; ii) challenges encountered; and, iii) possible need for programmatic and organisational
adjustments.
Conclusion
CKU has approached its country programming process in a systematised and structured way that is based on sound
development cooperation practices. CKU has developed country programmes with components that are relevant in
terms of the prevailing needs, opportunities and the Danish strategic priorities. CKU's initial projects at country level
show promise. They are relevant, innovative and on track.
CKU is organisationally strengthened on all fronts. In broad terms the skills set of the international section match
those needed to manage development programmes in the culture sector and engage in cultural/developmental
discourse. The staff's combination of culture/arts knowledge and experience; language skills; and, development
context familiarity represents core competencies that will be important to ensure a transformative culture-anddevelopment agenda.
For technical expertise in, for instance different artistic genres, CKU does not need internal in-depth capacity, but
staff need to have a basic understanding and know where to access such capacities. Going forward, deepening
practical approaches to HRBA will be important. CKU has already started to take preparatory steps.
CKU has consolidated itself and built a foundation for more comprehensive development cooperation work, how
transformational CKU's work will partly depend on how it interacts with its partners, what risks it is willing to take
and what risks the Ministry will allow it to take when it comes to pushing the human rights agenda forward.
The work ahead for CKU relates to further fine-tuning and developing its approaches
This includes defining change processes more clearly and tightening its theories of change. It also involves carving
out its own HRBA on a practical level that can be undertaken jointly with partners. Elaborating and articulating its
partnership approach to ensure dynamic dialogue and exchange will be important. In terms of developing results
management systems, a traditional linear results based management approach is likely to be insufficient because
the change processes implied by the Strategy are multi-dimensional and concern behavioural changes.
i
Ministry of Foreign Affairs of Denmark
Technical Advisory Services
Final Review Report
Review of the Danish Centre for Culture and Development (CKU)
2013 – 2015
June 2015
Cecilia M. Ljungman
ii
TABLE OF CONTENTS
1
INTRODUCTION ............................................................................................................................. - 1 1.1
2
UGANDA PROGRAMME .............................................................................................................. - 2 2.1
Literary Arts Component ............................................................................................................ - 2 -
2.2
Film Component .......................................................................................................................... - 3 -
2.3
Performing Arts Component ..................................................................................................... - 4 -
2.4
Effectiveness ................................................................................................................................. - 4 -
2.5
Relevance ....................................................................................................................................... - 5 -
2.5.1
Strategy .................................................................................................................................. - 5 -
2.5.2
Target groups........................................................................................................................ - 6 -
2.5.3
Gender equality .................................................................................................................... - 7 -
2.6
3
4
5
Review approach .......................................................................................................................... - 1 -
Sustainability ................................................................................................................................. - 7 -
RELEVANCE ..................................................................................................................................... - 8 3.1
Theory of change and Strategy relevance ................................................................................. - 8 -
3.2
Strategic areas..............................................................................................................................- 10 -
3.3
Relevance to Danish and national priorities ...........................................................................- 10 -
3.4
Harmonisation ............................................................................................................................- 11 -
ORGANISATIONAL PROGRESS ..............................................................................................- 11 4.1
Structure ......................................................................................................................................- 11 -
4.2
Systems ........................................................................................................................................- 13 -
4.2.1
Finances and accounts.......................................................................................................- 13 -
4.2.2
Programme preparation ....................................................................................................- 13 -
4.2.3
Results based management (RBM) ..................................................................................- 14 -
4.2.4
Human rights based approach .........................................................................................- 15 -
4.3
Shared values...............................................................................................................................- 16 -
4.4
Staff ..............................................................................................................................................- 17 -
4.5
Skills .............................................................................................................................................- 17 -
4.6
Style ..............................................................................................................................................- 17 -
SUMMARY OF CONCLUSIONS AND RECOMMENDATIONS .....................................- 17 -
i
Annexes:
1. MPN with updated review questions
2. Documents reviewed
3. Informants
4. Status of Programme Implementation
5. Danish financial contributions to CKU
List of Abbreviations
CKU
Danish Centre for Culture and Development
CSO
Civil Society Organisation
Danida
Danish International Development Assistance
DFID
Department for International Development
DKK
Danish Kroner
FGM
Female genital mutilation
HIVOS
Dutch Humanist Institute for Cooperation
HRBA
Human rights based approach
M&E
Monitoring and Evaluation
MFA
Ministry of Foreign Affairs
NGO
Non-Governmental Organisation
OM
Outcome Mapping
SWOT
Strengths, Weaknesses, Opportunities, Threats
ToC
Theory of change
ToR
Terms of reference
UNESCO
United Nations Education, Science and Culture Organisation
WIPO
World Intellectual Property Organisation
i
1 INTRODUCTION
The Danish strategic framework for culture and development is laid out in the The Right to Art and
Culture, Strategic Framework for Culture and Development from 2013 (hereafter referred to the Strategy),
which constitutes a part of Denmark’s overall strategy for development cooperation, The Right to a
Better Life (2012). The Danish Centre for Culture and Development (CKU), a self-governing
institution established by the Danish Ministry of Foreign Affairs (MFA), works to strengthen the
role of art and culture as an integral part of Danish development cooperation. It has been given a
special role in the implementation of the Strategy. This report constitutes a review of CKU's
development cooperation effort since 2013.
The creation of the Culture Fund/Danish Financial Act from 2013 changed CKU's role. Instead of
serving as consultant to Danish embassies in the implementation of their respective culture
programmes, Danish culture and development resources are now pooled in the Culture Fund that is
under CKU's charge.
To implement the culture and development Strategy and assume its role, CKU has undertaken a
significant organisational overhaul since 2013. There have been changes in strategy, structure, staff,
systems and leadership. In accordance with the MFA’s Results Contract with CKU for 2013-2015,
new culture and development programmes have been formulated and launched in Uganda, Nepal
and Palestine (initiated in beginning of 2014) and in Indonesia, Kenya, Tanzania and Burkina Faso
(initiated in the second half of 2014). Programmes in Egypt and Ghana were approved by the CKU
board in March 2015, and a programme formulation mission to Myanmar is scheduled to take place
in June 2015. A regional African Creative Industries Programme has also been approved by the
board which is a continuation of a project from before 2013. The latter was externally evaluated in
2014 and subsequently re-designed.
In addition, there is a culture and development programme in Pakistan that is funded by the Danish
Embassy's bilateral cooperation funds. The Embassy-funded programme in Mali from before 2013
is still under implementation, while exit projects have been developed in Afghanistan and Vietnam.
1.1 Review approach
According to the Terms of Reference, the main objective of this Review is to assess CKU's
performance in implementing the Strategy with regard to: i) programmatic and organisational
progress and results so far; ii) challenges encountered; and, iii) possible need for programmatic and
organisational adjustments.
The short overall timeframe for the Review has necessitated a "light-touch" approach and a focus on
the most salient issues. Preliminary findings and stakeholder expectations led to a revised set of
focused Review questions that were outlined in the Mission Preparation Note (Annex 1). Emphasis
is placed on relevance as a review criterion and on the programmatic work of CKU. The Review
also addresses organisation efficiency – and to a lesser degree – effectiveness and sustainability.
Danida and CKU determined that Uganda and Indonesia would serve as case studies. A short field
visit was anticipated, but due to logistical constraints beyond the influence of the Review, MFA or
CKU, the trip had to be cancelled. Instead, phone/skype interviews have been conducted with
Uganda stakeholders. In total over 26 hours of interviews were undertaken, (list of informants is
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included in Annex 3). CKU's videos and most significant change interviews with participants and
project partners from the last months have also been drawn upon. In addition, a half-day SWOT
workshop was held with CKU and document review of the programmes in Indonesia, Nepal, Egypt
and Tanzanian were undertaken.
This report contains four subsequent chapters. The following chapter examines CKU's Uganda
programme. It discusses the content of the programme, its relevance, effectiveness and
sustainability. Chapter 3 assesses the relevance of the overall CKU programme – with particular
focus on the theories of change. Chapter 4 gauges CKU's organisational performance using
McKinsey's 7S model as a framework. The final chapter summarises the Review's conclusions and
recommendations.
2 UGANDA PROGRAMME
Although the first activities on the ground only took place in second half of 2014 and first quarter of
2015, the Uganda programme is the most advanced among CKU's country programmes in terms of
implementation following the new Strategy. The programme has three main components: literary
arts, film and performing arts. Each component is discussed below.
2.1 Literary Arts Component
The literary arts component is implemented by the Ugandan feminist writer's organisation Femrite.
It targets 700 girls and boys in secondary schools in Gulu and Kabale by establishing readers/writers
clubs in 20 schools. Since the launch in the fourth quarter of 2014, the project has brought teachers
on board, identified mentors, trained trainers, undertaken launch workshops for each club and
donated Ugandan works of literature to the schools - which are sorely lacking and which are not
covered by the syllabus – along with other supplies (flash drives, notebooks, etc.). Club members
have also been given t-shirts to create an identity. A club leadership structure has been furthermore
democratically established for each club.
While the project is in its infancy, different stakeholders report anecdotal results. In the last six
months, teachers, mentors, parents and the club members themselves mention that at the start of
the project many members were silent and afraid to speak; but now they speak freely in front of
groups, act more confident and have gained self-esteem. Participants mention being able to write
better and having greater interest in reading. Teachers have noted that the academic performance of
club members is higher. Mentors/facilitators see teamwork and group identity forming, a greater
interest in telling the stories of their communities and a heightened desire to know Ugandan writers.
An illustrative quote from one participant is provided below:
When I joined the Tukosawa Club I felt I can be a demigod and create my own world. I can change
my nation with writing. I wrote about how women live in poverty, so the world can know that there
are someone living a life other than yours. When I write my piece, and expose it and look at Uganda,
I criticize the leaders with my true stories. When I became the President of the Tukosawa Club, I
challenged the boys, who looked at me as incapable.
The project partner reports that at every club meeting pressing societal issues such as memories of
the war, alcoholism, HIV/AIDS, female genital mutilation (FGM) and domestic violence are raised.
Some members may not always speak readily about some issues, but can recite what they write about
them. Written works produced have, for example, covered corruption, neglect and sexual predation.
A short story about domestic violence won an award. Children expose their works on notice boards
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at schools, which other children can read from. Some children are allegedly starting their own
poetry nights. Unlike the education system, the clubs promote the use of local languages. This is
sometimes challenging for the children since they are not always fluent in the orthography of their
tongue.
Stakeholders interviewed mention that there is a tradition to not express true feelings and fears.1
This hampers the healing process in conflict-affected areas. The clubs, however, offer a safe space
to open up. Stakeholders interviewed mentioned that through telling their own stories participants
are releasing traumatic experiences and structure narratives from their own lives.
2.2 Film Component
By screening films and mentoring youth on film production, Maisha Film Lab aims to expose youth
to a) realities of other parts of the world by bringing those worlds to their footsteps and b) giving
them an opportunity to contribute to the global discourse by adding their voices to the film world. It
mentions helping northern Uganda to rebuild society at a moral and psychological level through
reflection, critical media consumption, discourse and self-expression. Film screenings started only in
February 2015. So far nine screenings have taken place - including four of them in schools. The first
workshop to produce film was undertaken in the last weeks. In its fourth month, Maisha is still in its
learning curve and trying to fine-tune its methods.
The screenings are facilitated and a study-guide is prepared for each film. Films viewed so far
originate from Africa or cover a contextually relevant theme. Recently a film about Australian
aboriginals who were removed to reservations, was screened. It resonated with the audience as a
result of the forced displacement many experienced in Northern Uganda during the war years.
Maisha is so far attracting over 100 viewers to its screenings and this number continues to grow. It
has used radio, posters and networks to reach different groups. It is still exploring new ways of
attracting participants. Most participants are youth - students, employed and unemployed. Some
participants have had little exposure to film previously. A few come from neighbouring villages –
one came as far as 80 km to attend the screening. Most are urban, but the groups include a few rural
participants – like a 40+ female farmer who has developed a passion for film. She attends regularly
and hopes to make her own film about land rights issues in her community.
Staff express that they take care in selecting appropriate films so that they are inspiring, question the
status quo and are relevant to the experiences of Northern Ugandans – without being emotionally
overwhelming. The facilitator, who is from the region, explained that he must employ considerable
sensitivity in his facilitation work due to the effects the past conflict has had on individuals, social
relations etc. According to informants, already there is some growth is visible among the viewers.
The discussions are increasingly vibrant and the participants are making connections with their own
communities.
I started watching films when I was young and saw a film about HIV/aids and Idi Amin. This was
too hard for me and I feared to God to watch movies. It is not simple to watch. I wondered how
they made the film and how they jumped from one roof to another... From the screenings I have
1
This socio-cultural tradition is also common in, for instance, Rwanda and Burundi.
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learned a lot... I have stories and feelings (when I watch film) and by the end of the year you are
going to watch my films.
2.3 Performing Arts Component
Bayimba is the main implementer of the performing arts project. It is tapping into the hip-hop youth
culture and trying to professionalise it. It hopes to produce gainfully employed artists running their
own businesses and collaborating with each other within the sector. Bayimba has so far provided
hip-hop training, training in creative entrepreneurship and undertaken its annual boot camp for
selected participants from the different regions. Bayimba places considerable emphasis on building
life skills among the participants - such as leadership skills, how to build networks, use the internet,
write artist profiles, etc.
The participants are often already budding rappers. Some are active on the youth culture scene,
designing clothes and involved in visual arts. Typically the participants come from urban centres.
Some are in school and have had to juggle the two-week training with school requirements.
Participants are encouraged to share their training with other youth in their communities. Rapping in
local languages is also encouraged.
Bayimba has been actively trying to attract girls through special calls. A nationally known female
rapper has also served as a trainer. So far, however, only a handful of girls have been trained.
Reports and informants reveal that participants are already establishing groups, connecting with
artists across the country and performing in their communities. Informants hold that the project is
contributing to the growing Northern-Ugandan Hip Hop scene that is gaining momentum and that
is already producing known names.
2.4 Effectiveness
It is too early to assess the effectiveness of the programme. CKU and all three partners report that
the projects are on track and running according to plan. Judging from the achievements so far,
all three projects have a sound chance of producing outputs and meeting their respective
objectives. This includes building a new generation of writers and readers and strengthening literary
activism in Uganda; achieving increased access to film – especially for youth in northern Uganda;
improving the quality of film productions in northern Uganda; and, enhancing youth inclusion by
economically and socially empowering youth in Northern Uganda; and, contributing to the
development of the creative industries.
Each of the three implementing partners are established players in Uganda within each of the subsectors they work in. All projects build on past experience of similar initiatives which effectively
serve as pilots to the current project. Nevertheless, all three projects are pushing boundaries as
organisations and attempting something new. The extent to which the projects can contribute to
some level of transformation is difficult to tell this early, but it is considered possible. Promoting
that the school-based activities become part of the local school structure – or even better, the
curriculum – could potentially have far-reaching effects. Financially, however, the size of the
programme is relatively small and expectations need to be accordingly aligned.
A key way the programme can make a difference will depend on how successful CKU will
be in its partnership approach. This will involve practicing and imparting human rights principles
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and jointly exploring effective methods to promote the notion of experience and practice of free
expression. One stakeholder mentioned that the organisation was already appreciative of the
dialogue, advice and interaction with CKU which it felt added value to its work.
2.5 Relevance
2.5.1
Strategy
The Uganda programme is relevant to four of the Strategy's areas. Strategy area 1 –
empowering people through active participation in art and culture – is central to the literary and film
components, but the performing arts component also relates to this area. Through film, writing and
performances, the programme can potentially contribute to i) developing "free expression, learning
capacity, confidence, self-esteem, socialisation and the construction of identity"; ii) promoting
critical thinking, unlocking "collective stories and thereby contribute to the formulation of desires
and visions for societal development"; iii) providing "an opportunity for poor and marginalised
people to achieve critical capabilities to enhance their freedoms, choices and prospects".2 In line
with the Strategy, the programme can also offer "a channel for people living in poverty to make their
voices heard and potentially increases their participation and influence in society".3 Furthermore,
involvement by the relatively marginalised northern Ugandan youth in the writing activities,
performing arts and filmmaking can potentially "enhance their standing in their community,
challenging prevailing power structures"4.
The vision of the literary project is particularly relevant to a transformational agenda. Femrite staff
explain that the project is based on the concept of writers being agents of change through "literary
activism". They consider the budding writers as bearers of the community's stories. The project
hopes to form a literary community through the democratic voice and ideas that are strengthened in
the clubs. Femrite regards writing as a way to hold people accountable and thus constitutes a
building block of a democratic society. These concepts of project's potential with regard to
democratic development, however, are not well articulated in the project document or CKU's
Uganda programme document.
The approaches included under Strategy area 2 - Ensuring freedom of expression for artists and
cultural actors – are not central to the programme, although all three components strengthens the
experience of free expression and "strengthen the capacities and opportunities of artists and their
organisations". Indeed, free expression underpins the projects. However, this concept is not
strongly reflected in the project documents – Maisha mentions "self-expression", but the Femrite
project document barely uses the word "expression" and this concept is not reflected at all in
Bayimba's document. Nevertheless, Femrite and Maisha strongly emphasised free expression during
the interviews.
Strategy area 3 - enhancing economic growth through creative industries – is central to the
performing arts component since the project centres on strengthening entrepreneurship among
artists with a business development potential. The film component is also relevant to this strategy
area to the extent that it imparts skills that can provide opportunities for gainful employment. The
market for film (infomercials, not-for-profit films, commercials, you tube clips etc.) is growing in
Uganda and there is a demand for people with filmmaking skills. Likewise, the Ugandan domestic
Ministry of Foreign Affairs, Demark. The Right to Art and Culture, p 7
Ibid, p 7.
4 Ibid, p 8.
2
3
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film industry is making important strides. The current Disney film - The Queen of Katwa – was
recently filmed in Uganda almost exclusively using Ugandan film workers. On the other hand, the
literary clubs do not focus on employment as such, but solid writing skills enhance prospects for
future employment. However, the literary arts component also includes an output that involves
research of the literary market in Uganda (yet to be undertaken).
Strategic area 4 concerns strengthening peace and reconciliation in post-conflict areas through art
and cultural activities. In Northern Uganda youth unemployment, gender-based violence, alcoholism
and abuse are high. The decades of war in Northern Uganda have fractured traditional culture,
severed community bonds and disrupted socio-economic development. Meanwhile, inadequate
transitional justice, reconciliation and reintegration processes have left people despondent and
without closure. In line with the strategy, the activities in the programme "support to art and
cultural events for traumatised population groups trying to re-establish their lives" and create
"cultural meeting places for exchange and dialogue as an alternative to the political arena".5
Nevertheless, the three projects have different means of addressing the affects of the conflict.
Femrite provides a safe environment for expression and debate. Conflict related issues are
expressed, shared and discussed:
People know that they are not alone and manage to come out with their stories.
Meanwhile, Maisha uses film to draw out discussion and inspire free expression. On the other hand,
Bayimba's approach is promote a forward-looking perspective instead of dwelling on the past.
Nevertheless, some of the Bayimba participants draw on their difficult personal experiences for their
creations as is evidenced by the videos of their performances. Bayimba and Femrite also report
anecdotal effects that bringing together youth from different regions has had in terms of creating
understanding, exchange and promoting collaboration.
While the film project document refers to the conflict and traumatisation it has caused – it regards
rebuilding the moral and psychological fabric in the region as critical – the conflict is barely
mentioned in the partners' project documents for the literary and performing arts components.
There is an opportunity for CKU to bring the partners together to discuss and analyse the
approaches each partner has applied in relation to promoting a safe environment for
conflict-related expression, cross-societal understanding and personal and social healing.
Inviting a psycho-social specialist that can help to further develop relevant methods and approaches
to facilitation and training may be an option to be considered. This can ensure that the expressions
are acknowledged and people are provided with appropriate support as needed.
2.5.2
Target groups
The programme is squarely focused on targeting youth. This is a relevant choice given that young
people represent a majority of the population and have their lives ahead of them to affect change.
There are few opportunities for youth in Northern Uganda – an area that has been developmentally
affected by years of conflict, making youth of this region particularly deprived. The most destitute
youth in northern Uganda, however, are a challenge to reach through the projects. For instance, the
5
Ibid, p 14.
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project activities that involve schools (Femrite and Maisha) may not reach non-school children and
logistics limits the catchment area of the programme to around the urban/semi-urban centres.
Likewise, some level of English comprehensive is required for the film screening participants
(discussions afterwards occurs in a mix of languages) which requires some level of basic education.6
There is scope to explore ways to reach people living with disabilities - although depending on the
type of disability, some of these people may be difficult to accommodate within the confines of the
project budgets.
Although targeting the more marginalised people in Uganda conforms with a human rights based
approach of addressing those whose rights are least fulfilled, could a (more privileged) Kampalabased cultural group that pushes the freedom of expression and democratic agenda more forcibly
serve as a more effective change agent? Moreover, would CKU and the embassy have been
prepared to support such initiatives in Uganda?
Each project encourages writing, filming and/or performing in local languages, which in Uganda are
not taught at school. This is highly relevant for free cultural expression and contributes to
expressive diversity.
Northern Uganda has experienced a high level NGO presence in the past. This has i.a. led to
expectations among some youth of being paid to attend activities. This has been particularly
challenging for Bayimba, but is has managed to exclude aspirants with pecuniary interests.
2.5.3
Gender equality
In terms of relevance for promoting gender equality, each project is trying to target both
men/boys and girls/women. Femrite is a feminist organisation for which gender equality is a
central concern. Some topics addressed in the works produced in the clubs relate to gender equality
or gender-related issues.7 The review has not been able to gather data on the extent to which gender
roles and gender perspectives are systematically discussed during the film screenings and the hip-hop
training. This would be relevant for CKU to monitor.
The difficulties Bayimba is facing in attracting girls should be seen in the light that globally the music
industry is known to be strongly gender unequal, and hip-hop is particularly viewed as a male
domain with often strong misogynist messages. Moreover, women as stage performers face a
certain level of stigma in some Ugandan communities. While mixing women and men in the training
will help equalise relations in the long-term, in the short-term women-only training in an
environment that the girls find safe may be a way forward. Once confidence and skills have been
attained, women and men could be mixed again. Furthermore, the project could consider trying to
influence the hip-hop scene so that there are more performance options for women performers that
do not involve nightclubs.
2.6 Sustainability
CKU's more comprehensive approach to programming – which includes bringing in local
expertise and taking into account local demands – improves prospects for sustainability at
Maisha nevertheless estimates that around 10% of the screening participants only have aprimary education. They
struggle but attend anyway.
7for example, a girl in the Femrite project wrote a short story about a father's sexual predation towards his daughter's
friend and a male hiphop artist has rapped about FGM.
6
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the onset. Nevertheless, sustainability for cultural institutions worldwide is a challenge and a large
number rely on grants. CKU's partners in Uganda are relatively established and have enjoyed grants
from multiple funding partners. Should they wish to continue the projects in the same form when
Danish funding ends, they would need to find other grant providers – which is always a challenge.
However, the three-plus-three year time horizon that CKU works with allows for enough
time to explore ways to embed the projects locally. Devising exit strategies will be
important.
In terms of institutional sustainability, the literary and film components that create clubs at schools
and encourage student ownership can be sustainable for a while, but will need be anchored in the
school system to continue – particularly as students age. So far, it appears that the projects have
brought teachers and local school authorities on board. Promoting ownership with these dutybearers will be important along with exploring with them how clubs could become permanent
features.
The capacity in terms of skill and knowledge acquired by youth in the different programme
components is likely to be sustainable after the withdrawal of support. In the case of the
performing arts component, the youth that are able to attain business acumen from the Bayimba
training and who are artistically in demand have a good chance to earn an income. Likewise, the
possibility of the trained filmmakers obtaining gainful employment is considered good – the demand
for filmmaking (infomercials, not-for-profit films, commercials, you tube clips etc.) is growing.
The film equipment belongs to the project and its future use and maintenance is a technical
sustainability issue. The partner is actively exploring options for how to handover the equipment to
local institutions with sufficient capacity/resources to ensure an equitable and responsible use of it
after the end of the project. One thought is to charge a user fee that can help cover costs for
maintenance.
3 RELEVANCE
This section assesses the relevance of CKU's international effort based on the desk review of CKU's
documents – with focus on the programme documents from Uganda, Indonesia, Tanzania, Egypt
and Nepal. To begin with, the conceptual development of CKU's work is analysed in relation to the
Strategy. This is followed by an assessment of how CKU has incorporated the Strategy's priority
areas into country programmes; designed its programmes to cohere with Danish country policies
where they exist; and, the extent it has acted to harmonise its efforts with other relevant
development actors.
3.1 Theory of change and Strategy relevance
A theory of change (ToC) explains how the objectives of a programme can be achieved through the
intended efforts. A ToC requires a starting point (base line) and a narrative description of the
desirable changes anticipated under the programme and the steps by which they can be achieved. It
sets out the cause and effect relationships and the underlying assumptions.
The Strategy offers a solid framework for a theory of change in relation to support to arts and
culture. At an overall level and within each strategic area, the Strategy outlines how potentially
societies can be transformed through "free cultural and artistic expression...that gives rise to critical
reflections and engagement and are important part of the development of modern democratic
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societies." Thus free (cultural and artistic) expression is absolutely critical to reach the Strategy's aim
of social transformation. As stated in the Strategy, free expression is also important to achieve
flourishing cultural industries. On the other hand, the right to partake in culture – which refers to
culture in the broad sense – i.e. a way of life encompassing complex spiritual, material, intellectual
and emotional features that characterise a society or social group – has comparatively less central
relevance to the Strategy's action-related priorities.
CKU's theories of change for each country programme do not lean on the Strategy as much
as they could. For instance, the importance of the collective dimension that cultural activities can
contribute to – including social resources such as networks, social debate and development of civil
society – is not incorporated systematically. While there seems to be a relatively sound implicit theory
of change in each programme, the stated theory of change tends to be unclear and difficult to
follow.8
While the conceptual discussions in the programme document are mostly of good standard,
sometimes they have a tendency to view rights-holders as either consumers or culture or producers
of culture.9 Likewise, the programmes have focused significant attention to the idea of "access to
culture"10 (it forms a heading in each programme document), which suggests passivity and in some
instances gives the impression that CKU views culture as a commodity – like clean water – rather
than something we experience and each embody. This leads some of CKU's texts to suggest a
narrow concept of culture that can be misconstrued as referring only to culture that requires a stage
or physical building11 and therefore suggesting that poor people somehow are less able to partake in
culture.12 In a human rights monitoring context, access to culture typically relates to physical access
(e.g. to cultural heritage site or to theatres and museums for people with disabilities) or access being
actively denied by state or non-state actors (through e.g. threats or legislation). Access to culture is
not an explicit concept in the Strategy. Rather, for the Danish Strategy, a more fundamental concept
of the human rights regime is freedom of expression – "creative and artistic expression.... that give
rise to critical reflections and engagement and are an important part of the development of modern,
democratic societies"(p5).
CKU's overall theory of change included in the recent concept note to the Ministry is more robust
than the ToCs in the programme documents. It nevertheless overlooks the idea that active
The way the ToCs are similar in their lack of clarity suggest that the guidance used to draft the ToCs is partly at fault.
For instance, the Egyptian programme states that “Egyptian youth in both rural and urban spaces face significant
challenges, such as unemployment, that affect their role and participation as both arts and cultural producers and
consumers. In Egypt, most independent cultural institutions and networks are centred in Cairo. Outside of the hubs in
Cairo, there are not many open spaces and cultural institutions available – this of course limits the access to art and
culture for people outside of Cairo.”.. (p 14, of country analysis).
10 The Nepal programme states "Access to art and culture is limited in Nepal, particularly to more contemporary
expressions. (p29)". The latter may be true, but the former is not.
11 For instance, the Indonesia, Tanzania, Nepal programme discuss that venues are mainly available to urban audiences,
"leaving rural audiences with a very limited access to other art and cultural activities than the ones they create
themselves" (Nepal Programme, p 29). This limited perspective is also reflected in the Nepal programme when it states
that "the business potential of art and culture is left largely unexplored, though a considerable income could be
generated" (p 29) even though cultural expressions (artwork, crafts, fabrics, Tonka paintings, music, performances,
heritage sites, etc.) generate significant revenue in Nepal through the tourist industry.
12 Anthropological studies would suggest otherwise. Likewise, the 1999 Voices of Poor states that poor people are willing
to make considerable sacrifices and will readily divest themselves of a wide range of material assets in order to ensure
that social bonds established through participation in rituals, celebrations and festivals are well preserved (p 43).
8
9
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engagement in the cultural sphere builds central traits of democratic citizenship – such as critical
thinking, creativity, sharing and sociability – and does not include this in the desired change process
in relation to strategic area 1. In addition, it does not clearly distinguish between "venue" and
"space" for expression in relation to strategic area 2, which leaves the reader confused. It
furthermore states that "CKU’s programmatic work is based on the premise that art and culture can
help create positive change". Here there is need to provide a clearer concept of what "positive
change" might consist of. By placing art and culture in the centre instead of people, this statement
overlooks the concept of people – artists, cultural practitioners and cultural organisations – affecting
change by exercising free expression and by actively partaking in culture.
CKU staff are fully aware that its theories of change need more attention and a workshop to help
improve these is being planned. In this context, CKU needs to further fine-tune its conceptual
framework, ensure clarity and accurateness in relation to the human rights framework and
allow the notion of free expression permeate its analyses and approaches. In this context, free
expression cannot be over-emphasised and the idea of an independent culture sector is also important
to highlight. Likewise, considering empowered cultural practitioners and artists as change agents in
communities and society deserves attention. In addition to the Strategy itself, an excellent resource
for further developing CKU's ToCs is the recent report it has itself commissioned – Creation Out of
Crisis - A Historic Moment to Leverage Arts and Culture’s Contribution to Social Change in the Arab Region. It
offers a useful analytical framework that CKU could draw from.
3.2 Strategic areas
There is ample evidence that CKU has worked diligently to develop its country programmes
to meet the priorities set out in the Strategy. The programme components – of which there are
usually two – typically focus on one strategic area, but may also be relevant to one or two other
areas. In the Uganda programme reflects strategic areas 1, 3 and 4; the Indonesian programme
focuses areas 2 and 4; the Nepal programmes addresses areas 1 and 3; the Tanzanian and Egyptian
Programmes focus on 1 and 3. Areas 1 (empowering people through active participation in art and
cultural activities) and 2 (ensuring freedom of expression for artists and cultural actors) both centre
on the experience of free expression and free expression as a vehicle for social transformation. Area
4 – strengthening peace and reconciliation in post-conflict areas through art and cultural activities –
strongly overlaps with area 1 but is more context specific. Projects under areas 1, 2 and 4 can have
an income generating aspect (and thus relevant to area 3 – enhancing economic growth through
creative industries) but projects that are strongly focused on creative industries will tend to have less
obvious overlap with the other strategic areas.
The strategic area that is given relatively less emphasis in the country programmes reviewed is the
area of ensuring freedom of expression for artists and cultural actors. This area includes advocating
for free artistic expression and protection of artists right to expression. Among the programmes
reviewed, Indonesian programme is most relevant to this strategic priority. There are also implicit
elements of this strategic area in the Egypt programme.
3.3 Relevance to Danish and national priorities
CKU's country programmes are formulated to cohere with the respective Danish country
cooperation policies. While Denmark's Tanzanian policy explicitly mentions cultural cooperation
and CKU, mostly CKU's programmes are loosely related to the Danish objectives set in relation to
democratic development, governance and/or economic growth. Likewise, CKU has examined
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national development and cultural policies. In some countries, alignment is relatively straightforward (e.g. Kenya and Tanzania), but for instance Egypt's national cultural policy direction has
changed several times during the programme preparation period.
Synergies between CKU and other Danish programmes have yet to be established. Synergies
– as long as they are not forced – between CKU's and other Danish programmes would allow for
leveraging of funds, which could be mutually beneficial. In Egypt, for example, CKU is in dialogue
with DEDI. Synergies may, however, not always be easy to achieve. It will require good and
frequent information flows to identify and establish synergetic effects, with the onus being on the
embassies to relay information and link initiatives. For instance in Uganda, there may be
opportunities to explore synergies with partners of the Democratic Governance Facility13 which the
embassy, as one of its key funding partners, could facilitate.
3.4 Harmonisation
The analytical work by CKU as part of the programme preparation has involved identifying and
charting out the other culture and development actors and what types of initiatives they are involved
in. Typically CKU has met with most of the other key funders in the countries and is engaged in
dialogue with some. In Tanzania, CKU has attended a donor working group on culture and
development that is convened by UNESCO. In MENA, CKU is a member of the Informal Arab
Arts Donor Group that meets annually. While culture organisations like Alliance Française, the
British Council and the Goethe Institute have specific language agendas, cooperation has on a few
occasions taken place in terms of, for instance, providing venues. In East Africa, CKU is exploring
with the British Council other ways they can collaborate. In Palestine and Egypt, CKU is looking
into the feasibility of collaborating with the Goethe Institute in relation to cultural management
training.
CKU is also engaging with development partners at headquarters level – such as the Swiss
Development Agency, the British Council the Norwegian MFA, HIVOS, Africalia, UNESCO and
the Prince Claus Foundation. Although CKU has received positive feedback from these
organisations (for example, the British Council has invited CKU to participate in a panel during
European Development Days in Brussels in June), relations are in most cases not yet at the point
where joint funding ventures are taking place. Nevertheless, in Gaza CKU collaborates with Qattan
Foundation on a joint fund. HIVOS with its "Cultural Activism" approach appears to share with
CKU a similar strategic perspective. Dialogue is ongoing and centrally and at country level to
identify concrete opportunities for joint activities.
4
ORGANISATIONAL PROGRESS
CKU has made significant progress in relation to organisational effectiveness/efficiency. This
chapter applies McKinsey's 7S model (strategy, structure, systems, shared values, staff, skills and
style) as a framework for gauging the organisational progress and performance of CKU.
4.1 Structure
Since 2013 CKU has been extensively restructured internally. For instance:
 Job descriptions, lines of command and mid-management level have been introduced in the
international section and a team-based structure has been developed.
13
The CKU Programme Manager has been made aware of this facility by this review process.
- 11 -




Unlike before, there is a clear logic to the regional division of labour in the structure (West
Africa, East Africa, Middle East and Asia). This will permit regional knowledge to be deepened,
while local networks are widened.
CKU has hired a locally based programme officer in the countries where it is establishing
programmes.
Each programme manager in the international department is also the focal point for a thematic
area (currently divided by cultural industries, literary arts, performing arts, visual arts and culture
in conflict-affected settings).
Links with the communication department, the administration department and the Danish
section of CKU seem to be well-functioning. Staff report that cross-organisational interaction
has improved significantly.
The new structure is significantly more suitable for an effective implementation of the
Strategy. Division of labour is clearer, a team-based approach combined with cross-cutting thematic
responsibility has improved the potential to promote intra-organisational learning. Having a local
presence is likely to enhance the development of a country perspective, allowing for greater
engagement with partners and permit opportunities/threats to be identified in a timely manner.
Moreover, the improved organisational integration among CKU's departments in Copenhagen is
expected to allow CKU to add value.
In terms of governance structure, CKU's board consists of (with the exception of the chairperson)
non-remunerated individuals appointed in their personal capacity (from civil society, academia, the
culture sector and including a couple of professional board members) by the Minister of
Development Cooperation. Since 2012, an elected representative of CKU staff attends meetings as
an observer. The Board has played a crucial role throughout the organisational change. The
chairperson's professional boardroom background has been an advantage in this process.
Communications between the board and the secretariat have been constructive. The Board will be
renewed in the coming year. As CKU consolidates itself and takes on new challenges, it will need a
board that includes professional boardroom competencies and also understands Danish
development assistance and the workings of the MFA well (particularly in view of the institutional
setup discussed below).
The relationship with the Ministry of Foreign Affairs is multi-layered and intertwined.
Institutionally, CKU is an independent organisation under the Ministry of Foreign Affairs, with the
Department for Public Diplomacy being its main point of entry. Furthermore, the MFA attends
board meetings as an observer. The Ministry is also CKU's most important donor, and as such has
considerable influence. The Danish allocation for CKU is part of the Finance Act, which can only
be changed by an act of parliament. This provides a safeguard with regard to core funding.
The regulations for CKU (Vedtægter), the MFA administrative guidelines for CKU and the Results Contract
2013-2015 delineate CKU's setup, purpose, mandate, functions, rules of operation and its
relationship with MFA. Nevertheless, CKU is a kind of hybrid organisation within the Ministry's
context: it incorporates design features from several different institutional setups and therefore
sometimes falls between different chairs of established Danida structures and procedures. This
agglomeration of various institutional modules invariably produces some ‘unregulated’ areas
requiring ad hoc adaptations – particularly at country level.
- 12 -
Until now, problems and confusion caused by this fairly complex setup have been addressed
– in most cases with workable outcomes in a spirit of goodwill, reasonability and the
practical approach of individuals on all sides. The setup has important advantages for both the
Ministry and CKU: the latter can enjoy the benefits of institutional linkages with the Ministry, but is
not formally under the Ministry's control; while the Ministry can keep CKU within its sphere, but at
an arm's length. Removing the ambiguities could be to the detriment of both parties.
Meanwhile, Danish embassies have direct relationships with CKU. They interact with CKU in
CKU's respective programme countries (2-3 in each region) which is formalised by an agreement
that outlines respective roles and responsibilities. In a few cases also engage CKU as an implementer
of bilateral programmes (e.g. Pakistan). At country level, CKU is neither a Danish NGO, nor an arm
of the embassy, nor a standard project implementing agent – but in practice operates like a mix of all
three roles, depending on the context and the country.14 The Ministry (Department for Public
Diplomacy and Communication) has dedicated a lot of time to explaining CKU's status and
addressing the implications of its unusual status, particularly in relation to national staff.
4.2 Systems
CKU has made significant strides in consolidating its systems. It has developed a
comprehensive 32-page manual for its international effort and devised over 60 different tools and
templates. The table in Annex 4 provides a schematic overview of the systems the tools produced to
ensure a uniform, predictable and structured approach. It includes, for example, ToRs for different
consultancy assignment, formats for monitoring missions and various reporting formats, financial
reporting and partner agreement templates. While the tools and templates are likely to need regular
updating and development, they constitute a comprehensive system that will allow CKU's work to
be managed and administered smoothly.
4.2.1
Finances and accounts
CKU's financial systems were previously in a poor state. The organisation has worked with the
Ministry's KVA division to align its practices with the standards of the Ministry. The auditing report
from the end of 2012 revealed important accounting weaknesses and contained 12 comments of
which three were of very high priority. Accounting and administration systems have been given an
overhaul since then. For 2014, the auditor's report still contains comments (five in total), but none
are marked as high priority.
The agreements with CKU's partners at country level stipulate that accounts are kept in accordance
with Danida’s General Guidelines for Accounting and Auditing of Grants Channelled Through National NGOs.
Contracts with partners also set out financial reporting and auditing requirements – include an anticorruption clause – and contains a link to the Danida anti-corruption policy. The contract with each
Programme Officer also includes a reference to this policy. CKU Programme managers monitor the
books of partners during country visits. In Uganda, this took place most recently in May 2015. In
addition, CKU's head of administration is expected to travel to each country at some point during
each project period to examine the partners' finances and systems.
4.2.2
Programme preparation
Its unusual status has meant that CKU has also been classified as an international organisation within the Ministry
system.
14
- 13 -
The programme preparation processes appear to have been undertaken in a structured and
systematic way – involving analyses, formulation missions, risk assessments, deliberations in the
internal project committee, quality assurance and a systematic assessment of potential partners.
For each programme, a country analysis has been commissioned. In most cases this has been
undertaken by a national consultant. It includes analyses of the social and political context, the
human rights situation, the span of the culture sector (e.g. visual, literary and performing arts,
cultural policies, popular culture, media, etc) and provides an overview of what other donors
supporting culture are engaged in. Given that many of the programme countries have large
populations with multiple urban centres and many ethnic, linguistic and religious groups (e.g.
Indonesia, Egypt and Nepal) the analyses are an ambitious undertaking. Some of the analyses are
more thorough than others and not all areas are covered with the same depth, but the analyses offer
a significant amount of data that can be fed into the programming effort.
Programme formulation is undertaken in dialogue with the respective Danish embassy. The content
and priorities of the programme are jointly agreed upon. This process helps to ensure a) ownership
by the embassies for the programmes; and b) alignment with the overall Danish position, policy and
strategies in the countries. The respective embassies subsequently approve the programme
document before it is presented to the CKU board. The engagement of embassies in the
formulation process makes CKU quite different from a civil society organisation. Being under the
Danish mantle has necessitated caution in countries with political instability or low levels of civil and
political freedom. For instance, in the case of Egypt, the volatile political context led to considerable
redrafting to ensure a tone in the programme document that is sensitive to a broad range of
stakeholders. As such it is a blander document15 that provides less clear justification for the
programmatic choices made, but the components and implicit approach that CKU has devised in
the programme nevertheless appear sound and relevant to social transformation.
Country programmes are presented to CKU's board for approval before partners have been engaged
and projects put in place. This means that formulations are looser and more open-ended so as to be
able to accommodate different viable opportunities. In Uganda the project documents highlight
more concrete relevance to the Strategy than the programme document currently does because
specific details of processes and results are provided. CKU has discussed revisiting the programmes
after the projects have been formulated to better reflect the actual initiatives supported, ensure
consistency and enhance relevance. This will be important for managing results.
4.2.3
Results based management (RBM)
CKU's systems include a number of tools to ensure systematic monitoring. This includes templates
for both narrative and financial reporting (see Annex 4). Regular monitoring missions by each
Programme Manager are being conducted in coordination with the programme officers.
The programmes are expected to be reviewed towards the end of three years (fourth quarter 2016)
and before a second three-year programme is implemented. Synthesising the findings of each review
For instance, a half page on gender violence in connection with cultural activism was reduced to a short paragraph
with the statement "a barrier for access to arts and culture, particularly in public spaces, is gender justice which may have
faltered the Egyptian street". Likewise, discussion of the oppositional independent arts scene has been mostly removed.
The document talks of the programme being "conflict sensitive" to avoid, it seems, explicating stating that the political
situation and the risks it implies will be monitored regularly and taken into consideration.
15
- 14 -
into a "macro" review would enhance learning and be useful for the second phase. Likewise,
undertaking an independent overall evaluation of the six years would be important. Scheduling the
evaluation in 2018 would allow programmes to bear full fruit, but an evaluation in 2017 would best
feed into a new programming phase.
CKU has devised an overall results frameworks and specific results frameworks for each country
programme. There is general coherence between the country level frameworks and the overall
framework. Qualitative and quantitative indicators have been devised. Qualitative monitoring tools
such as the change assessment and scoring tool (CAST), SWOT analysis and most significant change
stories are specified. The frameworks are generally sound. However, the overall framework, the
programme frameworks and the expected results and indicators at the project level all suffer
from the limitations that the linear RBM-framework imposes on change processes that are
inherently multi-dimensional. This is underlined by the discrepancy between how CKU staff and
partners are able to envisage change when they discuss the programmes on the one hand, and how
the expected change is formulated in the framework on the other. This makes the frameworks less
useful for monitoring results and is likely to become an exercise in and of itself to meet reporting
needs.
Organisations that aim to achieve complex change processes are increasingly turning to Outcome
Mapping to manage and measure results.16 Outcome Mapping (OM) is a methodology for planning
and assessing development programming that is oriented towards change and social transformation.
Instead of focusing on direct deliverables, it puts people at the centre; defines outcomes as changes
in behaviour; and, helps measure contribution to complex change processes. It furthermore provides
a set of tools to design and gather information on the outcomes. Because OM pays attention to
process, it is particularly useful to combine with a human rights based approach to
development and is thus especially fitting to manage and ensure relevant results for an
organisation like CKU.
4.2.4
Human rights based approach
CKU drafted a paper on its human rights based approach at the end of 2013. Conceptually it is
generally sound.17 It is aligned with the Ministry's guidance document on the human rights based
approach. It has guided the country analyses – which all include a human rights situational analysis.
CKU has also screened its overall international effort in line with the Ministry's HRBA/Gender
Screening Note.
The Outcome Mapping Learning Community website contains a wide range of tools and guidance information on
experience with the methodology. Outcome Mapping has garnered an increasingly large following since it was developed
in the late 1990s by IDRC. OM has been gaining traction among a range of actors – CSOs – not least those from
developing countries, evaluators (e.g. American Evaluation Association and the European Evaluation Society)
development institutes (ODI, World Bank Institute) and even Canada's public health sector.
17
Key human rights articles related to culture that are omitted in this paper include Article 27(2) of UDHR "Everyone
has the right to the protection of the moral and material interests resulting from any scientific, literary or artistic
production of which he is the author" which is central for the creative industries sector. Likewise, Article 15(4) of
ICESCR is relevant to CKU's work to promote intercultural collaboration: "The States Parties to the present Covenant
recognize the benefits to be derived from the encouragement and development of international contacts and cooperation in the scientific and cultural fields". Given the importance the Strategy gives to creative and critical thinking,
the right to education would also be a key right for CKU's approach: Article 14 of ICESCR states "education shall be
directed to the full development of the human personality and the sense of its dignity, and shall strengthen the respect for human
rights and fundamental freedoms".
16
- 15 -
Developing a credible human rights based approach takes time. It not only requires conceptual
clarity and relevant analysis, it also requires developing and testing practical approaches. CKU's
paper and the Ministry's screening note and guidelines do not offer the practical guidance CKU will
need to have going forward. It will need to develop and adapt its own tools. CKU would probably
gain most practical insight by engaging with organisations (particularly CSOs but also in-house MFA
expertise) who have been applying a human rights based approach.18 The tools and approaches
developed by others can serve as inspiration. Ideas and feedback from project partners may also be
valuable. In developing and carving out its own practical approach to HRBA, CKU might
need to consider issues such as:








How will CKU ensure that human rights principles permeate all initiatives? What tools will
it need?
How will the human rights principles be integrated in the partnership approach to ensure
that they are practiced and experienced?
How can CKU develop its conceptual framework, approach and added value in relation to
the potential of it promoting the practice and experience of the right to free expression?
To what extent will CKU engage in a human rights policy dialogue with partners? What
form would it take and what would it cover?
According to Danida's guidelines, a human rights based approach typically should focus on
strengthening duty bearers to fulfil obligations and support rights-holders in claiming their
rights. To what extent will CKU consider this two-pronged approach?
Claiming rights entails a level of advocacy. To what extent and at what level will CKU
address advocacy of free expression and cultural rights?
To what extent will the principle of non-discrimination guide the targeting of support versus
targeting based on the potential of supporting change agents for more far-reaching impact?
How far will CKU go/be allowed to go in pushing the right to free expression agenda in its
cultural support?
CKU staff are well aware that developing and articulating its own HRBA is needed to guide its work
at country level.
4.3 Shared values
The core values of the organisation, the organisational culture and the general work ethic have
undergone huge changes in the last years. A turbulent and conflictual atmosphere reigned within
both the organisation and its board in 2013. Since then CKU has turned itself around. There is a
harmonious ambience and evidence of constructive collaboration. Staff appear highly motivated
and committed.19 Enhancing and maintaining this constructive climate in the organisation
will be critical going forward since success for CKU at this point will depend on its ability to
be dynamic learning organisation.
Save the Children have been on the forefront of practical methdological development of HRBA. Meanwhile, Cultural
Heritage without Borders is applying a rights based approach to cultural heritage in the Balkans.
19 A few stakeholders raised the issue that the high level of engagement and ambition within the secretariat raised the risk
of personnel burn-out. A wellness committee has been established to address this.
18
- 16 -
4.4 Staff
There are 10 new staff members at CKU since 2013. Some staff have left, others have been
dismissed. In the international department, staff members have a pronounced development profile
with experience from developing countries. Staff combine academic backgrounds in social
anthropology, gender studies and international relations with those of cultural industries, literature,
dramaturgy and cultural dialogue. The team also has experience of humanitarian assistance in
conflict settings and civil society support. Staff members speak four to six languages each. The
international section is thus able to work in Arabic, French, German, Khmer, Portuguese, Russian,
Spanish and Swahili - in addition to Danish and English. The staff's combination of culture/arts
knowledge and experience; language skills; and, development context familiarity represents
core competencies that will be important to ensure a transformative culture-anddevelopment agenda.
4.5 Skills
In broad terms the skills set of the international section match those needed to manage development
programmes in the culture sector and engage in cultural/developmental discourse. For technical
expertise in, for instance different artistic genres, CKU does not need internal in-depth capacity, but
staff need to have a basic understanding and know where to access such capacities. Going forward,
deepening practical approaches to HRBA will be important. CKU has already started to take
preparatory steps. Given the emphasis on the creative industries, having a sound understanding of
copyright and related rights in this context will be valuable; as well as being familiar and establishing
contacts with important players in this area. 20
4.6 Style
CKU's CEO has been the driving force in the organisational change process. Systematically
building/re-building structures, systems, routines and competence within the organisation has
entailed many difficult decisions. A clear vision of the potential role of CKU in implementing the
Strategy has guided the change process. The fact that CKU today is a significantly more robust,
functional and professionalised organisation with a strong sense of commitment is
testament to its competent leadership.
5
SUMMARY OF CONCLUSIONS AND RECOMMENDATIONS
CKU is organisationally strengthened on all fronts. In has approached its country programming
process in a systematised and structured way that is based on sound development cooperation
practices. CKU has developed country programmes with components that are relevant in terms of
the prevailing needs, opportunities and the Danish strategic priorities. CKU's initial projects at
country level show promise. They are relevant, innovative and on track. Now that CKU has
consolidated itself and built a foundation for more comprehensive development cooperation work,
how transformational CKU's work will partly depend on how it interacts with its partners, what risks
it is willing to take and what risks the Ministry will allow it to take when it comes to pushing the
human rights agenda forward.
A 2013 study by WIPO covering 42 countries (more than half being developing or less developed countries) found
that the contribution of the copyright industries to GDP is on average 5.18 percent and can be as high as 11 percent.
Their contribution to national employment is on average 5.32 percent (for a country with significant cultural resources
like Bhutan, it was over 10%). http://www.wipo.int/export/sites/www/copyright/en/performance/pdf/
economic_contribution_analysis_ 2012.pdf
20
- 17 -
The work ahead for CKU relates to further fine-tuning and developing its approaches. This
includes defining change processes more clearly and tightening its theories of change. It also
involves carving out its own HRBA on a practical level that can be undertaken jointly with partners.
Elaborating and articulating its partnership approach to ensure dynamic dialogue and exchange will
be important. In terms of developing results management systems, a traditional linear results based
management approach is likely to be insufficient because the change processes implied by the
Strategy are multi-dimensional and concern behavioural changes. Outcome Mapping could be
suitable option for CKU to explore.
1. CKU should further fine-tune its theories of change so that they are clear and useful. This will
involve drawing more systematically on the Strategy to sharpen CKU's conceptual framework.
The centrality of the experience and practice of free cultural and artistic expression should
permeate the change theory and the collective dimension of cultural and artistic expression
should be considered.
2. CKU should revisit its country programmes once implementation has begun to better reflect
the actual initiatives supported, ensure consistency and enhance relevance. The country
programmes should also be tightened in line with the fine-tuned theory of change.
3. CKU should develop and articulate its human rights based approach in practical terms. It
will involve reflecting upon a range of questions (like the ones in section 1.1.7) to determine the
scope and content of the approach in line with CKU's mandate, resources, capacity and
comparative advantages. Drawing on the experience of other organisations can provide
inspiration.
4. CKU should explore the possibility of applying Outcome Mapping – or a modified form of
it – as a tool to manage and achieve results. This should be discussed with MFA when preparing
the new Results Framework beyond 2015. While there are manuals and useful resources
available online (Outcome Mapping Learning Community), introducing Outcome Mapping
would require staff training and the development of additional tools, which will imply some
costs.
5. How CKU implements human rights principles at country level and the extent to which it
achieves transformational change depends, to an important degree, on its partners and its
interaction with them. This will require an ongoing strategic level dialogue. CKU should
therefore further elaborate and articulate its partnership approach. Outcome Mapping can
be a valuable tool for this.
6. To ensure cross-organisational learning, an analytical synthesis of the country programme
reviews should be undertaken (beginning of 2016). This "macro" review should identify
strengths, weaknesses and good practices and assess the extent different levels of results have
been achieved. The ToR and plans for this exercise should be conceived in connection with the
ToRs for the country programme reviews. From the perspective of assessing results/ harvesting
outcomes, an independent evaluation of CKU would best be undertaken in 2018 when the
country programmes are in their final year. However, an earlier evaluation may be needed if it is
to feed into a new programme formulation process.
- 18 -

Annex 1 Proposal of an exit plan for

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