RESOURCE TRANSFER PROGRAM (PTR)
El Salvador
The Resource Transfer Program provides resources to cultural non-governmental organizations (NGOs). It allows members of a community to access public funds to carry out a work plan needed to resolve a problem or fill a cultural or artistic need.
Needs Addressed
The Resource Transfer Program (PTR) was born out of a need to ensure that civil society could actively participate in El Salvador’s cultural development. The PTR is a viable form of decentralization for work in the cultural sphere, financing projects and programs to be implemented by cultural NGOs.
Objectives
The program seeks to strengthen the sense of belonging and awaken interest in the community’s cultural assets, thus reaffirming local identity which in turn allows the community to advance towards the future with greater certainty and clarity.
Start date, coverage, and target population
The Resource Transfer Program was created in 1995 and will continue to exist indefinitely. Its coverage is national and the projects which it finances through NGOs target the general population. Thus far the program has provided assistance to a considerable number of NGOs.
Description
Through this program, CONCULTURA supports cultural NGOs that work effectively to fill the needs of the community. The Resource Transfer Program allows the members of a community to access public funds to carry out a work plan needed to solve a problem or fill a cultural or artistic need. Said need must be previously identified by CONCULTURA and/or the community as urgent and indispensable for the integral development of the inhabitants of the country or a specific region.
The activities carried out with the program’s resources include the restoration of churches, the implementation of museum projects, the organization of festivals, and support for research and documentation.
Sources of Financing
The Government of El Salvador finances the Resource Transfer Program through CONCULTURA. Some projects receive in-kind donations from other sources.
Achievements
· The restoration of movable cultural assets and historic buildings (churches, theatres, national exhibit halls, museums) with the participation of local non-governmental organizations.
· The creation of new spaces for cultural development, museums, schools of art, shows with international artists, dance and theatre festivals, and the Youth Symphonic Orchestra.
· Although the important role of cultural NGOs is fully recognized, because they carry out their activities in a diverse and decentralized fashion, the program acknowledges the need for the public sector to participate in order to provide advisory services and monitor cultural activities.
Challenges
Advisory services and financial monitoring of the program could be improved to ensure that the funds are used more effectively, and to allow a smaller percentage of the resources to be used for administrative costs.
Sharing Best Practices
· First, it is imperative to set aside a specific amount for this program within the national budget, and some general guidelines should be drawn up.
· After receiving project applications and allocating funds according to justification, relevance, size, cultural value, and the executing capacity of the organization applying, the unit that will monitor the project must be organized.
THE MERCOSUR TRAVELING CULTURAL AGENTS PROGRAM
Submitted by the Chair of the MERCOSUR Cultural Network—Guaira Theatre Cultural Center in Brazil
The program of traveling cultural agents is a cooperation network among the MERCOSUR countries to bring traveling companies of artists to communities within and outside their country of origin. The program coordinates cooperation among countries and promotes culture as well as traditional forms of artistic expression.
Needs Addressed
The program arose in response to the Protocol of the MERCOSUR Integration Agreement on the importance of defending cultural diversity in the region. Based on Brazil’s prior experience in which festivals were taken from cities to neighboring municipalities, it is an effort to expand the circle of influence to the regional sphere. However, there was a need to create a program in which the exchange could be efficiently coordinated, thus the origin of the Traveling Cultural Agents Program.
Objectives
The general objective of the program is to promote the intensive circulation of companies of actors, musicians, and other artists to geographically favorable places, that have means of transportation and can serve as hubs. In this way, the population of small communities can have access to shows put on by the traveling companies.
The specific objective is to create an alternative group of independent producers, promoters and administrators who will promote the exchange of ideas and experiences among artists; coordinate networks and organizations with common projects within MERCOSUR; and stimulate the creation of cultural production separate from that which is mass-produced. The project would acknowledge and support artists and art outside of the market economy and globalization, and would gradually expand knowledge of traditional culture, using these traveling companies of artists to preserve cultural diversity.
Start date, coverage, and target population
The program will start at the beginning of 2005 in Brazil and other countries. Initial coverage should be realistic with the regional participation of MERCOSUR; at some point it may expand to other countries of the Americas. The program seeks to target towns with small populations, including rural communities.
Description
The program includes national projects proposed by the country, but it takes into account suggestions and proposals by other countries through their national coordinators. The national coordinators organize the companies in their countries as well as the tours of artists. They are also responsible for receiving the companies of other countries and must remain in continuous contact with the directing council, the participating agencies, and the traveling companies.
Funding
Federal and state governmental agencies cover transportation costs. The municipalities offer lodging and meals, local production services, and publicity. The national coordinators are in charge of planning logistics and such administrative tasks as promoting coordination and cooperation between countries and governments. The companies of artists donate their artistic services in exchange for a per diem.
Achievements
The achievements include the exchange of knowledge about different artistic practices, means of expression in artistic language, regional cultural integration, respect for and preservation of diversity, intercultural dialogue, and the establishment of a network of artistic and cultural information and cooperation.
Challenges
The challenges include the planning, design, and implementation of a more comprehensive number of traveling agents and companies, with an eye toward the other regions of the Americas, even North America. It will also be challenging to create and consolidate a cultural market beyond the dominant culture industries.
Sharing Best Practices
The countries should have as a pre-requisite, high-quality, aesthetically contemporary groups. As for financial conditions, the governments of the most economically disadvantaged countries can work with the private sector. It is also essential for a country to have networks for coordination with neighboring countries.
CINE MOVIL
Argentina
Basic Information
· Type of Program: Consolidated
· Institution in charge of program: Instituto Nacional de Cine y Artes Audiovisuales (National Institute of Cinema and Audio-visual Arts, INCAA)[1]
· Year of Implementation: 1997
· Program Website: www.incaa.gov.ar
Program Background & Objectives
The activities of the Cine Móvil (Mobile Cinema) Program have a precise objective: to promote cultural diversity and strengthen local and national identity by distributing films to communities that do not have movie theaters.
The Cine Móvil program stems from recognition of the key importance of developing cultural industries to preserve different cultural concepts and practices in today’s world of globalization and deliberate attempts to integrate the economy. This program and others like it emerged from the need to increase protection of cultural diversity in order to build a local identity, in light of the impact of new information and communications technologies on the preservation of various forms of cultural expression.
This national, decentralized program began in 1997 with the procurement of 24 mobile screening units equipped with video projection systems, sound, lighting and screens, and with the commitment of the top cultural authorities of each of the provinces. The program then began to be implemented in each province, with the showing of feature-length and short national, commercial, and independent films on VHS or DVD format. The provinces are in charge of programming, deciding what kinds of films to show and where to show them. Local support is provided by the municipalities, which in turn interact with civil society. Audiences are made up of all ages and genders, motivated by the programming offered to come and view the various screenings.
The use of mobile units affords great versatility in choosing projection sites, which vary from schools to hospitals, municipal facilities, libraries, development associations, plazas or town squares and even prisons.
Achievements and Challenges
In each province of Argentina the program promoted training for its coordinators in cultural animation, history of cinema, administrative management, and other activities related to the production of cinematographic events (**demonstrations or samples, festivals, etc.).
Generally speaking, the program has been highly effective with extensive coverage in terms of audio-visual screenings in several regions of the country. The different provinces have sustained the program with a combination of their own resources and central government contributions in the form of technical support and inputs (videos, films, and subsidies) from INCAA. Coordination with these different levels of government is bolstered when civil society organizations become involved, which is indispensable in order to have participatory and comprehensive cultural development.
Annual evaluations in the form of qualitative and quantitative reports highlight how much the program has grown. It is considered to be one of the most successful programs that the federal government manages.
Cine Móvil’s biggest challenge now is to keep expanding coverage to all sectors that do not currently have screening rooms.
Sharing Best Practices
The Cine Móvil program does have potential to be transferred to other settings. However, it is important to consider the country’s level of decentralization, since all of the responsibility will fall on the local authorities.
Contact InformationMinistry, Departament or Organization / Instituto Nacional de Cine y Artes Audiovisuales (INCAA) / Website / www.incaa.gov.ar
Person in charge of Program / Gabriela Pedrali / Email address /
Phone number / 54-11-6779-0900 #252
* This program was presented to the OAS in 2003 and was updated in October of 2006.
LIVING CULTURE
Brazil
Basic Information
· Type of Program: Cutting-Edge
· Institution in charge of the program: Ministry of Culture of Brazil
· Year of Implementation: 2004
· Program Website: http://www.cultura.gov.br/culturaviva/
Program Background & Objectives
The Living Culture Program is an initiative of the Ministry of Culture of Brazil which aims at rescuing, stimulating and preserving the Brazilian culture through the creation of an extensive network. The Program was designed to grant a more equal access to means of cultural capacity-building, creation, dissemination, and appreciation. Among others, the main goals of the Program are to: 1) identify partners and promote agreements between various government, non-government, national, and foreign social-sector actors, 2) incorporate symbolic references and artistic languages into the process of building citizenship, 3) empower social and cultural forces, 4) foster a horizontal network of transformation and invention, 5) encourage within educational processes the exploration, use, and appropriation of codes pertaining to different media, artists and play-oriented languages, and 6) promote culture as expression and symbolic representation and as rights.
In 2005, the Secretariat for Programs and Projects in Culture signed agreements with the Federal District and 26 states in Brazil, three countries (The United States, France, and Germany) as well as 485 civil society entities in order to implement projects in determined areas.
The program has five main initiatives: “Culture Points”, “Digital Culture”, “Living Culture Agents”, “Living School”, and “Grio”.
“Culture Points” coordinates all of the Program’s activities and community-based actions by, bringing the government and civil society organizations together. “Digital Culture” enables communities to record their own images, instead of being filmed by external experts through the establishment of digital centers where community members’ are trained to produce their own website and set up their own communication systems. The “Living Culture Agent” is an initiative linked to “Culture Points” works at stimulating youths to take interest in arts-related careers by providing them with a temporary income for carrying out cultural activities. The “Living School” promotes the interaction between culture and education. Through this initiative, schools are invited to submit projects focusing on culture. Finally, the “Grio – master of tradition knowledge” aims at preserving and transmiting the intangible cultural heritage of, among others, musicians, poets, and storytellers.
Since the creation of the Living Culture program, a wide variety of products have been created (by the program itself and the people for whom it was implemented). Compact discs, videos, websites, training courses, workshops, supporting materials, shows, and books are just a few examples of such products.
Achievements & Challenges
A two-phase external evaluation of the program has been carried out by the Public Policy Laboratory of the Rio de Janeiro State University (LLPP/UERJ, from its Portuguese acronym). A quantitative evaluation has been undertaken by researchers using a comprehensive online survey. Coordinators of 152 Culture Points were asked to fill in the survey. In the second phase, experts visited 20 Culture Points in order to conduct a qualitative and technical evaluation of Living Culture Centers.
The results of the LLPP/UERJ evaluation proved to be highly encouraging for the Ministry of Culture of Brazil and the Secretariat for Programs and Projects in Culture. Indeed, it appears that the program has achieved excellent results within a relatively short period of time. According to the evaluation, all surveyed respondents believed the program should be kept in place. Furthermore, experts evaluated that 81% of Culture Points have been successful at implementing program actions and diffusing culture.
It is important to mention that further assessments of the impacts of the Living Culture Program on national public policies still have to be done. However, we may recall that at the time of its creation the Ministry of Culture planned to consolidate the Program as a cross-cutting government policy involving different ministries, states, and municipalities. Additionally, one could easily argue that Living Culture per se is a policy innovation in terms of State-Society partnership in the field of culture