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Governance for Culture
the project at a glance
13 Countries, over 40 field missions, 26 experts involved, 4 years of implementation
The UNESCO/EU Expert Facility Project to Strengthen Systems of Governance for Culture in Developing Countries is a global project launched in 2010 with funding from the European Union, through its “Investing in people” thematic programme. Its aim is to support public authorities from developing countries in their efforts to design and strengthen their policies and strategies for culture, especially in the area of cultural and creative industries.
Following an international call for interest launched in 2010, a network of 30 leading cultural policy experts was constituted, representative of the fields covered by the 2005 Convention. This Expert Facility provides long-term technical assistance in the form of policy advice, skills training, knowledge sharing.
From 2010 to 2015, 13 countries benefited from the UNESCO/EU Expert Facility project, which resulted in the design and implementation of over 23 cultural policies. These included strategies, recommendations, action plans and legal documents for the promotion of the cultural and creative industries, both at national and local level. All beneficiary countries have ratified the 2005 Convention on the Protection and the Promotion of the Diversity of Cultural Expressions
The Expert Facility was expanded in March 2015 to include 43 experts - integrating new fields of expertise and ensuring a better geographical representation of experts.
To learn more about the Expert Facility: click here
What is Technical Assistance?
Available here
This comprehensive guide for technical assistance establishes a common methodology and approach for the implementation of the 2005 Convention in developing countries. It was elaborated by international experts participating in UNESCO’s Expert Facility during the implementation of the UNESCO/EU project.
Technical assistance consist of non-financial support provided by local or international specialists and includes activities such as sharing information and expertise, mentoring, skills training, transmission of working knowledge, and consulting services and may also involve the transfer of technical data.
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Seychelles: Establishing culture as a driving force for economic and social development
ContextTo develop its domestic cultural market, Seychelles elaborated a Culture Department Strategic Plan 2011-2015 which included a mapping study entitled ‘The General Overview of the Creative Industry in Seychelles’. This study emphasized some of the challenges faced by Seychelles, such as lack...![](https://webarchive.unesco.org/web/20171217030831im_/https://en.unesco.org/creativity/sites/creativity/files/styles/medium_crop_220x150/public/field_activity/cambodiamonday_038.jpg?itok=bOP4dkSq)
Viet Nam: Investing in cultural industries to bolster the economy
ContextIn recent years, Viet Nam has seen the rise of a national market for creative and cultural products. The country’s strong economy and global outlook, along with the ratification of the 2005 Convention, have raised awareness of opportunities for growth in the cultural sector.Workshops...![](https://webarchive.unesco.org/web/20171217030831im_/https://en.unesco.org/creativity/sites/creativity/files/styles/medium_crop_220x150/public/field_activity/8634110223_6c99f2a804_o.jpg?itok=7RwrQKts)
Burkina Faso: Making art and culture education a reality
ContextThrough its Strategy for Accelerated Growth and Sustained Development 2011–2015, Burkina Faso has recognized cultural and creative industries as a national priority for development. Despite the Education Act in 1996 and the 2008 National Policy on Culture, progress has been slow, due to weak...![](https://webarchive.unesco.org/web/20171217030831im_/https://en.unesco.org/creativity/sites/creativity/files/styles/medium_crop_220x150/public/field_activity/cambodiamonday_014_milena_ministry_film_dept.jpg?itok=s_lYH_XI)
Cambodia: Creating an environment where cultural industries can thrive
ContextIn the area of culture, Cambodia has often given priority to the protection of cultural heritage and traditional forms of expressions, less so on the promotion of contemporary cultural and creative industries.In 2011, the Ministry of Culture and Fine Arts and the Cambodian National...![](https://webarchive.unesco.org/web/20171217030831im_/https://en.unesco.org/creativity/sites/creativity/files/styles/medium_crop_220x150/public/field_activity/serena_epstein_flecks_in_the_wall_2012_flickr.jpg?itok=x0XybB4-)
Democratic Republic of the Congo: Harnessing the cultural industries' potential for development
ContextIn its Growth and Poverty Reduction Strategy 2011–2015, the DRC expressed its willingness to create a national cultural policy.The country’s achievements include creating a collective society for the management of intellectual property rights, finalizing a national book policy and...![](https://webarchive.unesco.org/web/20171217030831im_/https://en.unesco.org/creativity/sites/creativity/files/styles/medium_crop_220x150/public/field_activity/honduras_street.jpg?itok=T2ob1Ri_)
Haiti: Cultural industry strategies for cultural reconstruction
ContextFollowing the earthquake in 2010, the Government of Haiti has emphasized the role of culture in recovery processes and development strategies. .Despite political volatility, high crime and unemployment, the Government is determined to give an important role to the book industry in the...![](https://webarchive.unesco.org/web/20171217030831im_/https://en.unesco.org/creativity/sites/creativity/files/styles/medium_crop_220x150/public/field_activity/honduras_jordi_casas.jpg?itok=YQsC5_-e)
Honduras: Developing business models for the culture sector
ContextWith the adoption of the Country Vision 2010-2038 and the National Plan 2010-2022, Honduras has emphasized the potential of the creative industries for growth and employment.Working groups and platforms for culture have been established at all levels throughout the country. These include...![](https://webarchive.unesco.org/web/20171217030831im_/https://en.unesco.org/creativity/sites/creativity/files/styles/medium_crop_220x150/public/field_activity/16477861080_696799c57b_o.jpg?itok=w-VcLPxZ)
Kenya: Training programme for musicians and visual artists
Context The Government of Kenya has recognized the immense potential of the cultural industries, in particular music and visual arts, for growth, employment and development. In 2008, the National Policy on Culture and Heritage was created, followed by a national long term development policy...![](https://webarchive.unesco.org/web/20171217030831im_/https://en.unesco.org/creativity/sites/creativity/files/styles/medium_crop_220x150/public/field_activity/rachid_h_dsc_0682_2014_flickr.jpg?itok=4ybrB2Lx)
Mauritius: A strategy to strengthen the cultural industry sector
ContextSince the late 1970’s, Mauritius’ has transitioned from a mono-crop sugar dominated economy to a diversified, service-oriented one, becoming a prosperous and democratic society in the process. Opportunities have emerged in the culture sector, recognized as a powerful source of social and...![](https://webarchive.unesco.org/web/20171217030831im_/https://en.unesco.org/creativity/sites/creativity/files/styles/medium_crop_220x150/public/field_activity/7715738042_e189be360c_o.jpg?itok=0RlkYVbs)