Commonwealth Statement on Culture and Development - ENAP · The aim of the Commonwealth Statement on Culture and Development is to highlight the importance of the multiple connections

Commonwealth Statement on Culture and DevelopmentPrepared by the Commonwealth Group on Culture and Development

Commonwealth Statement on Culture and DevelopmentPrepared by the Commonwealth Group on Culture and Development

Members of the Group: Baroness Lola Young of Hornsey (Chair), John Akomfrah, Tahmima Anam, Gregory Ch’oc, Anna Feuchtwang, Sitharamam Kakarala, Keith Khan, Letila Mitchell, Sandy Nairne, Éric Théroux, Professor David Throsby, Mike van Graan and Ayeta Anne Wangusa1

1 PleaseseeAnnex3forfullbiographiesofgroupmembers.

Introduction 1

Commonwealth Statement 2on Culture and Development Prepared by the Commonwealth Group on Culture and Development

Annex 1Culture and development: Practical 8illustrations from the Commonwealth Four case studies highlighting ways in which culture and development are being linked in practice

Pacific Islands: Festivals as catalysts 10

Trinidad and Tobago: Steelpan for youth empowerment 14

Malawi: Museums save lives 18

Nigeria: Women - the salt of the nation 22

Annex 2Messages on culture from civil society 26Extracts from the Port of Spain Civil Society Statement to the 2009 Commonwealth Heads of Government Meeting

Annex 3Commonwealth Group on Culture 31and Development Biographies

©2010CommonwealthFoundationBritishLibraryCataloguinginPublicationData:AcataloguerecordforthisbookisavailablefromtheBritishLibrary.ISBN:978-0-903850-46-9

PublishedbytheCommonwealthFoundationDesignedbyCogDesignEditedbyAndrewFirminandJenniferSobolCasestudytextpreparedbyJeremiahSpillane

ThecasestudiesforthispublicationhavebeencompiledusingcontributionsreceivedfromanopensubmissionprocessanddonotnecessarilyreflecttheviewsoftheCommonwealthFoundation.

Allrightsreserved.Nopartofthispublicationmaybereproduced,storedinaretrievalsystem,ortransmittedinanyformsorbyanymeans,electronicormechanical,includingphotocopying,recordingorotherwisewithoutthepermissionofthepublisher.

Thecitationforthispublicationis:CommonwealthFoundation.2010.CommonwealthStatementonCultureandDevelopment.PreparedbytheCommonwealthGrouponCultureandDevelopment.33pp.

Forfurtherinformationcontact:CommonwealthFoundationMarlboroughHousePallMallLondonSW1Y5HYUnitedKingdom

Tel: +44(0)2079303783Fax: +44(0)2078398157E-mail: [email protected]: www.commonwealthfoundation.com

Contents

1

Introduction

TheaimoftheCommonwealthStatementonCultureandDevelopmentistohighlighttheimportanceofthemultipleconnectionsbetweencultureanddevelopment,andtheaddedvaluethatcanbeachievedbytakinggreaterconsiderationofcultureindevelopment2.ByraisingawarenessamongstCommonwealthGovernments,donors,civilsocietyandwideraudiencesofthecloseconnectionsbetweenculture,creativityandsuccessfuldevelopment,theaimistoencouragemoresustainabledevelopmentmethodsandpractices,andenhanceculture’scontributiontoeconomicandsocialdevelopmentandconflictprevention.

ThisStatementwaspreparedbytheCommonwealthGrouponCultureandDevelopment.TheGroupwasestablishedinearly2009bytheCommonwealthFoundation,followingcallsfromcivilsocietytotaketheroleofcultureindevelopmentmoreseriously.ItsoughttotakeforwardtherecommendationsoftheFoundation’s2008report,Putting Culture First,whichcalledforaseriesofactivitiestobettersupportandrecognisetheconnectionsbetweencultureanddevelopment.TheGroup’spurposewastopromotegreatercommitmenttoandactiononworkthatintegratesculturewithdevelopment.

MembersoftheGroupworkedcloselywithcivilsocietyatthe2009CommonwealthPeople’sForum,theCommonwealth’smajorcivilsocietymeeting,toagreeonwaysinwhichtotakeforwarditsrecommendations.CivilsocietyexpressedsupportfortheStatement,urginggovernmentstoendorseitandcommittofollow-up,anddevelopmentdonorstofundculturalprojects.Messagesonculture,alongwithotherpriorityareas,areincludedinthePortofSpainCivilSocietyStatementtothe2009CommonwealthHeadsofGovernmentMeeting3andaresummarisedinAnnex2.

CommonwealthHeadsofGovernmentinthesubsequentPortofSpainCommuniquécommendedtheCommonwealthFoundationonitsworkintheareaofcultureanddevelopment.TheFoundationwillcontinuetodialoguewithitsmembergovernmentsandotherstakeholdersonhowcultureanddevelopmentcanbeincorporatedintopolicyanddevelopmentstrategies,leadingtopracticalprojectsthatimprovehowdevelopmentisachieved.

2 SeeAnnex1forsupportingcasestudies,Practical Illustrations from the Commonwealth.3 Partnering for a More Equitable and Sustainable Future: The Port of Spain Civil Society

Statement to the 2009 Commonwealth Heads of Government Meeting.(London:CommonwealthFoundation,2009):47See:www.commonwealthfoundation.com

3

Introduction

1 TheCommonwealthGrouponCultureandDevelopmentpresentsthisStatementtoCommonwealthGovernmentsinordertofosterthecreationofacloseranddeeperrelationshipbetweencultureanddevelopment.

2 Thecurrentglobalcontextisoneofunprecedentedeconomicandenvironmentalemergency,compoundedbycontinuingchallengesofpoverty,inequality,massunemploymentandconflict.Thisdemandsnewwaysofthinkingandafreshlookathowdevelopmentproceeds.Becauseaconsiderationofculturalvalues,practicesandresourceshasoftenbeenleftoutofdevelopmentanalyses,manydevelopmentinterventionshavefailedtoachievetheirobjectives.Thepotentialofculture4tohelpachievetheMillenniumDevelopmentGoals(MDGs)hasnotbeenrealised,whilebeyondthesegoals,muchisyettobedonetosatisfythefullrangeofpeople’sneeds.Developmentstillpaysinsufficientattentiontothefulfilmentofhumanaspirations.Asustainable,balancedmodelofgrowthcanonlybeensuredbyintegratingculturewitheconomicandsocialdevelopment.

Background

3 ThisStatement,thefirstataCommonwealthlevelcallingattentiontotheconnectionsbetweencultureanddevelopment,istakingforwardthecallfromthe2007CommonwealthPeople’sForumtomakecultureacentralpillaroftheCommonwealth’smandate5,alongsidedevelopmentanddemocracy.Itisframedby,andcontributestowardstherealisationof,theCommonwealth’sfundamentalgoalsandvalues,asarticulatedinthe1991HarareDeclaration.ThisstatementwillfurtherhelpdeepentheCommonwealth’srecentcommitmenttorespectandunderstanding,asarticulatedinthe2007MunyonyoDeclaration6.Ithasbeenpreparedforconsiderationatthe2009CommonwealthHeadsofGovernmentMeeting,butwillbeofcontinuingrelevance.

4 ThisStatementhasbeeninformedbyawiderangeofmaterialsolicitedbytheCommonwealthFoundationthroughaconsultativeprocess.Thisincludesover40submissionsandcasestudiesreceivedfromcivilsocietyandgovernmentstakeholders,andapproximately500peoplefromallsectorsaroundtheCommonwealthwhowereconsultedfortheCommonwealthFoundation’s2008reportPutting Culture First.

4 Culture,followingthe1982UNESCOMexicoCityDeclarationonCulturalPolicies,isunderstoodas“thewholecomplexofdistinctivespiritual,material,intellectualandemotionalfeaturesthatcharacteriseasocietyorsocialgroup.Itincludesnotonlytheartsandletters,butalsomodesoflife,thefundamentalrightsofthehumanbeing,valuesystems,traditionsandbeliefs.”Culturalexpressions,suchasthearts,andculturalresources,suchastraditionalknowledge,canbeseentobegroundedinandtomanifestaspectsofthisbroaderdefinitionofculture.Culturalindustries,followingthe2008UNCTADCreativeEconomyReportdefinition,aretakentorefertothoseindustries

that“combinethecreation,productionandcommercialisationofcontentswhichareintangibleandculturalinnature.”

5 Realising People’s Potential: The Kampala Civil Society Statement to the 2007 Commonwealth Heads of Government Meeting(London:CommonwealthFoundation,2007)paragraph116

6 CHOGM.2007.Munyonyo Statement on Respect and Understanding,internet:http://www.thecommonwealth.org/shared_asp_files/GFSR.asp?NodeID=173177

Commonwealth Statement on Culture and Development

7 TheConventionaffirmsthedevelopmentalbenefitsofsupportforculture,buthasnotbeenadequatelytakenforwardinmanyCommonwealthcountries.

5 Itfurtherdrawsupon,andcomplements,pre-existinginternationalagreementsandunderstandings.Theseincludethe1948UniversalDeclarationofHumanRights;the1966InternationalCovenantonEconomic,SocialandCulturalRights;the1980UNESCORecommendationconcerningtheStatusoftheArtist;the1982MexicoCityDeclarationonCulturalPoliciesandDevelopment;therecentsuiteofUNESCOcultureconventions,particularlythe2005ConventionontheProtectionandthePromotionoftheDiversityofCulturalExpressions7;andthe2008UNCTADCreativeEconomyreport.Italsotakesnoteofarangeofregionalagreementswhichseekindifferentwaystoconnectculturewithdevelopment,suchasthe2001NewPartnershipforAfrica’sDevelopmentFramework,the2007PacificPlan,the2008EU-CARIFORUMEconomicPartnershipAgreementandthe2009DeclarationofCommitmentoftheFifthSummitoftheAmericas.

Context

6 Developmenthasfrequentlybeenconceivedinquantitativeterms,withouttakingintoaccountitsqualitativedimensions,namelythesatisfactionofindividualandcommunityaspirations.

7 Theaimofdevelopmentshouldbetheenablingofphysicalandmentalwell-being,thefulfilmentofeveryindividual’spotentialandthecreationofconditionsinwhichpeopleareabletoenjoythefullrangeofhumanrights.Article27oftheUniversalDeclarationofHumanRightsstatesthat,“Everyonehastherightfreelytoparticipateintheculturallifeofthecommunity[and]toenjoythearts…”Thisisindivisiblefrom,andcontributoryto,allotherhumanrights.

‘�Everyone�has�the�right�freely�to�participate�in�the�cultural�life�of�the�community�[and]�to�enjoy�the�arts…’��Universal Declaration of Human Rights

8 Developmentmodelshaveoftenbeenappliedindifferentculturalcontextstothoseinwhichtheywereconceived,withtheresultthatattemptsmadetodeliverthemareofteninappropriate.Anunderstandingofworldviews,values,heritageandotheraspectsofculturesshouldformthestartingpointfordevelopmentstrategies.

9 Abroadunderstandingofcultureshouldunderpinandinformattemptstosupportculturally-baseddevelopment,includingtheuseofculturalresourcesandculturalexpressionstoadvancedevelopmentobjectives,andsupportforthecreativeeconomytocontributetoeconomicdevelopment.Investmentsintheculturalsector,includingsupportforpractitionersandculturalinstitutions,arerequiredinordertoensurethatculturecancontributefullytodevelopment.

Umalali:TheGarifunaWomen’sProjectgivesavoicetowomenoftheGarifunacommunityinBelize.©SarahWeeden,StonetreeRecords

CommonwealthStatementonCultureandDevelopment

5

IssaNyaphaga.PhototakenbyAngeleEssamba.©ImagecourtesyofAngeleEssambaandfreeDimensional.

10 Peopleareculturallyimpoverishediftheyareunabletoaccessandenjoytheexpressionsoftherangeofculturesaroundthem,andthereforeunabletoexpandtheirknowledgeandunderstandingoftheworld.Individualsandcommunitiesshouldbeempoweredtorepresentthemselvesandtelltheirownstories.

11 DiversityisacknowledgedasoneoftheCommonwealth’sgreatestassets,anditsricharrayofculturalheritageandlanguages,andtraditionalandindigenousknowledge,hasintrinsicvalue.Globalisationcanbothpromoteandimperildiversity,andthecontinuationofdiversitythereforeneedstobeactivelysupported.Equitableandbalancedinter-culturalexchangeisrequiredtoenhanceinter-culturalunderstandingandfosterdiversity.

12 Culturally-rootedidentitiesandvalueshavelongbeenviewedasacauseoracceleratorofconflict.Manypeopleareaffectedbycrime,violence,humiliationanddisplacement,whileregressiveaspectsofculturescanimpededevelopment.Freedomofexpressionandrespectfordiversityareoftencollateralvictimsofsecurity-ledattemptstotackleconflict.Butitispreciselybecausemanyconflictshaveaculturaldimensionthatcultureoffersresourcesthatcansupportmutualrespectandunderstanding,challengeoppressiveattitudes,andmovecommunitiesawayfromconflict.

13 Yetinconflictandpost-conflictsituations,supportforculturalexpressionsandculture-basedprocessesisrarelyapriority.Andmorebroadly,whereattemptshavebeenmadetoincludecultureindevelopment,thesehaveusuallyseenculturalexpressionsandresourcesusedasanadditionalandsecondarytoolinsertedintoexistingdevelopmentapproachesratherthanasdriversofdevelopment.Whencultureisusedasasupplementaryinstrument,developmentpracticemaystillinsufficientlyencompasslocalnormsandvalues,anddevelopmentinterventionscanmeetwithresistanceandfailure.Makingculturemorecentralmayrequireawidervarietyofdevelopmentpracticethanhasbeenthecaseinthepast.

14 Othercriticalissuesthathampercultureplayingafullerroleindevelopmentincludethelackofeasilyavailablerelevantinformationaboutmanycultures,theisolationwithinwhichmanycreativepractitionerscontinuetowork,andalackofculturalpolicysupportandcreativecapacity.

15 DespitethestrengthandvitalityofcreativityandculturalexpressioninmanycountriesoftheCommonwealth,culturehasbeentreatedbymostCommonwealthorganisationsandmanygovernmentsasperipheral.Whileothergroupingshavemadeprogresstowardsincludingaspectsofcultureintheirapproachestodevelopment,theCommonwealthhasnotengagedtothesameextent.8

8 Forexample,whiletwothirdsofmembersoftheOrganisationInternationaledelaFrancophoniehadratifiedthe2005UNESCOConventionontheProtectionandPromotionoftheDiversityofCulturalExpressionsby2008,justonethirdofCommonwealthmembershaddoneso.

18 Yetculture’svalueshouldnotbeseenonlyineconomicterms;culturalexpressionscanhelpdefineanindividual’sandacommunity’ssenseofself-worth.Anover-focusoneconomicaspectscanbeharmfulifonlyanarrowbandofmainstreamformsareprioritised.Supportforadiversityofculturalexpressionsshouldbeseenasaninvestmentinnationalandlocalprideandconfidence.Aculturalfestival,forexample,drivestourismandknowledgetransfer,butitcanalsochangehowahostcommunityfeelsaboutitselfanditsplaceintheworld.Aninvestmentinculturalspaces,suchascommunityartscentresandmuseums,andculturalprocesses,givesopportunitiesforpeopletoexpressthemselves,articulatetheirneedsandidentifytheirownsolutions.

CarnivalinTrinidadandTobago.©ShirleyBahadur

Connectingculturewithdevelopment

16 Inlightoftheabove,someofthedifferentwaysinwhichcultureconnectstoeconomicandsocialdevelopmentarehighlightedbelow.Theimportanceofcultureinitsownrightandthevalueofculturaldevelopmentmustalsobeemphasised.

17 Supportforcreativeindustriesofferssignificantpotentialforeconomicgrowth,includingforsmallstateswhicheachhaveuniqueculturalresourcesfromwhichcomparativeadvantagescanberealised.Thisrequiressupportfordomesticcreativeindustriesbackedbycommitmentfromarangeofgovernmentdepartmentsandacoherentstanceoncopyright,royaltycollectionandintellectualproperty.Italsocallsforaproperconsiderationofthedistinctivenatureofculturalgoodsininternationaltradeandtradeagreements.


7

19 Byunderstandingculture,developmentpractitionerscanunderstandandrespectlocalnuancesanddifferences,andbetterengagewithandsupportcommunities.Methodsandprocessesdrawingfromculturalresources,forexample,ineducation,promotinggoodgovernance,oraddressingissuesofgenderinequality,helpachievedevelopmentalobjectives.Forumtheatrehashelpedcommunitieslearnaboutparticipationindemocracy,popularmusicraisedawarenessofHIVandAIDSprevention,andfilmhasstimulateddebateonclimatechange.Culturalpractitionersbringapproachabilityandneutralitytodevelopmentprocesses.Folkforms,aspectsofheritage,locallanguagesandtraditionalgovernancestructurescanallbedrawnontohelpwinsupport,workwiththegrainofcommunitiesandadvancechange.

20 Culture-basedprocesses,suchasculture-ledtraininginitiativesforyoungpeople,allowpeopletoparticipatemoreeasily,anddevelopself-confidenceandlifeskills.Ultimately,culturalspaces9andprocessesoffertheopportunitytoturnaroundthewaydevelopmentispracticed,bygivingpeoplethesafespace,timeandopportunitytodefinethedevelopmenttheywant,ontheirtermsandintheirwords,andbecometheownersratherthanrecipientsofdevelopment.

21 Theaboveconnectionswillbebetterenabledbylong-termpolicyandgovernmentlevelcommitment,topromotemultiplechannelsforself-expression,exchange,mutualsupportandtheformationofinternationalpartnerships,betweengovernment,theprivatesectorandcivilsociety.

Recommendations

22 Inthelightoftheaboveanalysis,thefollowingrecommendationsareputforward,aroundwhichfurtherdialogueonfutureactionsandpartnershipsisinvited.

23 Commonwealth member states are urged to:

a. Empowerandstrengthenculturalministriesandnationalheritage,culturalandartsagencies,andensurecross-sectorworking,includingintegrationofculturalconsiderationsinotherpolicyareas,forexample,socialwelfare,trade,healthandeducation.

b. Recogniseandworkwithlocalandindigenousculturalresources,languagesandgovernanceprocessestoensuremoresustainableeconomic,environmentalandsocialdevelopment.

c. Promoteinvestmentinthecreativeindustries,inculturalexpression,andinthesafeguardingofculturalassets,andthedevelopmentofculturalpolicies,inrecognitionofthecontributionofthesetodevelopment.

CommonwealthWriters’PrizewinnersvisitsecondaryschoolsinTonga©YvaneFifita

9 Culturalspacescanbedefinedasanyphysicalspacewherecultureispracticedortransmitted.Thiscanbeanalreadyestablishedspace,suchasanartscentreormuseumorsomewheremoreinformal,suchasapublicsquareinwhichaperformanceisheld.

TheYonecoCulturalTroupecommunicatesHIVandAIDSpreventionmessagesinMalawi.©YouthNetandCounselling(YONECO),Malawi

Conclusion

24 ThemanyexistinginternationalagreementstowhichCommonwealthgovernmentsaresignatoryareoutlinedinparagraphfiveofthistext.Theopportunitytodeliveronthebenefitsoftheseagreementshasnotbeenfullyrealised.Theculturalcommunityoffersasubstantialandhithertounrealisedresourcethatcouldworkmorecloselywithgovernmentstohelpdeliveryoncommitments,andsohelptomakeasubstantialimpactonpeople’swellbeing.

25 Thetimetoactisnow,giventhegrowthincritiquesofdevelopmentpracticeandaideffectiveness,andinthelightoftheglobalemergenciesoutlinedabove.Alackofunderstandingofcultureandtheresultingabsenceofitsintegrationarepartofthereasonwhyinsufficientprogresshasbeenmade.Yetotherinternationalinitiativesarenowshowingagreaterappreciationofculture,andthegroundswellofinterestinourworksuggeststhattheCommonwealthcouldandshouldtakeonamorevisibleleadershiprole.Theculturalcommunity,andbroadercivilsociety,standsreadytoforgenewpartnershipstotakethisagendaforward.


Annex 1Commonwealth Statement on Culture and Development Prepared by the Commonwealth Group on Culture and Development

9

Culture and DevelopmentPractical illustrations from the Commonwealth

Thefollowingcasestudieshighlightsomeofthepracticalwaysinwhichcultureanddevelopmentarebeinglinkedinpractice.TheyhavebeendrawnfromsubmissionsmadebycivilsocietyorganisationstotheCommonwealthGrouponCultureandDevelopment.TheyofferpracticalexamplestosupportthefindingsoftheCommonwealthStatementonCultureandDevelopment,andshowwaysinwhichthestatement’srecommendationscanbetakenforwardinpractice.

Annex 1

Annex 1Cultureanddevelopment:practicalillustrationsfromtheCommonwealth 11

Pacific IslandsFestivals as catalysts

Therearemanywaysinwhichculturalfestivalscansupportdevelopment.Theycanhelpaffirmandstrengthenpeople’sidentitiesandbuildcommunityconfidence,whichinturncancontributetosocialcohesionanddevelopment.Theycanhelppreserveaspectsofheritageandtradition,andtransmitthemtonewgenerations.Theycanpromoteculture-basedtourismandshowcaseculturalgoods,productsandservicestonewmarkets.Festivalsalsoprovideforumswhereculturalpractitionerscanexchangeanddevelopstrategiesonissuessuchastraditionalknowledgeandintellectualpropertyrights.

‘�...Festivals�generate�cultural�value�for�local�people�who�can�enjoy�their�country’s�traditional�costumes,�music,�dance�and�rituals�in�an�engaging�communal�context,�and�they�project�the�cultural�identities�of�the�countries�onto�the�international�stage.’10

10 CreativeEconomyReport2008:Thechallengeofassessingthecreativeeconomytowardsinformedpolicy-making(NewYork:UnitedNations,2008):37.

FilmmakinginthePacific.

BackgroundTheculturaltopographyofthePacificIslands,adispersednetworkofthousandsofmostlysmallislands,iswideranging.Akeyregionalfestival,theFestivalofPacificArts,createsopportunitiesforexchangesbetweenPacificpeoples,andcanclaimtohaveplayedakeyroleinaPacificculturalrenaissance.Itprovidesafocalpointforadiverserangeofbothtangibleandintangibleculturalexpressions,includingsong,dance,craftwork,jewelleryandcuisine,amongothers.Thisexamplesetsoutsomeofthewaysinwhichthisfestival,andfestivalsingeneral,havecontributedtodevelopment.

Issues identifiedCulturecontinuestooccupyacentralplaceinmanyofthePacificIslands.Butwhileinsomeislandstraditionalvalues,beliefs,knowledge,heritageandotheraspectsofcultureremainhighlyprominentandindeedcentral,inotherstheyhavebeenconsiderablyweakened.Thishasbeentheresultoftheongoingeffectsofcolonisation,migrationtolargercountriesandcontemporarychallengestotraditionalfamilystructures,andthecorrespondinglossofformsofinter-generationaltransmissionofcultures.

Withculturalexpressionsandculturalgoods,productsandservices,achallengeinthePacifichasbeentheidentificationanddevelopmentofincomegeneratingmarkets.MostPacificIslandsaregeographicallyisolated;hence,thereisoftenaneedtorelyonlocalmarketswhichcanonlyyieldlimitedincome.Further,theproductionofculturalgoodsandproductsistimeandlabourintensiveand,asaresult,theymaybeunder-supported.Yetculturalgoods,productsandservicesfromPacificIslands,rootedinuniqueculturesandtraditions,holdpotentialtocapturefreshimaginations,enhanceperceptionsandunderstandingofPacificIslandsandreachnewmarketswithinandbeyondtheregion.

Itisthereforenecessarytosupportwaysofpromotingculturalgoods,productsandservicesfromPacificIslands.

A key regional festival, the Festival of Pacific Arts, creates opportunities for exchanges between Pacific peoples, and can claim to have played a key role in a Pacific cultural renaissance.

AtroupefromthePacificperformsatthe2005CommonwealthPeople’sForuminMalta.


Action takenEstablishedin1972andheldeveryfouryears,theFestivalofPacificArtshasgrownasamarketforculturalandcreativeindustriesintheregionandisnowasignificantinternationalculturaleventandmajortouristattraction.Itbringstogethermorethan2,000peoplefrom27islandcountries.

ItisthebiggestgatheringofPacificpeoples,wheredelegationsofdancers,musicians,filmmakers,performingartists,craftspeople,paintersandwritersdebate,demonstrate,exhibitandselltheirproductsfortwelvedaystoattendeesofthefestival.

ThehostcountryoftheNinthFestivalofPacificArts,Palau,sawbotheconomicandinfrastructuralgains,includingsalesfromstoryboards(traditionalwoodcarvingsofPalau)carvedbyprisoninmates,whichbroughtinoverUS$11,800.Followingthefestival,salesoftheofficialfestivalfilmOltobedAMaltgeneratedmorethanUS$30,000forthenewBelauNationalMuseum;salesofShortStoriesfromSmallIslandsgeneratedrevenuesforartistsandauthorswhotookpartinacreativewritingworkshopduringtheFestival.Eachofthe16statesofPalauearnedanaverageofUS$20,000insalesoffoodandcraft,whilesalesofphilatelyearnedoverUS$1,800.

TheFestivalalsohelpedtoimprovehostcountryfacilities,andbenefitswerefeltforsmallbusinessesasaresultoftendersforsupplies,renovationsandconstruction.InPalau,priortotheFestival,anewBelauNationalMuseum(US$2.2m),theNgarachamayongCulturalCentre(US$2.45m)anda3,000seatgrandstandatthePalauCommunityCollegesportstrack(US$363,000)wereopened.

TheFestival,sinceitsinception,hasestablisheditselfasakeyeventintheregionandisanimportantinstrumentinthepreservationandrevitalisationofexpertiseunderlyingmanyculturalexpressions.Knowledgeandskillshavebeenrediscovered,revitalisedandinsomecases,updated.Forexample,duringtheFirstFestivalofPacificArtsinFijiIslands,1972,FrenchPolynesiawasinspiredtorevivethedisappearingartoftattooing11,which

istodayawellrecognisedformofFrenchPolynesianculturalexpression.In2004,17woodcarverswerechosentoundertakefurtherstudiesinHawaiiundermasterwoodcarvers.

TheFestivalalsooffersaperfectplatformfordevelopmentorganisationsandcountriestoundertakeotherimportantinitiatives.In2000and2004,HIVandAIDSawareness-raisingmaterialswerepackagedanddistributedtoperformersandspectators.In2004,acapacity-buildingmediaprojectalsotrainedmorethan20journalistsfromsixcountriesandresultedintheofficialFestivalDVD.Abookofshortstorieswaspublishedfromthecreativewritingworkshop.Fundsraisedfrombothprojectswerechannelledbackintoregionalculturaldevelopmentprojects.

Key pointsFestivalsofferwaystoshowcaseculturesfromaregionandcanlayfoundationsforgrowingculturalmarkets.Aswellaseconomicgains,thegrowthofcreativemarketscanhelptotackleissuesofisolationandmarginalisation.

Beyondeconomicbenefits,festivalscanfosterunitythroughexchangeandsharing.Theycanactasplatformsfordebateonlocallyrelevantdevelopmenttopics,suchaseconomicandhealthissues.Finally,asinclusivegatherings,festivalsoffersignificantopportunitiestoengagewithyoungpeopleandpromotetheinter-generationaltransmissionoftraditionalknowledgeandvalues.

Thereisaneedtobuildontheregionalandinternationalplatformsfestivalsoffertoextendfestivalbrandsandpackages.Inordertofurtherdevelopculturaltradelinks,practitionersshouldalsobesupportedtotraveltootherfestivalsinternationally.Theserepresentopportunitiestopromoteculturesabroadandcreatemarketsforculturalgoods,productsandservices.

A Commonwealth perspective on culture and development TheCommonwealth Statement on Culture and Developmentstatesthataninvestmentintheculturalsector,includingsupportforpractitionersandculturalinstitutions–whichwouldincludeculturalfestivals–isrequiredsothatculturecancontributetodevelopment,includingeconomicdevelopmentthroughthegrowthofthecreativeindustries.(Seeparagraph9oftheStatement.)

Peoplehavearighttoshowcasetheircultureandtobeexposedtoothercultures.Thisiscentraltodevelopinganunderstandingoftheworldandfosteringlocalprideandconfidence.(Seeparagraph10.)

CulturaldiversityisoneoftheCommonwealth’sgreateststrengths.Inaglobalisingworldculturaldiversityneedstobeactivelypromoted.Festivalsofferagoodwayofpromotingdiversity.(Seeparagraph11.)

Creativeindustriescannotonlyprovideincomeforartists,butthecommunityasawhole,includingthroughtourismpromotion,andforsmallbusinesseswhichprovidearangeofassociatedservices.Smallislandstatescanbenefitparticularlyfromcreativeindustrydevelopmentastheyoftenhaveuniqueculturalformsthatcanbedrawnfrom.(Seeparagraph17.)

Aswellasdrivingtourismandknowledgetransfer,festivalscanalsoimprovehowacommunitythathostsafestivalvaluesitselfandseesitselfinrelationtotheworld.(Seeparagraph18.)

Tounderpinthis,investmentinthecreativeindustriesandpolicytosupportthisshouldbefurtherpromoted.(Seeparagraph23c.)

Potentially transferable learning• Support festivals in order to celebrate and share

tangible and intangible cultural heritage.

• Use festivals and other forms of cultural gatherings to promote cultural goods, products and services to new markets.

• Link festivals to other culture-basedtourism initiatives.

• Use festivals to drive the development of cultural infrastructure and facilities that will continue to benefit communities and local business.

• Ensure space is opened up in festivals for participation by young people.

• Embed opportunities for debate on relevant development issues, such as traditional knowledge and trade in culture, in festivals.

• Support and make available research on the financial and social contributions of festivals.

Traditionalperformancefacepaintandheaddress.11 DrNicoVink,StudyontheCultural Co-operation between the European Commission and the Pacific region(TheNetherlands,2000).

Find out more: Ms Taalolo Poumele, Administrative Director (Secretariat), American Samoa Office for the 2008 10th Festival of Pacific Arts, American Samoa Government, PO Box E Pago Pago, American Samoa 96799 Tel: + (684) 633 3110/ 3111/ 3112 Email: [email protected] www.pacartsas.com


Trinidad and TobagoSteelpan for youth empowerment

Culturalexpressionisanimportantpartofhowpeopleretainandsustaintheiridentities,andcanalsocontributetorevenuegenerationthroughculture-basedtourismandculturalindustries.Beyondthis,culturalexpressioncanalsoofferyoungpeopleasourceofeducationandpersonaldevelopment.Thefollowingisanexampleofhowintangibleculturalexpressionscanplayasignificantroleinthepositivedevelopmentofyoungpeople.Itexplorestheroleofmusic,specificallythesteelbandsofTrinidadandTobago,inofferingyoungpeopleavehicleforself-expression,achievementandfulfilment.

‘�Created�in�the�1930s,�the�steelpan�owes�its�genesis�to�the�carnival�festivals�of�that�era.�It�emerged�as�the�product�of�the�energy�of�the�people�directed�towards�cultural�self-expression.�The�steelpan�therefore�became�a�cultural�vehicle�forged�from�the�historical�and�social�conditions�prevailing�at�that�time.�Its�development�was�moulded�by�the�ethnic�influences�of�the�heritage�of�Trinidad�and�Tobago.’�12

12 HistoricalDevelopmentoftheSteelband–TrinidadandTobago.Seehttp://library2.nalis.gov.tt/Default.aspx?tabid=165 13 Steelpan:abowl-shapedpercussioninstrumentmadefromasteelbarreldividedintosectionsproducingdifferentnoteswhenstruck.

14 Calypso:atypeofmusicthatoriginatedintheCaribbean,notablyinTrinidadandTobago,characterisedbyimprovisedlyricsontopicalorbroadlyhumoroussubjects.

BackgroundThearchipelagictwinislandstateofTrinidadandTobagoishometoalongandvariedethnicandculturalhistory.Primarilyanindustrialeconomywithafocusonpetrochemicals,TrinidadandTobagoisalsoknowninternationallyforitsvibrantculture,epitomisedinitscarnivalsanditsrecognitionasthebirthplaceofthesteelpan13instrumentandcalypso14music.TrinidadandTobagoishometomanydifferentsteelpanorchestrasandgroups,andthemajorityofsteelbandplayersinthecountryarebetweentheagesof15and25.TheBirdsongAcademy,onesuchsteelpangroup,focusesonyouthdevelopmentandeducationthroughmusicandculture.Itsmissionistocreateaproductiveenvironmentforyoungpeopletoexpressthemselvesusingthesteelpan.

Issues identifiedApproximatelyhalfoftheCommonwealth’sneartwobillionpeopleareunder25yearsofage.YoungpeoplearecorrespondinglyrecognisedasanimportantgroupintheCommonwealththatdemandaspecialfocusinpromotingtheirempowerment,participationandgrowth.InTrinidadandTobago,asinmanysmallislandstates,currentsocialproblemsincludecrime,unemployment,povertyandfamilybreakdowns.Youngpeopleexperiencetheseproblemsdisproportionately,andareoftenvulnerabletofeelingsofalienationandhelplessness,andcorrespondinglymaybecaughtupinanti-socialorcriminalbehaviour.

Promotingtheactiveparticipationofyoungpeopleincommunitylife,andtheirself-empowerment,throughaccessiblemeans,isonewaytoaddressthis.

Approximately half of the Commonwealth’s near two billion people are under 25 years of age.

SmallensembleattheBirdsongAcademy. Transferableskillsacquisitionthroughmusictheoryclasses.

Youngpeople,bylearningsteelband,cangaininself-confidence.


SteelpanlessonsattheBirdsongAcademy.

Action takenTheBirdsongAcademyusessteelbandsasavehicletocounteractmanyoftheissuesthatyoungpeopleinTrinidadandTobagoface.

TheAcademyprovidestrainingtostudentsbetweentheagesof12to25inskillsthatareintendedtobetransferable.Theseincludemusictheory,eartraining,sightreading,percussion,musicappreciation,lifeinmusic,usingtechnology,voicetraining,theatreartsandpersonaldevelopment.Aswellasskillsdevelopment,thetrainingaimstonurtureinterestinTrinidadandTobago’sculturalheritage.Thetrainingisfree,andsince2004whentheAcademywasfounded,morethanfivehundredstudents,femaleandmale,havebenefitedfromitsprogrammes.

Realisingtheimportanceandrelevanceofmusiceducation,TrinidadandTobago’sMinistryofEducationhasalsocreatedamusicprogrammeinbothprimaryandsecondaryleveleducationcalled‘panintheclassroom’.Overthefirstfiveyearsofitsoperation250primaryandsecondaryschoolshavereceivedinstruments,andinstructorshavebeenassignedtoeachschool.Resultingfromthesuccessoftheprogramme,thereisnowacommitmentfromtheMinistryofEducationtohaveallschoolsinvolvedintheprogrammeinthenextthreeyearsofitsoperation.

InthecaseoftheBirdsongAcademy,someofthestudentswhohavecompleteditsprogrammeshavegoneontoenrolatuniversitiessuchastheUniversityoftheWestIndies,theUniversityofTrinidadandTobagoandtheBerkleySchoolofMusic,USA.SomegraduatesoftheAcademyhavealsofoundfulltimeemploymentattheOfficeofthePrimeMinister,asmembersoftheFireServicesOrchestra,andassteelpaninstructorsattheMinistryofEducation.

Key pointsMusicandentertainmenthavehighappealtoyoungpeopleandcanthereforeassistinencouragingtheirparticipationincommunitymatters.Theycan,inparticular,helpvulnerableandunder-privilegedyoungpeopletodiscoverpositiveformsofself-expression.Musicprojectscanhelpinstilasenseofdisciplineandcollectiveworking,bringingtogetheryoungpeoplefromdifferentcommunities.Aswellassocialandtechnicalskills,theycanhelpbuildself-esteemandself-confidence.

Musicandartseducationoffervehiclesforknowledgetransferandencouragementtowardsexcellenceinbotheducationandfutureprofessionallife.

Bypromotingempowermentandself-confidence,musicandartsprogrammesgiveyoungpeopletheopportunitytobecomeownersoftheirdevelopmentratherthanitsrecipients.Culture-basedtrainingprogrammessuchasthesethereforehaveanintrinsicdevelopmentaledge.

Whileeconomicdevelopmentandthedevelopmentofthecreativeindustriesareimportant,anover-narrowfocusoneconomicdevelopmentcanoverlooksomeofthepositivesocialimpactsofaninvestmentinculture.Thefosteringofwellbeingindisadvantagedyoungpeoplecansetthemonthepathtotheestablishmentofbetter,moresustainablelivelihoods,whichcaninturnpromotelong-termeconomicprosperity.

PercussionclassattheBirdsongAcademy.

A Commonwealth perspective on culture and developmentTheCommonwealth Statement on Culture and Developmentcallsfornewapproachestodevelopmentinthefaceofcontinuingchallengesofpoverty,inequalityandmassunemployment,andtohelpbetterfulfilhumanaspirations.Culturalexpressionssuchasmusicandotherformsofartcanhelpmeettheneedsandenhancethewellbeingofdisadvantagedpeople,particularlyinthefaceofcurrenteconomicandenvironmentalemergencies.(Seeparagraph2oftheStatement.)

Musicandartsprogrammescancontributetoanindividual’ssenseofphysicalandmentalwellbeing,whichshouldbetheendgoalofdevelopment.(Seeparagraph7.)

Successfulinitiativestopromotethegrowthofthecreativeeconomyneedtobeunderpinnedbyinvestmentsintheculturalsectormorebroadly,includingsupportforculturalpractitionersandinstitutions.Thesearecloselyinterlinked.(Seeparagraph9.)

Culturalexpressionscanhelpdefineanindividual’sandacommunity’ssenseofself-worth.Investmentsinculturalspacesgiveopportunitiesforpeopletoexpressthemselvesandarticulatetheirneedsandidentifytheirownsolutions.(Seeparagraph18.)

Culture-basedinitiativesenablepeopletoparticipateindevelopmentprocessesmoreeasilyanddevelopself-confidenceandlifeskills.(Seeparagraph20.)

Potentially transferable learning• Use culture-based methods to initiate

communication with and encourage participation by young people, particularly disadvantaged and at risk young people.

• Support cultural practitioners and institutions to increase their access to parts of society which may be difficult to reach.

• Recognise that training initiatives to build skills and drive professional development can also have benefits for personal and community development, and use culture-based methods to promote this.

• Make connections between initiatives to drive the creative economy and broader initiatives to foster self-expression, self-confidence and community cohesion.

Find out more: Nestor Sullivan, Birdsong Academy, Corner Connell and St Vincent Streets, Tunapuna, Trinidad and Tobago Tel: + (868) 620 5285 Email: [email protected], [email protected] www.birdsongtt.org


MalariapreventionmessagethroughdramaatKamwendoSchoolinMchinjidistrict.

BackgroundMuseumsofMalawi(MoM)isagovernmentaldepartmentundertheMalawianMinistryofTourism,WildlifeandCulture,establishedin1957.ItsmandateistodisseminateinformationtothepublicregardingtheculturalandnaturalheritageofMalawi.MoMregards21stCenturymuseumsasbeingaboutpeopleratherthanobjects,situatingthemasagentsofchangeandvehiclesforhelpingtodeliversustainabledevelopmentprogrammes.MoMempowersitsmemberstogenerateawarenessonhealthissuescurrentlyaffectingMalawi,includingmalariaandHIVandAIDS.Themuseum’seducationdivisionsworkonactivitiesaimedatachievingtheMDGsincludeafocusonMDGtarget6C,‘tohaltandbegintoreversetheincidenceofmalariaandothermajordiseases’,throughthelensofculture.

Issues identifiedPovertyeradicationisaprimaryaimoftheMalawiangovernment,yetpovertyreductionanddevelopmentischallengedbypoorhealthofthecitizens.ItisonthispremisethatMoMbeganitsmalariapreventionoutreachprogramme.MalariaisaserioushealthissueinMalawi,particularlyaffectingpregnantwomenandchildren.Fewindividuals,especiallythoseatrisk,areawareofadequatepreventionmethods,andtheyarethereforeunabletodetectormountanearlyresponsetothedisease.Inaccurateinformationsurroundinghygieneandsanitationisakeypartofthischallenge.Lackofawarenesscanleadtothepropagationoffalsebeliefs,forexample,thatsymptomssuchasanaemiaandconvulsionsarecausedby‘witchcraft’ratherthansymptomsofmalaria.

Insuchcasesaspectsofculture,suchassuperstition,caninhibitprogress,butalthoughculturemayherebeseenasachallenge,italsooffersresourcestoderivesolutions.Usingculturalforcestoovercomesuchmisconceptionsisalogicalapproach.Trustedculturalinstitutions,suchasMoM,areinavaluablepositiontoprovidereliableandaccurateinformationwhereitisneededmost.

The museum’s education division’s work on activities aimed at achieving the MDGs include a focus on MDG target 6C, ‘to halt and begin to reverse the incidence of malaria and other major diseases’, through the lens of culture.

SchoolchildrendrainingstagnantwateratChimbendeSchoolinMangochidistrict.

MalawiMuseums save lives

Culturalspacessuchasmuseumsareequippedwithspecialistknowledgeofcultureandcanoffereffectiveplaceswherepeoplecanbeexposedtoinformationaddressingawiderangeofdevelopmentissues.TheMalawiMuseumsSaveLivesprojectillustrateshowthemultifacetedanddynamicnatureofmanymuseumscanbeutilisedtotransmitinformationinacommunityspecificformatandsustainableway.Itdemonstratesinparticularhowculturalspacescanactasaneffectivemeansofmakingavailablemessagesregardingkeyhealthissues,thushelpingtomakeprogresstowardstheMillenniumDevelopmentGoals(MDGs)16.ThisexamplelooksatthechallengeofmalariainMalawiandhowmuseumsaddressthisissue.

‘�Museums�have�an�important�duty�to�develop�their�educational�role�and�attract�wider�audiences�from�the�community,�locality,�or�group�they�serve.�Interaction�with�the�constituent�community�and�promotion�of�their�heritage�is�an�integral�part�of�the�educational�role�of�the�museum.’15

15 InternationalCouncilofMuseums.Seewww.icom.museum/ethics.html#intro16 MillenniumDevelopmentGoals.Seewww.undp.org/mdg/goal6.shtmlTarget6c:Haltand

begintoreversetheincidenceofmalariaandothermajordiseases.Indicators:6.6Incidenceanddeathratesassociatedwithmalaria,6.7Proportionofchildrenunder5sleepingunderinsecticide-treatedbednets,6.8Proportionofchildrenunder5withfeverwhoaretreatedwithappropriateanti-malarialdrugs.


Action takenMoMbelievesthattheimplementationofwidespreadinformation,educationandcommunication(IEC)programmesareaneffectivemeansofdisseminatinglife-savinginformation.TheMuseumsSaveLivesprogrammefocusesonpreventionmeasuresthroughclassroomactivities.Itemploysarangeoftools,includingpreventionmethodsdemonstration,musicanddance,drama,lecturesbyMinistryofHealthandPopulationofficials,communityfilmscreeningsandtheestablishmentofAnti-MalariaCommunityClubs.

DevelopedbytheeducationdepartmentofMoM,thislatterprogrammechoosesstudentsintheirfinalyearofprimaryeducationinruralareastoleadanti-malariaclubsinschools.Studentsareplacedinastrongpositiontouseinformationandknowledgegainedactivelyandtotransferknowledgeviapeer-to-peerlearning.AswellasworkingwithstudentsMoMalsoworkswithandseekstoinvolvethesurroundingcommunity.

Thisprojectwasinitiallypilotedintwoareasandevaluatedperiodicallybystakeholdermeetingsandteacherstudentsurveys.Sincethen,MoMhasbeenabletocirculateinformationthrough63schools,distributingover600postersandpamphletsacrosssevendistricts,reachingapproximately53,000people.

Key pointsAsmanyMalawiansdonotreceiveadequateinformationaboutmalaria,MoMworksbydisseminatingunderstandable,accurateinformationwhiledebunkingmythsandmisconceptions.MoMusesexistinginstitutions,suchasschools,teachers,churchesandcommunityleaderstopromoteitsprogrammes,creatingearlydialogueanddiscussionwithinschoolsandthewidercommunitypriortothestartofaprogramme.

Inthisparticularcontext,manymuseumsareabletoprovideinformationonmosquitoesandmalariathroughtheirentomologyexhibitions.Theyarealsowellplaced,onthebasisoftheirculturalandanthropologicalresearch,tounderstandandworkwiththediverseculturalandeducationalbackgroundsoftargetcommunities.

Themuseums’mandatetoworkwiththeculturesandpeopleofMalawiprovidestheprojectwithatrustedandestablishedinfrastructureonwhichtobaseitswork.Asanationalinstitutethemuseumcancontinuallymonitorprogressandimplementfollow-upprogrammestobuildsustainability.

Theuseoflocallyspecificknowledgeofcultures,traditionsandlanguagesplacemuseumsandsimilarinstitutionsinawellequippedsituationtomanageanddisseminateinformationanddeliveritinanaccessiblemannerforschoolsandcommunities.

MosquitotreatednetsgiventobestlearnersatKaputaSchoolinMzimbadistrict.

MoM has been able to circulate information through 63 schools, distributing over 600 posters and pamphlets across seven districts, reaching approximately 53,000 people.

A Commonwealth perspective on culture and developmentThe Commonwealth Statement on Culture and Developmenthighlightsthatmanydevelopmentprojectsareimplementedindifferentculturalcontextstothoseinwhichtheywereconceived.TheStatementsuggeststhatdevelopmentprojectsshouldbeconceivedinaculturallysensitivemannerinordertopromoteeffectiveandsustainabledevelopmentpractice.Museumsasguardiansofcultureareuniquelyequippedtoaddresscommunitybaseddevelopmentapproaches.Asculturalspacesmuseumscanalsoactasforumsfordebateanddiscussion.(Seeparagraph8oftheStatement.)

Museumsreflecttheculturalexpressionsofpeople–bothpastandpresent.Investmentinculturalspacesprovidestheopportunityforpeopletoexpressthemselvesandsharevitalknowledgeandinformationbetweenoneanotheratbothalocalandnationallevel.Asfamiliar,trustedguardiansofcultures,museumsareideallyplacedtopromotecommunitybaseddevelopmentprojectsandofferpeopleopportunitiestoarticulatetheirneedsregardingpressingissues.(Seeparagraph18.)

Culturalpractitionersbringapproachabilitytodevelopmentprocesses.Folkforms,heritageandlocalknowledgecanbeutilisedtoworkwiththegrainofcommunitiesandadvancechange.Museumsarewellpositioned,withknowledgeofsuchforms,tobridgethegapbetweencommunitiesanddevelopmentpractitioners.(Seeparagraph19.)

Sustainabledevelopmentcanbepromotedincommunitiesthroughtheuseofindigenousculturalresourcesandlanguages.(Seeparagraph23b.)

Potentially transferable learning• Use existing national cultural infrastructure

and spaces to help disseminate important information.

• Empower cultural research organisations to address communities in a culturally applicable and effective manner.

• Use community programmes and existing community strengths and resources to promote action and awareness in combating health issues through community-based programmes.

• Make use of existing assets, such as museum exhibitions, to connect to, and create awareness of key development messages.

• Work with school children in primaryeducation to promote effective learning at an early point in their education. This will promote sustainable knowledge sharing and peer-to-peer exchange.

DemonstrationonuseofatreatedmosquitonetatStMatthewsSchoolinChikwawadistrict.

Find out more: Michael M Gondwe, Education Coordinator, Museums of Malawi, Chichiri, PO Box 30360, Blantyre 3, Malawi. Tel: + (265) 889 6213 Email: [email protected] www.africom.museum/museums/malawi-chichiri.html


NigeriaWomen – the salt of the nation

Indesigningandimplementingdevelopmentinterventions,asoundunderstandingofculturalnormsandvalues,stories,andfolkloresisrequired.Changethatseekstoworkwithandenhanceelementsofcultureismorelikelytobesuccessfulandsustainablethaninterventionsthatdonottakeaccountofculturalforces.Interactionsbetweencultureandgenderparticularlyneedtobeunderstoodandintegrated.

‘�Nothing,�arguably�is�as�important�today�in�the�political�economy�of��development�as�an�adequate�recognition�of�political,�economic�and��social�participation�and�leadership�of�women.�This�is�indeed�a�crucial��aspect�of�Development as Freedom.’17

17 AmartyaSen,DevelopmentasFreedom,1999:203 18 UNIDOhomepage.Seewww.unido.org19 CommunitiesinEbonyiState,Nigeria.

BackgroundAccordingtofolklore,longagoinwhatisnowEbonyiState,Nigeria,agroupofhuntersandtheirdogsstoppedbyalaketodrinkfromthewater.Ondiscoveringthatitwasasaltlake,thehuntersreportedbacktothecommunity,andtheeldersdecidedtoconsultanOracle.TheOracledeclaredthatthesaltwaterwouldbeasourceofwealthforthecommunity.Accordingtothestory,theOracledecreedthatsaltprocessingandsalttradewouldbeanexclusivereserveofwomen.Whilemenwouldclearthebush,digandremovemudfromthepondandfetchfirewood,marriedwomenalonewereallowedtoextractthelakesandponds.

ModerndayEbonyiStateisprimarilyanagriculturalcentre,producingbanana,cassavaandmaize,butitisalsorichinminerals,particularlysalt,totheextentthatisknownas‘thesaltofthenation’.SaltmanufacturingremainsthemajormeansoflivelihoodforwomeninthecommunitiesaroundtheUburuSaltLakearea,andthesamesaltproductionmethodshavebeeninuseforapproximately400years.

Inseekingtoimprovesaltproductionmethods,thisexampleillustratesthebenefitofculturalsensitivityanddemonstrateshowtraditionsandvaluesneedtobeadequatelyunderstoodtoachievesuccessfuldevelopment.

Issues identifiedThetraditionalmethodofsaltproductionhasbeentoboilsaltwatertakenfromthelakeusingfirewood.Thecostofthisfuelconstitutesasmuchas85%oftheproductioncost18.Inadditiontotheenvironmentalimpactofburningwood,thisfuelcostisaconsiderableconstraintontheincomethatcouldbegeneratedforcommunitiesfromsaltproductionintheregion.Further,traditionalmethodsofextractionaretime-consumingandtedious,therebyrestrictingthetimewomenhaveforotheractivities.Increasedincomeandincreasedtimeforotherrolescouldhelptoraisethestatusandpowerofwomeninthecommunity.

AUnitedNationsIndustrialDevelopmentOrganisation(UNIDO)projectthereforeaimedtobuildthecapacityofwomensaltproducersinUburu,OkposiandIdembiaEzzacommunities19byprovidingthemwithnewequipmentandmethods.

Salt manufacturing remains the major means of livelihood for women in the communities around the Uburu Salt Lake area, and the same salt production methods have been in use for approximately 400 years.

ManonadugoutcanoeonariverinNigeria.©CommonwealthSecretariat.

Womeninvolvedinfoodproduction,Nigeria.


Action takenThisprojectaimedtopromotetheuseofsolarstillsandtoreducetheuseoffirewoodinordertoincreaseenvironmentalsustainabilityandreducecosts.UNIDOfirstrecognisedthatitneededtoworkwiththegrainoftraditionandculture.Duetothelonghistoricalroleofwomeninsaltproduction,illustratedbythestoryabove,UNIDOresolvedthatwomenwouldbetheleadstakeholdersinitsinitiative.ThewomenofEbonyiformedintocooperativestohandlesaltprocessingandiodisation.Participatingwomenwereinitiallyprovidedwith15to17solarstillsforsaltproduction.

WomenhaveremainedinchargeofsaltprocessingandUNIDOhasintroducedup-to-dateequipmentforbetterproduction.Themeninvolvedintheprojecthaveassistedthewomenbycarryingoutothertasksthatdonotcutacrosswomen’straditionalrolesinproduction.

AccordingtoUNIDOtheproject,“Isexpectedtoeliminate28,000tonsoffirewoodperyearwithcurrentmarketpriceof200millionNaira[US$1.31m]generatinganadditionalincomeof167,000Naira[US$1,095]annually(againstcurrentannualincomeof40,000Naira[US$262])foreachofthe1,200womenengagedinsaltmanufacturing.”20

Byrecognisingtheimportantcontributionwomenmaketotheindustryandensuringthattheirtraditionalroleswerenotthreatened,butcouldinsteadbeworkedwithtoenhancetheiroverallpositioninsociety,theimplementationoftheprojectmetwithlittleresistanceandthenewtechnologywasintegratedwithease.

Theprojecthasalsoengagedwithtraditionalleadersaswellasgovernmentofficialsinconvincingthecommunityoftheincome-generatingvalueoftheactivity.

Key pointsAculturallysensitiveapproachtoevenhard-edgedandeconomically-drivenindustrialdevelopmentprojectscanhelpensuresupportfromlocalcommunitiesandincludecommunitymembersintheshapingofprojects.

Anapproachthattakesaccountofculturalnorms,valuesandtraditionsheightensthechancesofsuccessfuldevelopment.

Inworkthathasagenderdimensionthetraditionalrolesofwomenandmenmustbeunderstood,andchangehasmorechanceofsuccessifitisbasedintheamplificationofaspectsoftheseratherthandirectlygoesagainstthese.

Traditionalleaderscanhelpfosterengagementwithcommunitiesandneedtobeunderstoodandworkedwith.

Culturemustnotbeviewedasaseparateentitytothedevelopmentprocess.Closerscrutinyofprojectsthroughaculturallenscanleadtoinnovativeandprogressivedevelopmentprojects.Culturalapproachestodevelopmentshouldnotbelimitedtoculturalexpressionsbutshouldalsoincludetrade,industrialandeconomicactivities,whichcanalsobenefitgreatlyfromaculturallysensitiveapproach.

A Commonwealth perspective on culture and developmentTheCommonwealth Statement on Culture and Development statesthatbecauseaconsiderationofculturalvalues,practicesandresourceshasoftenbeenleftoutofdevelopmentanalyses,manydevelopmentinterventionshavefailedtoachievetheirobjectives,andtherethereforeremainsunrealisedpotentialtohelpachievetheMillenniumDevelopmentGoals(MDGs).(Seeparagraph2oftheStatement.)

Theenablingofphysicalandmentalwellbeingandthefulfilmentofpeople’spotentialshouldbetheendgoalsofdevelopment.Thisincludesprovidingpeoplewithaproductiveandculturallyrelevantworklife.(Seeparagraph7.)

Understandingworldviews,values,heritageandotheraspectsofcultureshouldformthestartingpointfortheinitiationofdevelopmentstrategies.Developmentprojectsshouldfirstconsidertheculturalcontextofthecommunitybeforethereareattemptstointervene.(Seeparagraph8.)

Anunderstandingofculturalcontexthelpsustoappreciate,andworkwith,localnuancesanddifferences,andbetterengagewith,andwinthesupportof,communities.(Seeparagraph19.)

Localandindigenousculturalresources,languagesandgovernanceprocessesshouldbeworkedwithtoensuremoresustainablecultural,economic,environmentalandsocialdevelopment.(Seeparagraph23b.)

Potentially transferable learning• Promote research, understanding of and

engagement with the cultural heritage of communities, including appreciating the value of folklore, heritage and popular narratives.

• Understand, and build into ways of working, local interactions between cultural and gender norms and roles.

• Engage with traditional leaders to helpmobilise communities.

• Explore the potential to blend contemporary, renewable and sustainable approaches with local, traditional ones.

Demonstrationoftraditionalcooking.©CommonwealthSecretariat.20 Seewww.unido.org/index.php?id=4835&ucg_no64=1/data/project/project.cfm&c=40658.Figuresconvertedatmarketrates,November2009.

Cultural approaches to development should not be limited cultural expressions but should also include trade, industrial and economic activities, which can also benefit greatly from a culturally sensitive approach.

Find out more: Nneka C Acholonu-Egbuna, Programme Assistant for Culture (UNESCO Abuja Office), c/o UNESCO, UN House, Plot 617/618 Diplomatic Drive, Central Area, Abuja, Nigeria Tel: +(234) 9 4616543/+ (234) 8 037870675 Email: [email protected]; [email protected] www.unido.org

Annex 1Commonwealth Statement on Culture and Development Prepared by the Commonwealth Group on Culture and Development

27

Messages on culture from civil societyExtracts from the Port of Spain Civil Society Statement to the 2009 Commonwealth Heads of Government Meeting

ThePortofSpainCivilSocietyStatementwasdevelopedbycivilsocietygroupsfromCommonwealthcountries.Theymetaheadofthe2009CommonwealthHeadsofGovernmentMeetingattheCommonwealthPeople’sForumtodebateanddeveloprecommendationsonkeyissuesaffectingcivilsociety.TheForumculminatedinthedraftingofaStatementwhichwaspresentedtoCommonwealthHeadsofGovernmentandservestoguidetheworkofCommonwealthcivilsocietyforthefollowingtwoyears.TheextractsthatfollowaretakenfromthePortofSpainStatementwherecivilsocietyexpressedsupportforcultureandaskedGovernmentsto,amongotherthings,endorsetheCommonwealthStatementonCultureandDevelopmentandcommittoimplementingitsrecommendations.

Annex 2

Annex 2Messagesonculturefromcivilsociety 29

21 UNESCO.2005.Convention on the Protection and Promotion of the Diversity of Cultural Expressions:Internet:http://portal.unesco.org/en/ev.php-URL_ID=31038&URL_DO=DO_TOPIC&URL_SECTION=201.html

1. We,therepresentativesofcivilsocietyorganisationsfromacrosstheCommonwealth,meetinginPortofSpain,TrinidadandTobago,from22to25November2009,presentthefollowingmessagesonculture,ascontainedintheoverallPortofSpainCivilSocietyStatementtotheCommonwealthHeadsofGovernmentMeeting(CHOGM);

2. Underscoringthattheglobalfinancialcrisisunderlinestheneedforlong-termandsustainableinvestmentthatisguidedandmeasuredbythepursuitofsocial,culturalandenvironmentalinadditiontoeconomicgains;

3. EmphasisingthatanyrestatementofCommonwealthvaluesandprinciplesshouldtakeproperaccountofculture,includingrespectforculturaldiversity,commitmenttointer-culturalism,andtherecognitionoftherolethatcreativityandinnovationplayacrossallpolicyarenas;

4. Welcoming the Statement of the Commonwealth Group on Culture and Developmentandurgingtheimplementationofitsrecommendations;

5. Affirmingthataccessto,andenjoymentof,cultureandfreedomofculturalexpressionarefundamentalhumanrights;

6. Recognisingthatculturalassets,values,practicesandresourceshavepotential,asyetlargelyunrealised,tohelpachievetheMillenniumDevelopmentGoals(MDGs),promotehumanfulfilmentandpreventandresolveconflict;

7. Furtherrecognisingthesignificantrolethatculturalresourcesandvaluescanplayinforgingsustainable,ethicalpathsoutofthepresentenvironmentalandfinancialcrises,particularlybychallengingprevailingnormsofconsumptionandeconomicgovernance;

8. Understanding thatsupportforculture,andadiversityofculturalexpressions,canunlockeconomicvalueandencouragecommunityconfidence;

9. Expressingconcernaboutthepersistentlowlevelsofratificationofandengagementwiththe2005UNEducational,ScientificandCulturalOrganisation’s(UNESCO)ConventionontheProtectionandPromotionoftheDiversityofCulturalExpressions;21

10. RecognisingtheConventiononBiologicalDiversityastheinternationalinstrumentwhichaddressesindigenousknowledgeresources;

11. Underliningthatcreativityandinnovationarekeydriversofdevelopmentandpeople’sparticipation,particularlyforyoungpeople;

12. Notingthattherapidgrowthintheapplicationofnewtechnologiesisenablingnewformsofinternationalconnections,includingdiasporicconnections;

13. WecallonCommonwealthMemberStatesto:

• endorse theStatementpresentedbytheCommonwealthGrouponCultureandDevelopmentandcommittoimplementitsrecommendationsthroughstrengthenedpartnerships;

• promotethepotentialofculturalassets,values,practicesandresourcesingeneratingeconomicandsocialdevelopment,includingbycommissioninganddisseminatingresearchontheeconomiccontributionofculture;

• strengthencreativeandculturalindustries,notablyfilmanddigitalindustries,bydesigning,updatingandimplementingculturalpolicyframeworkstomeetnationalandlocalneeds,whilesharinggoodpracticeandexperienceacrossborders;

• providetechnicalassistancetostimulatethegrowthofcreativeandculturalindustries,particularlysmallculture-basedenterprises,andthedevelopmentofculturalentrepreneurs,includingthroughtheadaptationofexistingmechanisms,suchastheCommonwealthFundforTechnicalCooperationandtheCommonwealthScholarshipandFellowshipPlan;

• support theprofessionalisationofcreativeandculturalpractitioners;

• sharegoodpracticeinenablingdigital,knowledge-basedindustriestocontributetoeconomicdevelopment;

• engageculturalcivilsocietyorganisationsindialogueprocessesondevelopmentandgovernanceissues;

• mainstreamculturalconsiderationsintodecisionmakingatlocal,sub-nationalandnationallevels;

• mainstreamculturalimpactassessmentsintodevelopmentplanning;

• ratifyandimplementthe2005UNESCOConventionontheProtectionandPromotionoftheDiversityofCulturalExpressions,includingby:integratingcultureintosustainabledevelopmentstrategies;makingculturaldevelopmentprojectseligibleforsupportfrominternationaldevelopmentagenciesandfunds;andcontributing,onasignificantandrecurringbasis,totheConvention’sInternationalFundforCulturalDiversity;

• affirm theirresolvetoretaintherighttoapplypoliciesandothermeasuresinsupportofdomesticculturalsectors,asenabledbythe2005UNESCOConvention;

• initiateongoingdialogueswithcivilsocietyorganisationsregardingpolicyactionstostrengthentheculturalsector,andensurethattheirrighttoapplyculturalpoliciesandothermeasuresisnotcompromisedbyliberalisationcommitmentsintradenegotiations;

• respectintellectualpropertyrightsasanincentiveandstimulusforcreativityandinnovation;

• strengthenandprotect localindustriesagainstthedumpingofculturalproductsfromothereconomies,includingthroughlegislationforlocalcontentquotas,assistancetodomesticculturalproducers,andstrengthenedcopyrightlegislation;

• enablethefreemovementofcreativepractitioners,productsandideas,includingSouth-Southcooperation,byrevisitingvisaarrangements;

• ratify,wheretheyhavenotdoneso,and implement the2003UNESCOConventionfortheSafeguardingofIntangibleCulturalHeritage;

• createand strengthennationalheritagelegislationtoprotectlocallysignificantculturaltreasures,ritualsandartefacts;

• promote localculturalheritagesitesassourcesofcommunityemploymentandlivelihoods,sitesofidentityandtourismhubs;

• promotepurpose-builtcommunitycentresasprimaryincubatorsforculturalproduction,youthengagement,andcommunityandnationalidentity;

• promote ‘livingmuseums’thatfacilitatecontemporaryculturewhilepreservingtraditions;

• recogniseandcapacitatetraditionalandindigenousculturalknowledge,resources,languagesandgovernanceprocessestopromotesustainableeconomicrecoveryandrespondtoenvironmentalcrises;

• support forestcommunitiesandinstitutionsindevelopingknowledgeandcapacity,facilitateparticipatoryprocessesandrecognisetraditionalknowledge;

• protecttheculturalrightsofallpeoplethatarecompatiblewiththeInternationalBillofRights;

• support documentationofculturalmemoryandculturallegacytoenableknowledgetransferfromelderstonewgenerations,includingthroughapprenticeships,and

recordprocessesoftransmissiontogenerateanindigenousculturalcurriculum;

• enhance connectionsbetweenscientistsworkingonclimatechangeissuesandartiststoencouragepublicmobilisation;

• promoteconnectionsbetweenenvironmentallysustainabletourismandculturaltourism;

• take forwardtheideaofaCommonwealthculturalcapitalcityschemewithaconnectedCommonwealthfestivalofthearts;

• empowerandstrengthenMinistriesdealingwithcultureandnationalheritage,culturalandartsagencies;

• integrateculturalconsiderationsinotherpolicyareas,suchassocialwelfare,trade,healthandeducation;

• promote afreeanddiversemedia,includingtraditionalandnewmedia;

• promote educationalopportunitiesforearlychildhoodlearninginmothertonguelanguagesasafoundationforinter-culturalidentityacrosstheCommonwealth;

• changeeducationpolicytodrivethedevelopmentofaknowledge-basedsocietyandenhanceculturalcapitalbyencouragingcreativityintheclassroom;

• promotelearningabouttheCommonwealth,itshistory,valuesandtherichdiversityofpeoplesandculturesbycallingforthesupportandinvestmentofCommonwealthorganisationsandindividualgovernmentsininformationandeducationservices;

• recognisethattheartscanprovideauniquecontributiontoconflictavoidance,peacebuildingandreconciliation;

• recognisethatconflictsareoftenplayedoutalongidentitylines,withfaithofferingonekeycomponentofidentityformanyCommonwealthpeople;recognise thattheinteractionbetweenfaithandculture,andthewaysinwhichdifferentfaithscansitsuccessfullysidebyside,needtobebetterunderstood; employ belief,traditionandspiritualityasresourcesinreconciliationandreconstruction;andrecognise thatmulti-ethnicityisfrequentlyacriticalelementinreconciliationwhichmustbeaddressedtoensuresustainability.

• promoteyouthnetworksandfora,sportingandculturalcontactsandexchangestofostertolerance,understanding,capacitybuildingandco-operation;and

• enhanceengagementwithdiasporasinCommonwealthprogrammes.

Annex 3CommonwealthGrouponCultureandDevelopment 31

Commonwealth Group on Culture and DevelopmentBiographies

Annex 3

Annex 3CommonwealthGrouponCultureandDevelopment 33

ProfessorBaronessLolaYoungofHornsey,theChairoftheGroup,hasbeenanindependentparliamentarianintheUnitedKingdom’sHouseofLordssince2004.Withexpertiseintheareasofperformingandvisualarts,museumsandarchives,cinema,fashion,andthecreativeindustries,Lolahasservedinnumerousroles,includingasHeadofCultureattheGreaterLondonAuthorityandasadvisortotheArtsCouncil.

JohnAkomfrahOBEisanBritishfilmdirectorandscreenwriterofGhanianorigin.Hehasdirected14filmssince1986.HemadehisdebutwithHandsworthSongs,whichexaminedthefalloutfromthe1980sHandsworthriots.HewasborninAccraandbroughtupinLondon.AkomfrahwaseducatedatschoolsinWestLondonandatPortsmouthPolytechnic,wherehegraduatedinSociologyin1982.HewasoneofthefoundersoftheBlackAudioFilmCollective,whichwasactivebetween1982and1998,andwhichwasdedicatedtoexaminingissuesofBlackBritishidentitythroughfilmandmedia.HewasappointedOfficeroftheOrderoftheBritishEmpire(OBE)inthe2008NewYearHonoursList.

TahmimaAnamwasborninDhaka,Bangladesh,andgrewupinParis,NewYorkCity,andBangkok.ShetrainedasananthropologistandearnedaPhDfromHarvardUniversityin2005.Herdebutnovel,A Golden Age,wonthe2008CommonwealthWriters’PrizeforBestFirstBookandisbeingtranslatedintotwenty-twolanguages.TahmimaisacontributingeditoratTheNewStatesman,andherwritinghasappearedinGranta,TheNewYorkTimes,andtheGuardian.

GregoryCh’oc,acitizenofBelize,wasappointedin2003asExecutiveDirectoroftheSarstoonTemashInstituteofIndigenousManagement(SATIIM),anorganisationwhichrepresentstheinterestsofindigenousMayapeopleinthemanagementoftheSarstoonTemashNationalParkinBelize.Involvedsince1994inthestruggleoftheMaya

people,GregoryledandwonanunprecedentedSupremeCourtlawsuitin2006againsttheGovernmentofBelizeandamultinationaloilcompany.In2007GregoryledasuccessfulconstitutionalclaimintheSupremeCourtbytheMayaLeaders’AllianceandtwoMayacommunitiesforrightstolandtheyhadtraditionallyusedandoccupied.

AnnaFeuchtwang,acitizenoftheUnitedKingdom,hasalmosttwentyyearsofexperienceasacommunicationsprofessionalininternationaldevelopment,includingheadingupthecommunicationsdepartmentatOxfamandchairingtheboardofActionAidUK.AnnaisChiefExecutiveofEveryChildandcurrentlyChairofBOND(BritishOverseasNGOsforDevelopment).

SitharamamKakarala,anIndiancitizen,taughtPoliticalTheoryandHumanRightsLawattheNationalLawSchoolofIndiaUniversity,BangaloreforoveradecadebeforejoiningtheCentrefortheStudyofCultureandSociety(CSCS)in2003,whereheiscurrentlyaSeniorFellowandDirectorandcoordinatestheresearchprogrammeonLaw,SocietyandCulture.Hisresearchinterestsareattheintersectionofculture,constitutionalismandquestionsofhumanrights.

KeithKhanisaUKcitizenwithaTrinidadianbackground.Anaward-winningartist,Keith’spastcommissionsincludeDirectorofDesignfortheopeningandclosingceremoniesofthe2002CommonwealthGames,andtheCelebrationCommonwealthParadefortheQueen’sGoldenJubileein2002.CurrentprojectstobedeliveredbyhisneworganisationDLimeincludeacollaborationwithLille3000foraspectacleeventtomarkaFrenchstatevisittoIndiainNovember2009.Until2007KeithwasChiefExecutiveofRichMix,amulti-millionpoundnewbuildartsvenueinEastLondon,andhisworkasHeadofCulturefortheLondon2012OlympicGamesshapedtheinitialimpetusoftheprogrammewithastrongemphasisonyoungpeopleanddiversity.

LetilaMitchell,acitizenoftheFijiIslands,isthefounderandSecretaryGeneralofthePacificArtsAllianceandhasmanyyearsofexperienceintheartsasaperformer,poet,visualartist,artisticdirectorandeventsmanager.AgraduateinCulturalManagementfromCityUniversityinLondon,andhavingworkedwithPacificartistsinLondonforfouryears,LetilausesherextensiveinternationalandregionalexperienceandnetworkstofightforbetteropportunitiesforPacificartists.LetilawasArtisticDirectorfortheFijiDelegationinthepasttwoFestivalsofPacificArtsandspearheadedthefirstPacificArtistsForumduringthemostrecentfestivalinAmericanSamoa.SheiscurrentlytheDirectoroftheFijiArtsCouncil,andtheArtisticDirectorforRako,amultimediaartscollectiveofRotumanandPolynesianartists.

SandyNairne,acitizenoftheUnitedKingdom,isDirectoroftheNationalPortraitGalleryinLondon.Wellknownforhisworkasacuratorandwriter,hehasheldprominentpositionsattheTateGallery,theInstituteofContemporaryArts,andtheUKArtsCouncil.Mostrecently,SandyworkedforeightyearsasDirector:ProgrammesatTatealongsideNicholasSerota,andin2005-2006chairedtheNationalMuseumDirectors’ConferenceWorkingGrouponCulturalDiversity.HeiscurrentlyamemberoftheFabricAdvisoryCommitteeofStPaul’sCathedralandtheCouncilsoftheRoyalCollegeofArtandtheBritishSchoolatRome.SandyalsositsontheLondonMayor’sCulturalStrategyGroup.

ÉricThérouxisDirectorGeneralofMultilateralAffairsandInternationalCommitmentsattheMinistryofInternationalRelationsoftheGovernmentofQuébec.Québec’srepresentativeontheExecutiveCommitteeoftheCanadianCommissionforUNESCO,hehadalsobeenLegalDirectorofhisministry.CalledtotheBarofQuébecin1987,hehasaMaster’sdegreeinLaw(EuropeanCommunitylaw)fromtheLondonSchoolofEconomicsandPoliticalScience.

ProfessorDavidThrosby,anAustraliancitizen,isProfessorofEconomicsatMacquarieUniversityinSydney.Withsignificantexpertiseinthecreativeeconomy,hehasheldnumerouspositionsonboardsandcommittees,aswellaspreviouslyworkingasaconsultantandexpertfortheWorldBank,theOECDandUNESCO.ProfessorThrosbyisalsocurrentlyChairoftheNewSouthWalesArtsAdvisoryCouncil.ProfessorThrosby’sbookonTheEconomicsofCulturalPolicywaspublishedbyCambridgeUniversityPressin2010.

MikevanGraanistheExecutiveDirectoroftheAfricanArtsInstitutebasedinCapeTown,andservesastheheadoftheSecretariatoftheArterialNetwork,acontinent-widenetworkofindividuals,NGOs,companiesandfundingpartnersengagedintheAfricancreativesector.HehasheldvariousleadershippositionsintheSouthAfricanculturalarenaincludingSpecialAdvisertotheMinisterofArts,Culture,ScienceandTechnologyafterthefirstdemocraticelectionsin1994andGeneralSecretaryofthePerformingArtsNetworkofSouthAfrica(PANSA).HewastheProgrammeDirectorfortheFourthWorldSummitonArtsandCulture,heldinJohannesburginSeptember2009,andisanaward-winningplaywright.

AyetaAnneWangusa,aUgandanwriterandjournalist,currentlyworksinTanzaniawithSNV,theNetherlandsDevelopmentOrganisation,asaGovernanceAdvisor(CivilSocietyStrengthening/Media).Withsignificantexperienceingenderissuesandliterature,AyetaisafoundermemberofFEMRITEandtheUgandaWomenWriters’Association.Aregionaljudgeofthe2003CommonwealthWriters’Prize,Ayetawasappointedinearly2009asEastAfricanrepresentativeontheCommonwealthFoundation’sCivilSocietyAdvisoryCommittee.

Contact informationCommonwealth Foundation, Marlborough House, Pall MallLondon SW1Y 5HY United KingdomTelephone +44 (0)20 7930 3783 Fax +44 (0)20 7839 8157E-mail [email protected] Website www.commonwealthfoundation.com

Using difference as a source of strength

Documents

Commonwealth Statement on Culture and Development - ENAP · The aim of the Commonwealth Statement on Culture and Development is to highlight the importance of the multiple connections