IFCD Project Proposal

Project Title
Cultural Entrepreneurship in the Performing Arts Programme (CEPAP)

Project ID: 2016 - 7591

Country: Samoa

Date of submission: 15/6/2016

Name of applicant
Samoa Arts Council

Type of applicant
NGO

Amount requested in USD
100 000.00

Beneficiary Countries

Status

Submitted

Pre-selected

Eligible

Non recommended

Final Score
Expert 1 Expert 2 Total
13 11 24
Funds Allocated in USD
-

Cultural Entrepreneurship in the Performing Arts Programme (CEPAP)

Title of project: 
Cultural Entrepreneurship in the Performing Arts Programme (CEPAP)
Amount requested in US$: 
100000.00
Name of applicant: 
Samoa Arts Council
Type of applicant: 
NGO
Country: 
Samoa
Beneficiary country(ies): 
Date: 
15/4/2016
4.1 Length of the project: 
1/5/2017 to 26/4/2019
Short-term objectives of the project: 
ST Objective 1: Employment for youth within the cultural industries is created as a result of performing artists in Samoa developing the entrepreneurial abilities that enable them to apply their creative talents and identify viable market opportunities for income generation and employment through promotion of the Performing Arts. How? This objective will be achieved by developing an innovative educational resource toolkit that will support and guide cultural entrepreneurship for youth in the Performing Arts. A network of ‘Youth Ambassadors' will be created by the Samoa Arts Council, and by applying the 'Train the Trainer' methodology, these Youth Ambassadors will use the toolkit to provide education and training to other aspiring youth artists throughout Samoa. This will raise awareness of the economic value and the employment opportunities for youth existing in performing arts and the cultural industries. The network of Youth Ambassadors will provide to a pathway for aspiring youth to access the supporting mechanisms needed to develop their entrepreneurial skills and combine their passions for culture and creativity in order to generate income and secure employment. ST Objective 2: The Samoa Arts Council develops the organisational and institutional capacity needed to engage effectively in policy-level advocacy for increased recognition of the economic value of the performing arts and the cultural industries in Samoa. Increased policy-level support for the cultural industries will open future entrepreneurial and employment opportunities for youth and rejuvenate the cultural industries as an economic sector. How? The project will invest in support for the Samoa Arts Council to develop the organisational infrastructure and the institutional capacity needed to engage effectively in policy advocacy. Institutional capacity-building will also increase the Samoa Art Council’s ability to be self-sufficient, including the ability to generate its own revenue streams to sustain the drive to engage youth as agents of positive change in the promotion of cultural diversity through expression of the performing arts. The project will provide financial support for procurement by the Samoa Arts Council for project implementation including office running costs, necessary equipment, stationery supplies and staff costs of a dedicated IFCD Project Manager. As the IFCD project targets the employment of youth, the Samoa Arts Council will receive technical assistance and organisational capacity-building support from UN agencies (specifically UNDP and UNESCO) that are partnering with the Government of Samoa in a 'delivering as one' approach to supporting Samoa's national Youth Employment Programme. A strengthened Samoa Arts Council will have the capacity to organize and deliver a regular programme of public events that will showcase the creativity of youth performing artists and the diversity of the cultural heritage of Samoa. This regular programme of public events will provide regular income and employment for youth artists in Samoa, and will provide a revenue stream for the Samoa Arts Council, ensuring the sustainability of the organisation and the continuation of the drive to engage youth as agents of positive change for the promotion of cultural diversity and creative expression through the Performing Arts. The public events will also provide a strong evidence base for subsequent policy advocacy on the economic value and employment potential of the cultural industries sector.
4.2 Brief summary of the project: 
This project will invigorate the performing arts as an economic sector in Samoa. To achieve this, the project will have two strategies: (i) catalyse engagement from youth and assist them to access viable market opportunities, and (ii) conduct policy-level advocacy for increased recognition of the economic value of the cultural industries and the potential for youth employment. The Samoa Arts Council will create a network of ‘Youth Ambassadors for Cultural Diversity’ and will empower these youth with entrepreneurship skills and facilitated access to the viable market opportunities emerging as a result of growth in the tourism sector and increasing domestic demand for performances of cultural and creative arts. The Youth Ambassadors will participate closely in the development of a training toolkit for Cultural Entrepreneurship in the Performing Arts in Samoa. The toolkit will complete the process of quality assurance to receive official accreditation by the Samoa Qualification Authority as a post-secondary education competency-based skills training programme. An institutionally strengthened Samoa Arts Council will facilitate youth access to market opportunities by creating a regular programme of public events to showcase the skills of youth performing artists . The revenue generated from these public events will be used to pay the self-employed performing artists and for reinvestment into future public events, thereby generating further market opportunities and stimulating the growth of the cultural industries as an economic sector in Samoa. The public events will also provide evidence-based data for policy advocacy for recognition of the economic value and employment potential of the cultural industries in Samoa.
Family name: 
Fuatai
Full Name of the representative of the applicant as Signature: 
Allan Alo
Title: 
Mr
Long-term objectives of the project: 
LT Objective 1: Youth in Samoa are active agents in promoting and protecting cultural diversity in Samoa. The cultural industries are a dynamic economic sector and viable source of employment and small enterprise development. While international tourism remains an important market for the cultural artists, economic opportunities from a growing domestic market for the cultural industries are expanding. There are a range of cultural activities meeting the increasing local demand for public events that showcase the cultural diversity of Samoa and the creativity of youth performing artists. How? Sustainable outputs from the IFCD 2017 – 2019 project have resulted in an institutionalised system that identifies and creates access to economic opportunities in the cultural industries. Youth training inputs from CEPAP will develop the technical and entrepreneurial skills needed to pursue the passion for creative expression in the performing arts. The system has established supporting mechanisms that provide youth with skills training opportunities, market information and access to opportunities for income generation and employment. LT Objective 2: The Samoa Arts Council has the organisational structure and the institutional capacity needed for effective policy-level advocacy for increased Government support to the cultural industries sector. How? Sustainable outputs from financial investment and technical support facilitated by the IFCD 2015 – 2017 project will enable the Samoa Arts Council to establish a strong organisational structure, to develop its institutional capacity for policy advocacy and to be effective in youth engagement in the cultural industries. This primary support will also enable an increased level of self-sufficiency by the Samoa Arts Council, resulting from its ability to cover its operational costs by generating revenue sources through a regular programme of public events showcasing youth creativity in the performing arts in Samoa.
Family name: 
Alo
Given name: 
Dr. Karoline
4.3 Local context and complementarity of the project with other regional, national and local policies/ measures/ programmes/ projects: 
Within the performing arts sector, traditional dances are a fundamental part of Samoan culture and history. Although traditional aspects of dance need to be preserved as important Samoan heritage, the development of modern / contemporary dances derived from traditional cultural dances is a growing expression of young Samoans that should be developed and encouraged. Dancing and music is generally learnt through cultural activities, social gatherings, competitions and school culture days and performing arts are taught at the National University of Samoa and are a subject in the secondary school curriculum. However, performing arts are not recognized as a career path or as a financially viable activity, and associated jobs are not understood or promoted. This lack of awareness around viable career paths limits the number of young people that continue to pursue dance beyond school and social settings. Past research projects have shown that opportunities for arts education need to be increased significantly to develop cultural industries careers and foster young and emerging cultural producers, entrepreneurs, enablers and managers. Within the wider cultural industries, one of the main challenges has been the lack of understanding of the contribution of the industry to sustainable development and economic growth. The need for awareness raising and promotion of the sector among young people is critical. There is also a need to further integrate tourism and cultural industries sectors to benefit both. There are opportunities to strengthen partnerships between the sectors to set standards and provide a more genuine and high quality cultural experience for visitors. Through their participation in CEPAP workshops and in the development of the toolkit, young performing artists will build their internal and external capacities to capitalize in both the ‘cultural and economic’ nature of their talent. By organising a unifying body for participants (the Samoa Arts Council Youth Ambassadors Group), a supportive structure that can sustain their activities long after the workshops are over will be built. This project not only contributes technical services to the Samoa Arts Council (which serves as one of the leading proponents of cultural industries in Samoa), but also sustainable structural support and macro-level institutional capacity building that can reap long-term benefits for SAC and other organisations aiming to enhance the cultural industries in Samoa. 2013 Dream Show: http://www.youtube.com/watch?v=EiMqnlBZVTk&feature=youtu.be DreamShow 2013 Winners - Contemporary Section http://youtu.be/yK4WhAJXFe4 Dreamshow 2103 Winners - Traditional Section http://www.youtube.com/watch?v=guY3YoR3Sgc&feature=youtu.be
Position: 
Secretary General
The Cultural Entrepreneurship in the Performing Arts Programme (CEPAP) will build upon past projects implemented by the University of the South Pacific’s (USP) ‘Pacific Outreach Program for Polynesia’ (POPP) that worked with six Pacific countries (Samoa, Tokelau, Cook Islands, Niue, Tuvalu and Tonga) to create annual festivals, symposiums, exhibitions and conferences that brings together practitioners and educators in the Arts in and around the USP region, in the continued effort to assist in the development of creative cultural Industries. At the national level, CEPAP is linked to the draft national culture policy and the National Cultural Industries Strategy Framework, both implemented by the Ministry of Education, Sports and Culture in partnership with the Samoa Arts Council. Among other items, the draft policy specifically outlines the need to support the cultural industries through enhancing standards and reinforcing linkages with the tourism sector. CEPAP will support the implementation of the strategic framework, through training, enhancing quality and raising awareness of the economic value and employment opportunities within the cultural industries throughout the country. At the regional level, the Secretariat of the Pacific Community (SPC) is engaged in ongoing work to strengthen the structure the cultural industries sector in the Pacific region, to capacity-build cultural support associations and to enhance awareness around intellectual property. The Secretariat of the Pacific Community and it’s partners have supported the Samoa Arts Council to strengthen their strategic and operational plan to support the cultural industries in Samoa. CEPAP will compliment the work done by the Secretariat of the Pacific Community by assisting the Samoa Arts Council to grow their networks of young cultural entrepreneurs. Additionally, CEPAP directly supports the realization of the Pacific Regional Cultural Strategy: Investing in the Pacific 2010 - 2020. The strategy was designed to be a framework for cultural policy formation and development at the national level. Specifically the strategy identifies the need for promotion of the cultural industries, including it as top-level goal. CEPAP’s activities will contribute to achieving at least two of the strategy’s objectives. By supporting the expansion of the Samoa Arts Council through the growth of their network, CEPAP will address objective 4.1 ‘establish and strengthen national cultural agencies, arts councils/bodies and local arts groups.’ Additionally, through the youth training opportunities, CEPAP will meet objective 4.4 ‘train, support, and promote crafts people, artists, cultural practitioners, producers, entrepreneurs and managers’.
Given name: 
Allan
Address: 
Malifa
Position: 
President of Samoa Arts Council; Pacific Outreach Coordinator for Polynesia, The Oceanic Centre for Arts, Culture and Pacific Studies.
Postcode: 
1869
Address: 
c/o The Oceania Centre for Arts, Culture and Pacific Studies, University of the South Pacific, Alafua Campus,
Postcode: 
Promotion of gender equality: 
Yes
Town: 
Apia
Please indicate other contextual information that the IFCD Panel of Experts should take into consideration when evaluating the pre-selected project proposal.: 
The only proporsal received by the National Commission for Samoa and the Pacific.
Town: 
Apia
Please explain: 
The primary beneficiaries will be economically marginalised youth who are currently unemployed but who have some experience in the performing arts, and who express interest and commitment to use their talent to propel themselves and their communities forward. A transparent, merit-based selection process will ensure a balance of males and females as direct beneficiaries of CEPAP. The CEPAP toolkit trainings will promote strong and positive role models of females in society in Samoa. Youth will be encouraged to develop performances that explore creative ways to promote gender issues in Samoa, and to advocate for equal rights and opportunities.
Country: 
Samoa
Empowerment of youth: 
Yes
Telephone: 
0685 64616
Telephone: 
(+685) 7756157
Please explain: 
CEPAP is focused entirely on youth development and economic empowerment of youth. Through CEPAP, youth will be empowered with skills and knowledge that will help them secure income and employment while following their passion for creative expression and the performing arts. CEPAP will also invigorate the cultural industries as an economic sector in Samoa, raising awareness at the policy-level and creating new opportunities for future youth employment. Through creative expression and the performing arts, CEPAP will encourage and facilitate youth to address the social, economic, political and cultural issues that are priority issues for them, through the medium of art. These actions will impact directly and positively on the empowerment of youth.
Email: 
cepapsamoa@gmail.com
Promotion of South-South/North-South-South cooperation: 
Yes
Please explain: 
Youth graduating from the CEPAP training will gain opportunities, facilitated by the Samoa Arts Council, to participate in Pacific and Oceanic regional festivals of culture. These will include the Pacific Arts Festival and the Vaka Pasifika. The Samoa Arts Council is particularly well placed to facilitate this South-South and North-South-South cooperation through it’s President, who is also the Pacific Outreach Coordinator for Polynesia at the Oceania Centre for Arts, Culture & Pacific Studies, and the Oceania Director of the Federation of International Dance and Arts Festivals. An effective communications and publicity strategy for CEPAP will raise the profile of the performing arts in Samoa. Showcasing the creative talents of Samoa youth to international and domestic audiences, with associated publicity through social media and television, is expected to open new economic opportunities in New Zealand, Australian and west coast USA (including Hawaii) in the performing arts. The CEPAP toolkit in itself will act as a mechanism to promote South-South and North-South-South cooperation. The toolkit, and knowledge of the process to develop and use it, could easily be shared to other small island states in the region and beyond.
Participation of various social groups in the areas of intervention of the IFCD: 
Yes
What elements demonstrate the applicant’s organizational capacity and competence to manage the project and implement the work plan?: 
The National Commission of UNESCO in Samoa has worked closely with the Samoa Arts Council and places full confidence and trust in their ability and skills to manage the project.
What are the main reasons for having pre-selected this project proposal, as compared to other proposals received by the National Commission for UNESCO?: 
The CEPAP application was the only application received on a national level. It is an application looking at helping build the viability of arts as an economic activity and targeting young performing artists. The project aims at providing access to viable markets for these young artists to showcase their talents. The application meets all the criteria elaborated by the IFCD in its guidelines.
5.1 To what extent are contractors and partners involved in the implementation of the project’s activities? Has the role of each contractor and/or partner been clearly described?: 
The proposed project is implemented by the applicant organization. The role of some partners is not clear such as the business incubator who is identified as paid partner with no provision for its services is made in the budget. In addition, no clear information is provided towards what the provided services are? A state owned enterprise is contracted to carry some activities. The role of the Samoa national youth council is not clear. This partner is mentioned under section 3 as responsible for the “creation of a database of youth performing artists and aspiring entrepreneurs, and access to information by though on potential economic opportunities”, but nowhere else in the proposal this partner is mentioned and the database development and information dissemination as per A are assigned to the Youth Ambassador (the ToT trainees). The evaluator wonders if this means that the Youth Ambassadors will be selected among members of the Samoa National Youth Council? The latter case, this will be contracting the activities description under results 5 and 7 and the applicant should be transparent about it.
Date of establishment of entity / organization: 
7/12/2012
What types of procedures have been foreseen by the applicant institution/organization to ensure financial accountability?: 
The project identified the hiring of a part-time accountant as essential to the operations. The Samoa Arts Council also has procedures in place which will ensure financial accountability.
5.2 How does the project relate to and/or complement the work that is already being carried out in the country/region in terms of cultural policies and/or industries?: 
The project builds on the existing programmes and findings through national and regional workshops and programmes.
5.1 To what extent are contractors and partners involved in the implementation of the project’s activities? Has the role of each contractor and/or partner been clearly described?: 
The following are listed as paid contractors: - Small Business Enterprise Centre (SBEC) with responsibility to assist in the curriculum development and enterprise training aspects of the CEPAP toolkit. - Samoa Tourism Authority (STA) with responsibility to assist in the development and marketing of the public events showcasing youth performing artists. - Tauvaga Va'ai, Lecturer at National University of Samoa and experienced local consultant will provide expertise in best practices of Train the Trainer methodologies and non-formal education. Non-Paid partners listed are: Samoa Qualifications Authority Role: The Samoa Qualifications Authority is the principal organization mandated to regulate qualifications and quality standards, promote links and learning pathways and quality assure Post School Education and Training (PSET) in Samoa. The Samoa Qualifications Authority will lead the process of accreditation for the CEPAP toolkit. Samoa Ministry of Education, Sports and Culture (MESC) Role: The Culture Division of the Ministry of Education, Sports and Culture will provide technical and policy support for the project, and will facilitate linkages between the young performing artists and national, regional performing arts networks. MESC will also provide advice to the Samoa Arts Council for the design of the curricular template of the CEPAP toolkit. Samoa National Youth Council Role: help to raise awareness of CEPAP and create a database of youth performing artists and aspiring entrepreneurs, and access to information by youth on potential economic opportunities.
Please explain: 
The CEPAP toolkit will promote gender equality and the inclusion of marginalised youth, including those with disabilities. Data disaggregation in M&E reports of CEPAP activities will provide evidence of gender sensitivity and inclusion. The technical skills and experience of the members of the Samoa Arts Council will be leveraged for use in the CEPAP training. This will include how to use art as therapy, and will enable participation from households and communities recovering from the experience of trauma, including domestic abuse and gender-based violence, bullying and negative stigma’s associated with identity and health issues. The Youth Ambassadors and CEPAP training will also reach out to the community of prisoners and deportee’s, empowering them with new insights for how the performing arts can assist in the rehabilitation process. The Youth Ambassadors and CEPAP training will also reach out to people with disabilities, to assist them to communicate their issues through the medium of art, and provide a new avenue for employment and income generation.
Place of establishment of entity/organization: 
Apia, Samoa
Name: 
Dr. Vanya Taule’alo
Responsibility in the activities of the project: 
Oversight of development and writing of toolkit content; mentoring young artists.
Skills/background/qualifications: 
Senior Lecturer in Visual Art at the National University of Samoa for 17 years, with a doctorate in Fine Art; Curriculum Writer for Years 9-13 Visual Arts in Samoa; Facilitator for Professional Development workshops for Art Teachers with the MESC.
Name: 
Ms. Jacqueline Loheni
Responsibility in the activities of the project: 
Assist with designing and creating costumes for performing artists; Business development / entrepreneurship technical inputs to CEPAP toolkit; Mentoring youth enterprise startups;
Skills/background/qualifications: 
2002 – present day: Head of design, production & retail at MENA; 2013 – 2015: Member of Manaia Events company for the Miss Samoa Pageant; 2015: Received the SunPix Pacific Peoples Award for Pacific Enterprise in NZ; 2010: MIT Pacific Exporter of the Year
Name: 
Mr. Leota Lene Leota
Responsibility in the activities of the project: 
Expertise in the teaching of performing art skills; Technical inputs to the content of the CEPAP toolkit; Mentor for youth enterprise startups; Facilitate access by youth entrepreneurs to tourist markets, e.g. International Siva Afi Competition.
Skills/background/qualifications: 
Founder and director of Siva Afi Designs since 1993; Founded the Ailao Club in 2002, to preserve and promote Samoan performing arts; More than 30 years experience in cultural industries, including production of handicrafts, siapo, fabrics.
Name: 
Mr. Allan Alo
Responsibility in the activities of the project: 
Connect CEPAP performers to new markets in capacity as Director of Federation of International Dance and Arts Festivals for Oceania region; Technical inputs into content of CEPAP toolkit; mentor to youth artists; Organisation of public events for CEPAP.
Skills/background/qualifications: 
BA and Masters degrees in Expressive Arts from Univ. of South Pacific , double major in Literature and Language; Postgraduate Diploma in Dramatic Literature; Taught Performing Arts at the University of the South Pacific – Fiji / Samoa for 16 years.
5.3 What measures/ steps are proposed to ensure that the project’s long-term objectives can be met?: 
The quality of the partnership strategy and the involvement of strategic stakeholders in the design and implementation of the project are strong indicators for sustainability. The accredit training and the Toolkit will be a source of income generating for the SAC.
Main mission of applicant: 
The Samoa Arts Council envisages ‘A future where the arts sector is fully developed for the benefit of Samoa’. The mission of the Samoa Arts Council is to support, promote and nurture the Arts in Samoa as a viable industry in the Pacific & internationally. ref: http://samoaartscouncil.com/about/
5.2 How does the project relate to and/or complement the work that is already being carried out in the country/region in terms of cultural policies and/or industries?: 
The Cultural Entrepreneurship in the Performing Arts Programme (CEPAP) will build upon past projects, both implemented by and in partnership with the Samoa Arts Council. CEPAP has the potential to play a role in the development of draft national cultural policy of the Ministry of Education, Sports and Culture. SAC considers itself as a partner in implementation of draft policy within the National Cultural Industries Strategy Framework and CEPAP is a vehicle for this. CEPAP will support the implementation of the strategic framework, through training, enhancing quality and raising awareness of the economic value and employment opportunities within the cultural industries throughout the country. CEPAP also compliments the work done by the Secretariat of the Pacific Community in ongoing work to strengthen the structure of the cultural industries sector in the Pacific region, to increase capacity to build cultural support associations. The Secretariat of the Pacific Community and its partners have supported the Samoa Arts Council to strengthen their strategic and operational plan to support the cultural industries in Samoa. CEPAP will complement the work done by the Secretariat of the Pacific Community by assisting the Samoa Arts Council to grow their networks of young cultural entrepreneurs. Additionally, CEPAP directly supports the realization of the Pacific Regional Cultural Strategy: Investing in the Pacific 2010-2020. This strategy was designed to be a framework for cultural policy formation and development at the national level.
Brief summary of the project:: 
The project title is Cultural Entrepreneurship in the Performing Arts Programme (CEPAP) proposed by the Arts Council of Samoa, an NGO dedicated to supporting, promoting and nurturing the Arts in Samoa as a viable industry in the Pacific & internationally. The project is two-fold. 1) To create a network of Youth Ambassadors for cultural diversity to empower youth with entrepreneurship skills and facilitate access to viable market opportunities. The development of a training toolkit for cultural entrepreneurship in the performing arts in Samoa, using a train the trainer methodology to train the Youth Ambassadors for cultural diversity. Seek official accreditation by the Samoa Qualification Authority as a postsecondary education competency based skills training programme. 2) The Samoa Arts Council develops the organisational and institutional capacity needed to engage effectively in policy level advocacy for increased recognition of the economic value of the performing arts and the cultural industries in Samoa.
5.3 What measures/ steps are proposed to ensure that the project’s long-term objectives can be met?: 
The first long term objective is for the youth ambassadors and young people to become agents for protecting and promoting cultural diversity in Samoa. The formation of the Youth Ambassadors group is designed to foster collective action and unite young people in a forum to participate. This provides a structure for the future. The youth ambassadors are provided with daily fees throughout the project to participate. It is unclear how this procedure will be continued for the future. Also a key purpose of the Ambassador group is to be trainers with the proposed 500 young people trained during the project. It is unclear what the demand and measures are to continue this. 500 people expectant of employment in performing arts is however a force and agent in itself. The toolkit accredited as a competency-based training qualification from the Samoa Qualifications Authority and Train-the-Trainer methodology provide concrete legacies of the project. There are no measures specified how they will be utilized in the future. This output is likely to have regional potential. The second long term objective is the Samoa Arts Council having the organisational structure and the institutional capacity needed for effective policy level advocacy for increased Government support to the cultural industries sector. The activities of this project do not specifically address a change in organizational structure beyond the project. Samoa Arts Council demonstrates in its application and supporting material that it is already an active participant in cultural industry development forums and in formulating policy. The effect of any organization to increase government support for cultural industries is limited. The revenue for the events is stated as a measure to financially sustain activities however after paying 100 performers at the $50 Ambassador rate the events would need 1000 paying attendees each time just to cover performance costs. The budget suggests the cost of staging events is prohibitive without funding.
5.4 What measures/steps are proposed to follow up with the beneficiaries of the project after its completion?: 
The 10 Youth Ambassador are planned to be organized as a sub-group of the SAC and be part of the organization. The applicant does not foresee any follow up with the large majority of the primary target of the proposed project, the 50 entrepreneurs transferred to incubator programme.
Main activities of applicant: 
The main activities are identified in the Strategic Plan 2015 – 2017: 1. Promote awareness and appreciation of artists and the value of creativity in the communities 2. Facilitate access to resources for the enhancement of products, skills, marketing and professional development for individual artists and Arts collectives 3. Facilitate access to funding, grants, scholarships and residencies for Samoan artists in order to develop their art practice 4. Raise awareness of the contribution of Samoan artists to the social and cultural landscape of the country 5. Coordinate with public and private entities whose responsibilities include support for the Arts locally and internationally 6. Consolidate information about individual artists and Arts organisations and share information through the network 7. Encourage public support for the Samoa Arts sector
Result: 
RESULT 1
Description: 
The Samoa Arts Council has recruited a competent Programme Manager for CEPAP. Equipment and supplies have been procured for the CEPAP office and used effectively in the management and publicity of CEPAP, including advocacy for increased policy support for the cultural industries and recognition of their economic value and source of employment for youth.
Planned activity: 
Activity: 
ACTIVITY 1.1
Description: 
The Samoa Arts Council will develop a Job Description and Terms of Reference for the Programme Manager of CEPAP. A recruitment advertisement will be published in the local press and circulated through social media channels. A panel comprising representatives from the Samoa Arts Council, UNESCO and Ministry of Education, Sports and Culture will short-list and interview potential candidates. The successful application will be offered a 12-month performance-based contract, with reporting lines to the President and Board of the Samoa Arts Council.
Implementation Schedule: 
1/5/2017 to 30/6/2017
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Job description, Terms of Reference advertised. CEPAP Manager recruited and on payroll. Performance assessment criteria agreed.
What are the means of verification of this indicator(s)? : 
Copy of published Job Description / ToR. Wage invoices paid to CEPAP manager. Performance assessment reports produced on 6-month cycle.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
The CEPAP Manager
Indirect Beneficaries: 
The Samoa Arts Council. CEPAP partners and stakeholders
Activity: 
ACTIVITY 1.2
Description: 
The Samoa Arts Council will procure equipment and supplies for effective project management of CEPAP, to include computer with Internet access, printer and photocopier and stationery supplies.
Implementation Schedule: 
1/5/2017 to 30/6/2017
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Equipment and materials procured.
What are the means of verification of this indicator(s)? : 
Invoices for procurement and photographs of equipment shared in progress reports.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
The Samoa Arts Council
Indirect Beneficaries: 
CEPAP partners and stakeholders
Activity: 
ACTIVITY 1.3
Description: 
The CEPAP Manager and the Samoa Arts Council will develop a communications strategy and produce publicity materials (brochures, webpage and social media) for CEPAP. The CEPAP Manager and the Samoa Arts Council will develop a strategy and action plan for policy advocacy to raise awareness of the economic value and employment potential of the cultural industries.
Implementation Schedule: 
1/5/2017 to 30/6/2017
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
CEPAP communications and policy advocacy strategy agreed by Samoa Arts Council Board. CEPAP publicity materials designed and produced.
What are the means of verification of this indicator(s)? : 
Copy of CEPAP communications and advocacy strategies. Samples of publicity materials and policy advocacy actions produced by CEPAP.
Location(s): 
Apia, Samoa
Direct Beneficiaries: 
The Samoa Arts Council
Indirect Beneficaries: 
CEPAP stakeholders and partners
Result: 
RESULT 2
Description: 
A comprehensive Organisational Capacity Assessment has identified the strengths and weaknesses of the Samoa Arts Council, and highlighted the institutional areas where capacity development support is needed. Procurement of a series of inputs for technical trainings and systems development (e.g. M&E, financial management, policy advocacy, etc) has resulted in the organisation strengthening its capacity and developing a foundation for self-sufficiency and future growth as an institutional advocate for the cultural industries and a catalyst for increasing youth engagement in the protection and promotion of cultural diversity.
Planned activity: 
Activity: 
ACTIVITY 2.1
Description: 
The Samoa Arts Council will advertise for an independent local consultant to conduct an organisational capacity assessment. Based on the report, the Samoa Arts Council will procure the required technical inputs for institutional strengthening, systems development and policy advocacy.
Implementation Schedule: 
1/6/2017 to 31/7/2017
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Advertisement and Terms of Reference published in local media channels. Production of consultant’s report including recommendations. Organisational capacity-building trainings designed and scheduled.
What are the means of verification of this indicator(s)? : 
Organisational capacity assessment report with recommendations for systems development and technical trainings. Invoices and procurement records for organisational development trainings and systems development. Reports and photographs from training activities.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
The Samoa Arts Council
Indirect Beneficaries: 
CEPAP partners and stakeholders
Result: 
RESULT 3
Description: 
The Samoa Arts Council has signed operational MoU’s with the Ministry of Educational, Sports and Culture, the Small Business Enterprise Centre and the Samoa National Youth Council for technical, programmatic and policy-level support for CEPAP. This partnership approach to CEPAP implementation has laid a foundation for the sustainability of CEPAP results.
Planned activity: 
Activity: 
ACTIVITY 3.1
Description: 
This activity will formalise the goodwill already demonstrated from these partners to the Samoa Arts Council since its inception in 2012. The Samoa Arts Council will meet with each partner to discuss the content of the MoU and the terms and conditions for joint implementation of activities. The Samoa Arts Council will draft the MoU’s and make logistical arrangements, including publicity, for signing ceremonies.
Implementation Schedule: 
3/7/2017 to 31/8/2017
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Meetings held between Samoa Arts Council and each partner to discuss the content of an MoU and the terms and conditions for joint implementation of activities.
What are the means of verification of this indicator(s)? : 
Signed MoU’s between the Samoa Arts Council and each partner. Progress reports include details of how partners have collaborated in joint implementation.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
The Samoa Arts Council CEPAP MoU partners
Indirect Beneficaries: 
CEPAP stakeholders including youth entrepreneurs
Result: 
RESULT 4
Description: 
The Samoa Arts Council has completed a rigorous baseline survey of youth engagement in the performing arts, and a report the existing range of diversity in cultural expression in Samoa. This baseline information is disaggregated and uploaded to the CEPAP M&E system. The baseline data is being used effectively in CEPAP management systems to monitor progress towards expected results and short-term objectives.
Planned activity: 
Activity: 
ACTIVITY 4.1
Description: 
The Samoa Arts Council will recruit a local consultant or consultancy firm to design and conduct a baseline survey of youth engagement in the performing arts, and an analysis of the existing range of diversity in cultural expression in Samoa. The Samoa Arts Council and programme partner UNESCO will have significant inputs in the design of the baseline survey, analysis of the data collected and editing of the final survey report. The information produced by the survey research is uploaded into the CEPAP M&E system and used in subsequent progress reports.
Implementation Schedule: 
1/8/2017 to 29/9/2017
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
ToR for consultant approved by Board of Samoa Arts Council. Consultant recruited. Baseline survey report submitted to CEPAP Manager. Collected CEPAP baseline data is gender sensitive and inclusive of economically and / or socially marginalized groups. Baseline data has been uploaded to the CEPAP M&E system and is reflected in project progress reports.
What are the means of verification of this indicator(s)? : 
Copy of published ToR for consultancy. Signed contract for consultant. Copy of final baseline survey report with analysis of cultural diversity in Samoa, verified by both the Samoa Arts Council and UNESCO. CEPAP M&E system includes the baseline data collected during research survey. CEPAP progress reports include reference to baseline data collected during this timeframe.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
The Samoa Arts Council
Indirect Beneficaries: 
CEPAP partners and stakeholders
Result: 
RESULT 5
Description: 
The Samoa Arts Council has created a network of ten (10) Youth Ambassadors for Cultural Diversity in the Performing Arts. This network has been formally institutionalised as a sub-grouping within the Samoa Arts Council. The Youth Ambassadors engage in an intensive programme of education in cultural diversity, technical skills training in the performing arts and capacity development as non-formal, competency-based training providers.
Planned activity: 
Activity: 
ACTIVITY 5.1
Description: 
The Samoa Arts Council will organise publicity and awareness raising for CEPAP among youth groups throughout Samoa. The Samoa Arts Council will use local media (e.g. radio and TV) for this communication, and also through community-based Church groups and the professional networks of the members of the Samoa Arts Council. The Samoa Arts Council, with advice from UN partners UNESCO and UNDP, will agree the selection criteria for the Youth Ambassadors. The selection criteria will be gender sensitive and inclusive of marginalised youth, including those with disabilities. A selection panel comprising representatives from the Samoa Arts Council, UNESCO and the Ministry of Education, Sports and Culture will select ten (10) youth to be Samoa’s Youth Ambassadors for Cultural Diversity. The selection of Youth Ambassadors will demonstrate transparency, gender equality and inclusion of youth from marginalised groups.
Implementation Schedule: 
4/9/2017 to 30/11/2017
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Youth awareness raising campaign for CEPAP designed and approved by Board of Samoa Arts Council. Copy of approved selection criteria and recruitment process for Youth Ambassadors. Written profile and photographs of ten (10) Youth Ambassadors. The selection process and the profiles of the selected Youth Ambassadors have demonstrated transparency, gender equality and inclusiveness of marginalised youth groups.
What are the means of verification of this indicator(s)? : 
Photographs and materials from awareness raising campaign. Written selection criteria approved by the Samoa Arts Council, UNESCO and the Ministry of Education, Sport and Culture. Profiles of selected Youth Ambassadors available on the webpage of Samoa Arts Council.
Location(s): 
Upulo island and Savai'i island, Samoa.
Direct Beneficiaries: 
Ten Youth Ambassadors
Indirect Beneficaries: 
The Samoa Arts Council CEPAP partners and stakeholders
Activity: 
ACTIVITY 5.2
Description: 
The Board of the Samoa Arts Council will pass a resolution granting the Youth Ambassadors official status as a sub-grouping, with its own Articles of Incorporation, within the Samoa Arts Council. This official status will enable the Youth Ambassadors to become non-formal vocational training providers in performing arts.
Implementation Schedule: 
1/12/2017 to 22/12/2017
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Resolution from the Board of the Samoa Arts Council to officially create a special sub-grouping of the Youth Ambassadors.
What are the means of verification of this indicator(s)? : 
Official minutes from Board meeting and publication of Board resolution posted on Samoa Arts Council webpage. Copy of Articles of Incorporation of Youth Ambassadors within the Samoa Arts Council.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
Ten Youth Ambassadors
Indirect Beneficaries: 
The Samoa Arts Council. CEPAP partners and stakeholders.
Activity: 
ACTIVITY 5.3
Description: 
The Samoa Arts Council will recruit a local consultant / consultancy firm to conduct a Training Needs Assessment of the Youth Ambassadors group and an analysis report of the range of economic opportunities for performing artists in Samoa.
Implementation Schedule: 
4/12/2017 to 31/1/2018
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
ToR developed for consultancy. Local consultant(s) recruited for Training Needs Assessment of Youth Ambassadors and analysis of market opportunities for the performing arts in Samoa.
What are the means of verification of this indicator(s)? : 
Copy of ToR and contract for recruited consultant(s). Final Training Needs Assessment report for Youth Ambassadors. Final report on market analysis of economic opportunities for performing artists.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
Ten Youth Ambassadors
Indirect Beneficaries: 
The Samoa Arts Council. CEPAP partners and stakeholders.
Activity: 
ACTIVITY 5.4
Description: 
Based on the analysis and recommendations from the Training Needs Assessment report and the analysis report on economic opportunities for performing artists, the Samoa Arts Council will design a series of workshops to provide the Youth Ambassadors with in-depth knowledge of cultural diversity, upgrading of technical skills training on a range of performing arts tailored to the specific abilities of each Youth Ambassador, best practices in non-formal peer education and the Train the Trainer methodology, and entrepreneurship skills training focusing on identifying and accessing viable business opportunities in the cultural arts sector.
Implementation Schedule: 
1/2/2018 to 27/4/2018
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
A programme of training and a schedule of workshops for the Youth Ambassadors is designed and approved by the Board of the Samoa Arts Council. The content of the training workshops promotes gender equality and showcases positive female role models. The training content encourages cultural diversity, enables inclusiveness and highlights the inalienability of human rights.
What are the means of verification of this indicator(s)? : 
Copy of training programme content and timetable of workshops. Reports and photographs from delivery of the training workshops. Evaluation surveys from training participants.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
Ten Youth Ambassadors
Indirect Beneficaries: 
The Samoa Arts Council. CEPAP partners and stakeholders.
Result: 
RESULT 6
Description: 
The Samoa Arts Council has developed an educational toolkit for teaching cultural entrepreneurship in the performing arts to youth in Samoa. The process for developing this educational resource has followed Samoa Qualification Authority guidelines for developing competency-based non formal education training products. The Youth Ambassadors have been been closely involved in the development of the toolkit, through a series of workshops to develop the content and test the methodologies. The final product, available in both the English and Samoan languages, provides for practical application of best practices in non-formal teaching methodologies, competency-based assessment of progress towards learning goals, entrepreneurial innovation in the performing arts, including use of information technology and social media tools, and promotion of gender equality and inclusiveness through the medium of the performing arts. The toolkit also provides guidelines for a simple but thorough process for independent analysis of economic opportunities for performing artists, and steps to take for testing feasibility and beginning the enterprise start-up process. The CEPAP toolkit has been certified by the Samoa Qualifications Authority as a post-secondary, non-formal education, competency-based skills training product.
Planned activity: 
Activity: 
ACTIVITY 6.1
Description: 
The series of training workshops will provide the basis for the inputs that will develop the content of the CEPAP toolkit. The Youth Ambassadors will have responsibility for the processes in the development of the toolkit, following guidelines issues by the Samoa Qualifications Authority. The toolkit content will include use of visual aids and techniques for adaptation to the local context in Samoa. The CEPAP Manager will liaise closely with officers from the Samoa Qualifications Authority throughout the toolkit development process. The CEPAP Manager will also liaise with the Ministry of Education, Sports and Culture for technical inputs to the toolkit and policy level support for the process of development. Local technical experts, contracted by the Samoa Arts Council, will guide and support the Youth Ambassadors in these tasks. The CEPAP toolkit will include the use of video clips as visual aids to enhance the learning experience, the retention of information and the development of knowledge by youth beneficiaries. Examples will be adapted for relevance to the small island developing state context of Samoa, but will encourage youth innovation and the use of modern computer-based technologies. UNESCO and UNDP will assist the Samoa Arts Council with the inclusion of best practices in non-formal teaching methodologies, guidelines for competency-based assessment of youth beneficiaries progress towards learning goals, promotion of gender equality in the performing arts, and the inclusion of economically and socially marginalised groups in non-formal education and training.
Implementation Schedule: 
1/5/2018 to 31/8/2018
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
A series of training workshops are designed for developing the skills and building the capacity of the Youth Ambassadors and to gather information for the content for the CEPAP toolkit. The final content of the CEPAP toolkit encourages innovation, enables use of computer technology, is gender sensitive and promotes gender equality through positive role models for female youth. A range of visual media is used throughout the toolkit in order to maximise learning potential and the development of practical knowledge and competency standards by youth.
What are the means of verification of this indicator(s)? : 
Copies of training programme sessions and logistical details for workshops. Copy of final CEPAP toolkit accredited by SQA. Reports and photographs from CEPAP training workshops.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
Ten Youth Ambassadors
Indirect Beneficaries: 
The Samoa Arts Council CEPAP partners and stakeholders
Activity: 
ACTIVITY 6.2
Description: 
The CEPAP Manager will ensure continuous liaison with officials from the Samoa Qualifications Authority, to ensure the development of the toolkit is aligned with national quality standards. The final toolkit with be translated in both the English and Samoan languages, and accredited by the Samoa Qualifications Authority at certificate level within the National Qualifications Framework.
Implementation Schedule: 
1/5/2018 to 31/8/2018
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Final copies of CEPAP toolkit. Formal accreditation by the Samoa Qualifications Authority.
What are the means of verification of this indicator(s)? : 
Final CEPAP toolkit accredited and quality assured by the Samoa Qualifications Authority and UNESCO.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
Ten Youth Ambassadors
Indirect Beneficaries: 
The Samoa Arts Council. CEPAP partners and stakeholders.
Result: 
RESULT 7
Description: 
The Youth Ambassadors for Cultural Diversity have gained practical experience as non-formal training providers using the draft CEPAP toolkit to raise awareness among youth throughout Samoa of the economic and employment opportunities existing within the performing arts. Resulting from this youth awareness raising and knowledge sharing, the Samoa Arts Council has developed a database with profiles of at least five hundred (500) youth who aspire to develop their entrepreneurial abilities in order to generate income by showcasing their creative talents as performing artists and promoting cultural diversity in Samoa. The Youth Ambassadors deliver a series of ten (10) training workshops for at least two hundred (200) youth using the CEPAP toolkit.
Planned activity: 
Activity: 
ACTIVITY 7.1
Description: 
The Youth Ambassadors will organise a programme of publicity and communication events to raise youth awareness of the CEPAP toolkit, and the employment and economic opportunities available to them in the performing arts. Publicity and communication will be delivered through a range of channels, including radio, TV and social media, as well as a series of community meetings organised through local organisations and Church groups.
Implementation Schedule: 
2/7/2018 to 28/9/2018
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Publicity for the CEPAP training toolkit and workshops is conducted in communities in both Upolu and Savai'i islands. A range of communication mediums is used to raise youth awareness of CEPAP. The CEPAP awareness raising is gender sensitive and showcases positive role models for young women.
What are the means of verification of this indicator(s)? : 
Copies of communication materials used for youth awareness raising. Photographs and reports of awareness raising events.
Location(s): 
Upon and Savai'i islands, Samoa.
Direct Beneficiaries: 
Two hundred (200) youth participating in the CEPAP training workshops.
Indirect Beneficaries: 
Five hundred (500) youth with profiles uploaded on to CEPAP database. The Samoa Arts Council. CEPAP partners and stakeholders.
Activity: 
ACTIVITY 7.2
Description: 
In partnership with the Samoa National Youth Council, the Youth Ambassadors and the CEPAP manager will compile an electronic database of youth throughout Samoa aspiring to develop entrepreneurial skills in order to engage in the performing arts as an option for employment and livelihoods.
Implementation Schedule: 
2/7/2018 to 28/9/2018
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
CEPAP youth database is designed. Data disaggregation is enabled. The CEPAP electronic database of cultural artists and and aspiring youth entrepreneurs includes at least 50 per cent female participation.
What are the means of verification of this indicator(s)? : 
Print-out from youth database
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
Five hundred (500) youth with details stored on CEPAP database.
Indirect Beneficaries: 
The Samoa Arts Council. CEPAP partners and stakeholders.
Activity: 
ACTIVITY 7.3
Description: 
The Youth Ambassadors will organise at least ten (10) CEPAP training workshops involving a total of at least two hundred (200) youth. The training workshops will apply the CEPAP toolkit. Youth completing the CEPAP training workshop will receive a certificate accredited by the Samoa Qualifications Authority.
Implementation Schedule: 
1/8/2018 to 30/11/2018
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Details of content youth training sessions agreed. Logistics and budget for each training workshop planned and approved. Training workshop participants are at least 50% female youth.
What are the means of verification of this indicator(s)? : 
Copies of training session content and plans. Copy of programme schedule, logistical arrangements and expenditure receipts. Reports and photographs from CEPAP workshops. Procurement records for workshop materials. Participant signing-in sheets. Copies of SQA approved certificates issued to training graduates.
Location(s): 
Upolu and Savai'i islands, Samoa.
Direct Beneficiaries: 
Two hundred (200) youth participating in the CEPAP training workshops.
Indirect Beneficaries: 
The Samoa Arts Council. CEPAP partners and stakeholders.
Activity: 
ACTIVITY 7.4
Description: 
Youth who complete the CEPAP training workshop will be asked to develop a business plan for creating a small enterprise related to promoting cultural diversity in the performing arts.
Implementation Schedule: 
1/8/2018 to 30/11/2018
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Youth graduates from the CEPAP training develop business plans for a range of small enterprise initiatives within the performing arts and the cultural industries. At least 50% of the business plans submitted are from female youth. The business plans show links to market demand, showcase entrepreneurial innovation and knowledge of start-up processes. More than 10% of youth business plans include use of computer technologies.
What are the means of verification of this indicator(s)? : 
Copies of business plans developed by youth. CEPAP M&E systems record gender of youth(s) developing each business plan. Qualitative data from CEPAP M&E system summarising the range of different small enterprise initiatives being proposed by youth. Each business plan identifies a verifiable market linkage, and a realistic pathway for the enterprise to access that link.
Location(s): 
Upolu island and Savai'i island, Samoa.
Direct Beneficiaries: 
Two hundred (200) youth participating in the CEPAP training workshops.
Indirect Beneficaries: 
Five hundred (500) youth with details stored on CEPAP database. The Samoa Arts Council. CEPAP partners and stakeholders.
Result: 
RESULT 8
Description: 
Following the youth training workshops using the CEPAP toolkit, the Youth Ambassadors will provide mentoring assistance to the aspiring youth entrepreneurs to prepare good quality business plans for self-employment and small enterprise development in the performing arts. The CEPAP Manager will transfer the completed youth business plans to the Small Business Enterprise Centre. Fifty (50) of the best youth business plans have been selected by the Small Business Enterprise Centre as eligible for a follow-up support from the Small Business Incubator programme of the national Youth Employment Programme (Government of Samoa and UN agencies), which includes assistance for marketing and product development, access to start-up grants and other financial services, legal compliance and mentorship from private sector partners.
Planned activity: 
Activity: 
ACTIVITY 8.1
Description: 
Two hundred (200) youth beneficiaries of the CEPAP training workshops will have gained the ability to write market-driven business plans for the creation of small enterprises related to promoting cultural diversity in the performing arts. The Youth Ambassadors and the Samoa Arts Council will provide mentoring assistance to youth completing business plans. The CEPAP Manager will ensure that completed business plans are transferred to the Small Business Enterprise Centre. The Small Business Enterprise Centre is developing a Youth Business Incubator as an activity and output of the national Youth Employment Programme – a joint programme with the Government of Samoa Ministry of Women, Community and Social Development and different UN agencies coordinated in a Delivering as One approach. Technical staff within the Small Business Enterprise Centre will review the business plans developed by the youth performing artists. At least fifty (50) of the most innovative and feasible business plans will be accepted by the Small Business Enterprise Centre for inclusion in the Youth Business Incubator, which provides an ongoing programme of tailored assistance to small business start-ups.
Implementation Schedule: 
3/9/2018 to 21/12/2018
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Youth prepare and submit business plans within two weeks of completion of CEPAP training workshops. At least 50 per cent of the completed business plans are submitted by young females.
What are the means of verification of this indicator(s)? : 
Copies of the youth business plans kept on file by the CEPAP manager. CEPAP M&E data showing the gender of youth(s) submitting business plans. Records from the Small Business Enterprise Centre showing which youth business plans have been approved for inclusion in the Youth Business Incubator.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
At least fifty (50) youth who have their business plans approved and selected by the Small Business Enterprise Centre for ongoing support from the Youth Small Business Incubator, as part of the national Youth Employment Programme.
Indirect Beneficaries: 
Two hundred (200) youth who gain experience in developing business plans and receive constructive feedback from the Small Business Enterprise Centre.
Result: 
RESULT 9
Description: 
The Samoa Arts Council has organised a programme of at least five (5) public events to showcase youth creativity as performing artists and promote cultural diversity in Samoa. The public events provide access to business opportunities for the small enterprises created by youth, and a stream of revenue for cost-recovery and re-investment by the Samoa Arts Council.
Planned activity: 
Activity: 
ACTIVITY 9.1
Description: 
Having created a network of ten (10) Youth Ambassadors and provided CEPAP training workshops to at least five hundred (500) youth performing artists, the Samoa Arts Council will have an established a significant pool of talent for showcasing youth skills in the performing arts and creativity in expression of cultural diversity. The members of the Samoa Arts Council and the CEPAP manager will advertise and organise a series of public events to showcase this youth talent. These public events will charge an entrance fee (e.g. US$5), which will be used to pay the youth performing artists and recover event-planning costs incurred by the Samoa Arts Council. The revenue recovered by the Samoa Arts Council will be reinvested into creating a regular programme of public events that showcase the range of talents of youth performing artists and promote public appreciation of cultural diversity in Samoa.
Implementation Schedule: 
3/12/2018 to 26/4/2019
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
At least five (5) different public events to showcase youth performing artists have been organised by the Samoa Arts Council. At least one hundred (100) different youth have been given the opportunity to perform at these five (5) public events. Youth artists are paid for their performance from the revenue generated by entrance fee’s charged to each public event. The Samoa Arts Council recovers a portion of costs incurred in event planning, and re-invests these in future public events for youth performing artists.
What are the means of verification of this indicator(s)? : 
Reports, photographs and media coverage of public events organised by the Samoa Arts Council. Reports, official records and photographs of different youth performing artists at different public events. Financial records maintained by the CEPAP manager with signatures of youth receiving payment for performances. Financial records maintained by the CEPAP manager, showing total expenditure, total revenue and surplus for re-investment.
Location(s): 
Upolu and Savai’i islands, Samoa.
Direct Beneficiaries: 
At least one hundred (100) youth performing artists.
Indirect Beneficaries: 
The Samoa Arts Council. CEPAP partners and stakeholders.
Result: 
RESULT 10
Description: 
Policy advocacy actions by the Samoa Arts Council has resulted in an increased level of awareness among policy-makers of the economic value and youth employment potential of the cultural industries in Samoa.
Planned activity: 
Activity: 
ACTIVITY 0.1
Description: 
The Samoa Arts Council will procure inputs for capacity-building technical support on best practices in effective policy advocacy in the Pacific context. The Samoa Arts Council will develop an advocacy strategy and action plan to engage with policy-makers and lobby for increased Government support to the cultural industries. The Youth Ambassadors and the CEPAP youth beneficiaries, through the Samoa National Youth Council, will be encouraged and facilitated to articulate the youth voice in calling for positive Government actions to support the cultural industries sector as a strategy for economic growth and youth employment. CEPAP M&E systems will gather data and qualitative evidence to support campaigns for increased recognition of the economic value of cultural industries and the potential for youth employment.
Implementation Schedule: 
1/8/2018 to 26/4/2019
What indicator(s) disaggregated by gender are to be used to measure the achievement of the expected result? : 
Capacity-building and technical trainings on policy advocacy delivered to CEPAP Youth Ambassadors and the Samoa Arts Council. Plan of action for policy advocacy approved and budget resources allocated. Policy advocacy materials designed, produced and used by the Samoa Arts Council Meetings and other communications with policy-makers.
What are the means of verification of this indicator(s)? : 
Reports and photographs from capacity-building and technical trainings. Plan of action formally approved by Board of Samoa Arts Council and multilateral partners (e.g. UNESCO, Secretariat of the Pacific Community). Minutes of meetings with policy-makers. Records of use of advocacy materials and interim results from policy campaigns.
Location(s): 
Apia, Samoa.
Direct Beneficiaries: 
Artists within the Cultural Industries in Samoa.
Indirect Beneficaries: 
The Samoa Arts Council CEPAP partners and stakeholders
5.4 What measures/steps are proposed to follow up with the beneficiaries of the project after its completion?: 
The Youth Ambassadors network will be incorporated as an official subgroup within the Samoa Arts Council. This will guarantee follow-up support for the youth beneficiaries, as the mandate and organizational structure of the Youth Ambassadors network will be embedded within the governance of the Samoa Arts Council institution. Following completion of the IFCD project, the Samoa Arts Council will continue to organize public events for performing artists in Samoa. These events will be targeted at both domestic and international audiences, and will create a range of regular economic opportunities for youth entrepreneurs within the performing arts, ensuring employment and income generation for sustainable livelihoods. The Samoa Arts Council will encourage self-employed performing artists, created as a result of CEPAP, to become private sector members of the Samoa Arts Council. This will create a mutual interest between the institution and individuals for ongoing follow-up support, in terms of access to guidance, skills development, peer-to-peer mentorship and economic opportunities as members, and strengthening the membership services provided by the Samoa Arts Council.
Score: 
4
Sustainability: 

Sustainability in projects should be considered in relation to ongoing results, effects and outcomes of the project. Sustainability is about:

  1. Building relationships on an on-going basis – through communication, building trust, reciprocity and showing commitment;
  2. Developing diverse funding sources – including grants, fees for services, volunteers, donations, active fundraising campaigns, etc.;
  3. Being flexible – capacity to accommodate change by incorporating on-going evaluation into project evaluation.
Score: 
5
Party to the 2005 Convention from developing countries: 
Yes
What measures/steps will you put in place to ensure that your project long-term objectives can be met? : 
The partnership approach adopted by the Samoa Arts Council, in particular the working relationships developed with Government Ministries – the Ministry of Education, Sports and Culture and the Ministry of Women, Community and Social Development, - will lay strong foundations from which the successful results of CEPAP can be sustained over the longer term. As a cornerstone of CEPAP, the IFCD project will build the organisational infrastructure and institutional capacity of the Samoa Arts Council, enabling it to (i) advocate effectively for increased policy level support for the performing arts and cultural industries and (ii) to generate its own revenue resources to cover recurring basic operational costs and for re-investment to generate future revenue. Without the inputs from the IFCD project, the Samoa Arts Council will not develop the organisational or institutional capacity to lobby policy-makers, to engage youth in the performing arts and to provide follow up assistance for them to access the economic opportunities emerging from the Government policy priority to increase international tourist arrivals and raise the contribution of the tourism sector to economic growth in Samoa. The IFCD project will also develop strategic and programmatic linkages with the separate but complimentary national Youth Employment Programme – a large-scale programme implemented by the Government of Samoa (Ministry of Women, Community and Social Development) and UN agencies coordinated in a ‘delivering as one’ approach. This strategic partnership will enable youth beneficiaries to leverage additional funding sources, for example in facilitating entrepreneurial performing artists to benefit from the services of the Youth Business Incubator system through the Small Business Enterprise Centre. The development of a toolkit, quality assured by UNESCO and accredited as a competency-based training qualification from the Samoa Qualifications Authority, will be a pillar of sustainability for IFCD project outputs and results. The Train-the-Trainer methodology established by the CEPAP toolkit, and the associated revenue-generating programme of public events for performing artists, will enable increasing numbers of youth to benefit from the training programme over a longer timeframe. Effective M&E systems and successful results from the IFCD project will provide the Samoa Arts Council with verifiable data and qualitative evidence for influencing policies and facilitating increased Government support for an enabling environment in favour of the cultural industries and the performing arts.
National Commission Review Form: 
Yes
Overall evaluation: 
The project Cultural Entrepreneurship in the Performing Arts Programme (CEPAP) proposed by the Arts Council of Samoa essentially has two long term objectives 1) Youth in Samoa are active agents in promoting and protecting cultural diversity in Samoa and 2) the Samoa Arts Council has the organizational structure and the institutional capacity needed for effective policy level advocacy for increased Government support to the cultural industries sector. The project has a range of concrete activities such as the establishment of a Youth Ambassadors for Cultural Diversity group, the development a Cultural Entrepreneurship in Performing Arts tool-kit that is competency-based training qualification from the Samoa Qualifications Authority and the train the trainer methodology that are effective. The project lacks cohesion in methodology to fully achieve the objectives with a lack of correlation between activities, appropriate timeframes, human resources and budget. This is especially the case with the second long term objective. The project does have the potential to lead to structural change in seeking to change the organizational capacity of the Arts Council of Samoa through the engagement of youth ambassadors who are further empowered to improve their own professional capacities and that of young performing artists through training to support a viable local cultural industry. This project demonstrates participation in development and implementation of national and regional cultural industry policy. It provides a concrete contribution to the development of cultural industries in Samoa especially for young people in performing arts. The applicant is strongly encouraged to apply in the future. A collaborative project, including relevant institutional partner/s that strengthens organizational and institutional capacity for the long term would enhance a focused project that has impact in alignment with IFCD objectives for structural change.
Signature of National Commission: 
Yes
What measures/steps will you take to follow up with the beneficiaries of the project after its completion?: 
The Youth Ambassadors network will be incorporated as an official sub-group within the Samoa Arts Council. This will guarantee follow-up support for the youth beneficiaries, as the mandate and organisational structure of the Youth Ambassadors network will be embedded within the governance of the Samoa Arts Council institution. Following completion of the IFCD project, the Samoa Arts Council will continue to organise public events for performing artists in Samoa. These events will be targeted at both domestic and international audiences, and will create a range of regular economic opportunities for youth entrepreneurs within the performing arts, ensuring employment and income generation for sustainable livelihoods. The Samoa Arts Council will encourage self-employed performing artists, created as a result of CEPAP, to become private sector members of the Samoa Arts Council. This will create a mutual interest between institution and individual for ongoing follow-up support, in terms of access to guidance, skills development, peer-to-peer mentorship and economic opportunities as members, and strengthening the membership services provided by the Samoa Arts Council.
What are the main current needs and priorities in your country in terms of cultural policies and/or cultural industries?: 
The process of finalizing the national cultural policy is underway and Samoa is expecting a UNESCO policy support mission in August to help with the process and launch of the policy. This project contributes to this process as part of the emerging cultural industries in Samoa. At the moment, the arts sector does not provide concrete career opportunities for artists. There is also a major issue of youth unemployment which is a priority for the government to address and many young artists are disadvantaged due to the lack of jobs. There is a need to provide awareness but also to create opportunities within existing sectors such as tourism for the arts sector.
How do the objectives of this pre-selected project proposal meet the current needs and priorities of the country in terms of cultural policies and/or cultural industries?: 
By building the capacities of young people interested in performing arts – both artistic and entrepreneurial skills, the CEPAP project builds and promotes arts as a viable economic sector. It also contributes to the different sectors already in place such as tourism.
Brief summary of the project:: 
The proposed project titled “Cultural entrepreneurship in the Performing Arts Programme (CEPAP)”, will be implemented by a local NGO “Samoa Arts Council ” in partnership with the Small Business Enterprise Centre and Ministry of Tourism. It aims at “invigorating the performing arts as an economic sector in Samoa” The proposed project is build upon 6 main axis: 1. Organizational/Capacity building assessment and training programme for lead applicant. 2. Conduct policy level advocacy for increased recognition of the economic value of CI and potential for youth employment. 3. Conduct mapping researches on CI and youth employment in the sector. 4. Catalyze engagement from youth and assist them to access viable market opportunities, through development and design of tailored training toolkit, building capacities of 10 ToT and implementation of 10 trainings. 5. Identify, support 50 business ideas and facilitate their enrolment into an existing incubation programme. 6. Design and hold 5 public art performance events, as mean for income generating to 5 performing arts groups and financial resources mobilization for the applicant. Total duration of the project is 24 months. The project will start on 01.05.2017 and will end on the 26.04.2019. The project total budget is estimated at 100,000 USD and the IFCD contribution at 100,000 USD.
Official documents status (with on English or French translation if necessary): 
Yes
To what extent do you expect this pre-selected project proposal to have an impact on the country’s cultural policies and/or cultural industries?: 
Samoa is rich in culture but it has yet to use its full potential for economic development. The CEPAP project would open up many opportunities for young performing artists and build up an untapped economic sector. It has the potential of integrating different sectors and promoting arts as a a means to obtain management and business skills.
Total funding requested from the IFCD (not exceeding US$ 100,000): 
$100000.00
Total co/self-funding income: 
$0.00
Total project cost: 
0.00
1.1 Please describe how the project’s short-term and long-term objectives are aligned with the main objective of the IFCD, which is to invest in projects that lead to structural change through the: 
The project is aligned to the objectives of the IFCD. Through the proposed research and advocacy activities the project has the potential to influence Samoa cultural policies and strategies. The proposed project also has the potential to induce structural change as it include a component aiming at building technical and organizational capacities of the Samoa Arts Council (leading actor in the sector), as well as producing a new and customized training tools.
1.2 How do the objectives of this proposal meet the current needs and priorities of the country/region in terms of cultural policies and/or cultural industries?: 
The needs as identified by the applicant are aligned to the needs of the country in terms of cultural policies and industries. The proposed project is aligned with the priorities as set in the draft national cultural policy as well as well as to the priority of the Pacific Regional Cultural Policy. The proposed project is also aligned to the priorities set during the National Development Workshop for the Cultural Industries in Samoa, 2014.
Source: 
Description: 
A proposal has been submitted (on 2nd March 2016) by the UNDP (Samoa) office to the Pacific Island Forum Secretariat (PIFS). The proposal is entitled 'Skills and Entrepreneurship for Women and Youth in the Cultural Industries in Samoa'. The total value of the proposal is USD35,000. The value for SAC deliverables / activities would be approximately USD10,000. There are a number of implementing partners, including Women in Business Incorporated (WIBDI), the Samoa Culture Centre and the Samoa Arts Council. If approved, it would be a nine month project ending in March 2017 (i.e. before the IFCD project would start). The activities for SAC in the PIFS proposal would compliment CEPAP, and lay some foundations that CEPAP could build and grow. As at 15th April confirmation of approval from PIFS is still pending.
Amount: 
$10000.00
Status of funding: 
To become avaliable
Source: 
Description: 
The Board members of the Samoa Arts Council – a dedicated group of technically skilled artists and successful business people dedicated to the survival, growth and diversity of the cultural industries in Samoa.
Kind: 
One of the major strengths of CEPAP will be the time dedicated to it from the Board members of the Samoa Arts Council. This time will enable sharing of their technical skills, both as practising artists and successful business people, plus sharing of the knowledge gained from their vast experience of the performing arts and cultural industries in Samoa and the Pacific region, with the aspiring youth artists and entrepreneurs. The Board members of the Samoa Arts Council are dedicated to the success of CEPAP. A successful CEPAP will be a major contribution to strengthening the institutional capacity of the Samoa Arts Council, thereby increasing its ability to engage productively with youth and to advocate for increased Government support to the sector. The President of the Samoa Arts Council has extensive experience in choreographing cultural performances and organising large-scale events, including the opening ceremony of the Small Island Developing States (SIDS) conference in September 2014, (https://www.youtube.com/watch?v=B_BtAdv3OdY) as well as the opening and closing ceremony of the Commonwealth Youth Games (www.youtube.com/watch?v=YdiqoREhGmE) in September 2015. Other members of the Samoa Arts Council are successful business people and will be able to pass on their business skills and their knowledge of markets for performing artists and strategies for overcoming the challenges of enterprise start-ups. These skills and knowledge, passed from the Board members of the Samoa Arts Council to youth aspiring to follow in their footsteps, will be an invaluable asset contributing to the success and sustainability of CEPAP. The Board members will also provide assistance to the CEPAP manager. This can be in the form of in-house checks and balances on financial systems and reporting, but also with networking with CEPAP partners including the Small Business Enterprise Centre and the Government Ministry of Education, Sports and Culture. It is estimated that the Board members of the Samoa Arts Council will dedicate a total of at least two thousand (2,000) hours of technical support to CEPAP during its 24-month timeframe with IFCD.
1.3 To what extent are the project’s objectives specific and measurable?: 
The projects’ objectives are globally specific and measurable but are wide in the range and the scope and could be interpreted as two projects in one. This had a negative impact on its implementations' modalities and consistency. The proposed project is articulated around two main ST objectives: 1- Employment for youth within the cultural industries is created as a result of performing artist in Samoa developing the entrepreneurial abilities that enable them to apply their creative talents and identify viable market opportunities for income generation and employment through promotion of the performing arts. 2- The Samoa Arts Council develops the organization and institutional capacity needed to engage effectively in policy level advocacy for increased recognition of the economic value of the performing arts.
1.4 To what extent does the project contribute to the promotion of gender equality, youth, south-south and north-south- south cooperation and/or the participation of various social groups?: 
The primary targets of the projects’ specific objective 1 are unemployed youth. The applicant engages in applying a gender quota in majority of the main activities. The applicant commits also to target disabled and disadvantaged youth. No south-south-north cooperation measures are foreseen during the proposed project lifetime.
The CEPAP Manager will be primarily responsible for the programme management and donor reporting. For separation of duties, the Samoa Arts Council will contract an accountant on a part-time basis to prepare monthly financial statements. The Treasurer of the Samoa Arts Council will review these statements on a pro-bono basis. This will also serve as an independent checks and balance system for CEPAP financial management. The financial accounts of the Samoa Arts Council are audited every year. In 2017, 2018 and 2019, the Terms of Reference of the independent auditor will be extended to include a full audited report of the accounts of CEPAP, as a stand-alone project within the governance of the Samoa Arts Council.
Score: 
7
9.1 Previous funding from the IFCD: 
9.2 Previous funding from UNESCO for similar or related projects (either from UNESCO Headquarters, a Field Office or an Institute) to implement project(s) similar to or related to the project that you are currently proposing: 
Are you currently applying for other UNESCO funds?: 
No
Please provide details: 
3.1 Does the budget provide for adequate resources (salaries, fees, equipment, travel, communication, etc.) necessary for success of the project? If the budget has been overestimated or underestimated, please explain how.: 
The proposed budget presents several weakness including: Several costs related to activities are missing such as costs for hiring a local expert to supervise the toolkit production mentioned under activity 6.1, costs related to the implementation of the trainings under A10.1, contracting a part time accountant for the purposes of the project. Most importantly, the understaffing for the project implementation. Only one full time PM is assigned as programme implementation staff to implement large scope project, responsible for both programme, financial and donor reporting. At least 20% of the proposed budget is allocated to the production of events which is not the focus of the IFCD funding scope. The Small Business Enterprise Centre, the incubator host is presented as paid partner under section 3, yet, there is no provision for their services in the budget. The costs related to the organization of 5 public events are presented in lump sum and may include HR, consultancy costs. Seems also, under this budget line, there is provision for subcontracting a state owned enterprise (the Samoa Tourism Authority see section 3 of the proposal), which is ineligible by the guidelines of the IFCD .
3.2 What proportion of the budget is allocated to project activities versus overhead costs? Does the budget seem adequate and overhead costs estimated in compliance with the limit to a maximum of 30% of the total project budget?: 
36,000 USD (36%) of the budget are allocated to HR and consultancies. 20% of the budget is towards production activities, 5% equipment and 12% overheads.
Outcome 1: A policy environment that promotes the diversity of cultural expressions is created through targeting structural change. : 
[  ] Cross-sectoral cooperation in policy making and implementation demonstrated;
[  ] The role of civil society in policy making and implementation strengthened;
[  ] Processes and mechanisms of policy implementation and review strengthened.
Outcome 2: The value and opportunities that the cultural and creative industries offer in the achievement of sustainable development are clearly demonstrated.: 
[x] Innovation and new business models applied to cultural entrepreneurship;
[x] Access to local, national or international markets for cultural goods improved;
[x] Participation and collaboration in cultural and creative industries widened to previously excluded individuals and social groups.
3.4 What actions have been foreseen to ensure financial accountability (e.g. Involvement of a financial officer)?: 
Hiring of a part time accountant for the purposes of the project, however, there is no provision in the budget for such position. External audit is also planned but not reflected in the budget.
Outcome 3: Contributions are made to sustainable capacity development in the cultural sector at institutional, organisational and individual levels.: 
[  ] National and international networks and communities of practice facilitated, with a focus on North-South-South cooperation;
[  ] Capacity development needs relating to cultural value chain assessed and mapped;
[  ] Capacity development needs relating to cultural value chain addressed at appropriate levels.
3.3 Does the project proposal indicate any additional financial contributions to the project, such as co-funding and/or self- funding?: 
The applicant mentions deliverables worth 10,000 USD which he considers as co-financing. It is not clear to the evaluator what are these about and how can they be included in the proposed project budget, especially that this contribution would come from a donor funded project ending before the start date of the IFCD funding, consequently out of the cost eligibility period. This may questions the applicant financial management capacity and understanding of institutional donor grant management. Inkind contribution totaling 2000 working hours from SAC members.
Please check the two boxes below:: 
Commit to respect the provisions of paragraph 25 of the Guidelines.
Score: 
3
What elements demonstrate that the applicant institution/organization is a significant stakeholder in the culture sector (locally / nationally / internationally)?: 
Locally and nationally, the Samoa Arts Council has a membership which spans across the whole culture sector. Members include representatives from the sectors covering performing arts, visual arts and creative and cultural industries. Many of these members are well-known in their respective fields both in the Pacific region and internationally. Their contribution to the culture sector both in Samoa and Pacific is very significant.
Certify that all information contained in this application is truthful. I also certify that any documents provided in support of my application are authentic and accurate.
In the framework of the pre-selection process, please indicate the name of the representatives of the organizations/institutions (representatives of the Ministry of Culture and/or other Ministries responsible for the cultural industries, and members of civil society organizations specializing in the field of culture) who participated in the IFCD Pre-selection Panel to evaluate and pre-select the project proposals.: 
Name: 
Peone Solomona
Organization/Institution: 
Ministry of Culture
Description: 
Official registration by Ministry of Commerce, Industry and Labour of Samoa Arts Council as an Incorporated Society
Category: 
Official Document proving your legal status
Language of Document: 
English
Description: 
CEPAP logo specifically designed by SAC to be used in all IFCD publicity and communications.
Category: 
Image/Logo
Language of Document: 
English
Description: 
Samoa Arts Council logo generic
Category: 
Image/Logo
Language of Document: 
English
Description: 
Article 1 'The Role of Cultural Industries in the Samoa Economy' March 2014
Category: 
Other
Language of Document: 
English
Description: 
Report: National Development Workshop for the Cultural Industries in Samoa
Category: 
Other
Language of Document: 
English
Description: 
2015 - 2017 Strategic Plan Samoa Arts Council
Category: 
Other
Language of Document: 
English
Description: 
Proforma invoice in Samoa tala currency. Exchange rate USD approx 2.5. Procurement of equipment for organisational structure.
Category: 
Other
Language of Document: 
English
Description: 
Article 2 'Developing the Samoan Cultural Industries August 2015
Category: 
Other
Language of Document: 
English
Description: 
Article 3 'Valuing the Cultural and Creative Industries - untapped Economic Assets' July 2015
Category: 
Other
Language of Document: 
English
Description: 
Article 4 'Why we need a Samoa Arts Council' July 2014
Category: 
Other
Language of Document: 
English
Description: 
Information flyer for CEPAP draft v_01_April 2016
Category: 
Image/Logo
Language of Document: 
English

3.1 Please list all paid contractors, subcontractors, consultants and/or experts who will participate in the implementation of the activities proposed who are not employed by your institution/organization.

Contractor or partner: 
Name: 
Small Business Enterprise Centre (SBEC)
Professional affiliation: 
Charitable Trust operating for more than 20 years in Samoa. http://www.sbecsamoa.ws
Nationality: 
Samoa
Skills/background/qualifications: 
Aspiration: To be recognized as the preeminent organization in the Pacific Region that provides expert and best practice services and support to small business. Vision: A better life for all through business opportunities."Small Business Management Training. Mission: To lead sustainable small business growth and development. Services: Small Business Advisory Services. Facilitation of Access to Financial Resources. Advocating and Facilitating Small Business into Positive Change, a Small Business Loan Guarantee Scheme (SBLGS) is set up to provide client's loan with one of the selected participating Financial Institutions.
Responsibility in the activities of the project: 
The Small Business Enterprise Centre (SBEC) will assist in the curriculum development and enterprise training aspects of the CEPAP toolkit. SBEC is the only social enterprise incubator in Samoa and they have worked in many arenas to promote sustainable entrepreneurship in Samoa. SBEC has substantial experience in modular development and enterprise startup training.
Name: 
Samoa Tourism Authority
Professional affiliation: 
State-owned enterprise responsible for the marketing of Samoa as a holiday destination and the sustainable development of new and existing tourism products in the country.
Nationality: 
Samoa
Skills/background/qualifications: 
STA is the organization that connects the cultural festivals to local and international markets. STA has the contacts and experience in running major annual festivals and attracting sponsorship support.
Responsibility in the activities of the project: 
The Samoa Tourism Authority (STA) will be subcontracted by the Samoa Arts Council to assist in the development and marketing of the public events showcasing youth performing artists.
Name: 
Tauvaga Va'ai
Professional affiliation: 
Lecturer at National University of Samoa
Nationality: 
Samoa
Skills/background/qualifications: 
Experienced local consultant attached to Oloamanu Centre for Professional Development and Continuing Education. http://www.nus.edu.ws/s/index.php/faculty-and-centres/oloamanu-centre Designs and delivers the Certificate for Adult Teaching course, which specifically targeting adults without formal teaching qualifications.
Responsibility in the activities of the project: 
Provision of expertise in best practices of Train-the-Trainer methodologies and non-formal education.
Outcome 1: A policy environment that promotes the diversity of cultural expressions is created through targeting structural change.: 
[  ] Expected Result 1.1 Cross-sectoral cooperation in policy making and implementation demonstrated;
[  ] ER 1.2 The role of civil society in policy making and implementation strengthened;
[  ] ER 1.3 Processes and mechanisms of policy implementation and review strengthened.
4.1 Are the project’s expected results concrete, measurable and realistic? To what extent are the expected results correlated with the objectives, activities and budget?: 
The formulation of the expected results is globally weak and in many cases it confuses activities and results. R1: mentions use of the equipments and resource in advocacy activities while no actual activities are foreseen. R2 relates to the objective of strengthening organizational capacity building of the SAC. The proposed activities and budget do not reflect any actual action. The proposed indicators only refer to planning and designing those actions. R6 within only 4 months the applicant plans to i) conduct the trainings, ii) disseminating the toolkit, getting inputs/approvals from several stakeholders and iii) getting accreditation from a public body.
Outcome 2: The value and opportunities that the cultural and creative industries offer in the achievement of sustainable development are clearly demonstrated.: 
[x] ER 2.1 Innovation and new business models applied to cultural entrepreneurship;
[x] ER 2.2 Access to local, national or international markets for cultural goods improved;
[x] ER 2.3 Participation and collaboration in cultural and creative industries widened to previously excluded individuals and social groups.

3.2 Please list all non-paid partners involved in the project's implementation. Please indicate whether the partner is a public authority/institution, an NGO or a private company.

2.1 What elements demonstrate the applicant’s organizational capacity (main activities of the institution/organization) and competence (skills and background of staff) to implement the work plan and manage the budget?: 
The applicant is a well recognized organization within the Samoa arts and culture scene and is being involved in major projects and initiatives the country. The proposed project staff is composed of prominent figures from the sector with national and international recognition. However, the HR actually allocated to the implementation of the project seems to be extremely insufficient. Beside the assignment of one PM, full time, to the project no other project management positions are foreseen. The applicant proposed a list of 4 other Samoa Arts Council staff member contributing in the implementation of the project, but their contributions are focused on technical inputs. In addition, all seem to be employed elsewhere and would probably not be able to extensively assist in the implementation of the extensive and complex proposed project.
Outcome 3: Contributions are made to sustainable capacity development in the cultural sector at institutional, organizational and individual levels.: 
[x] ER 3.1 National and international networks and communities of practice facilitated, with a focus on North-South-South cooperation;
[  ] ER 3.2 Capacity development needs relating to cultural value chain assessed and mapped;
[  ] ER 3.3 Capacity development needs relating to cultural value chain addressed at appropriate levels.
Project expected results and activities: 
Non-paid partner: 
Name: 
Samoa Qualifications Authority
Type of Institution: 
Public authority
Country: 
Samoa
Role in project: 
The Samoa Qualifications Authority is the principal organization mandated to regulate qualifications and quality standards, promote links and learning pathways and quality assure Post School Education and Training (PSET) in Samoa. The Samoa Qualifications Authority will lead the process of accreditation for the CEPAP toolkit.
Name: 
Ministry of Education, Sports and Culture (MESC)
Type of Institution: 
Public institution
Country: 
Samoa
Role in project: 
MESC aims to unlock the “intellectual, cultural and physical potential of all participants, enabling them to make fulfilling life choices”. CEPAP helps to fulfill this vision for MESC by helping young people realize and harness their innate gifts in order to reap tangible benefits in their personal and professional lives. The Culture Division of the Ministry of Education, Sports and Culture will provide technical and policy support for the project, and will facilitate linkages between the young performing artists and national, regional performing arts networks. MESC will also provide advice to the Samoa Arts Council for the design of the curricular template of the CEPAP toolkit.
Name: 
Samoa National Youth Council
Type of Institution: 
NGO
Country: 
Samoa
Role in project: 
The Samoa National Youth Council will help to raise awareness of CEPAP and create a database of youth performing artists and aspiring entrepreneurs, and access to information by youth on potential economic opportunities.
Outcome 2: the value and opportunities that the cultural and creative industries offer in the achievement of sustainable development are clearly demonstrated: 
Er2.1 Innovation and new business models applied to cultural entrepreneurship;
Er2.3 Participation and collaboration in cultural and creative industries widened to previously excluded individuals and social groups;
2.2 To what extent do the activities address relevant issues? Please explain how the methodology is appropriate to achieving the objectives?: 
The overall logic of the intervention is acceptable yet very ambitious; and the modalities of its execution present several weaknesses and/or require further clarifications. The needs assessment as presented in different sections of the proposal, actually, reflect a need for evidence based advocacy and the relevance of conducting training for SAC staff is not demonstrated and/or explained. Especially that the SAC and its’ leadership are well established and connected advocators. In addition, the proposed activities to achieve specific objective 2 seem to be not cost/effective. No budget is foreseen to disseminate the researches reports. A publication and/or learning sharing event would have been relevant. In addition, the budget does not reflect these activities as a priority aligned to the applicant declaration on short term objectives. Only 2000 USD and maybe part of the consultant budget and transportation budget lines. Yet, proportionally it remains very low. The production of performing events, which is not the focus of the IFCD funding scope, is second after the ToT trainings and capacity building of targeted talented youth, in terms of budget allocations equaling at least 20,000 USD. Several proposed activities do not much with the announced objectives. Expls: To achieve ST 1 “generate income, create employment” the applicant does not foresee any action for the 50 business ideas transferred to an incubation centre. After transfer of 50 business ideas to incubation there is no follow up activity nor information on what support will be provided, how the applicant will monitor the service provider and collect intelligence and data on successes and challenges. Especially, if we refer to the outcome of the discussion on this matter held during the National Development Workshop for the Cultural Industries in Samoa, in November 2015, which was attended by a representative from the applicants’ organization. During this event, the incubator implementing partner of this project, mentioned several challenges to incubation in Samoa in general and within the cultural sector. Among which are access to financing, • clients using funds for purposes the funds are not intended for; • projects not properly managed; • cash management problems, where returns are not put back into the business or savings but utilised on family, church, or village commitments; and • a change of business interest half way through the project. Based on the proposed activities to achieve this objective the actual results that will be achieved during the lifetime of the project will be : Income generating for performing arts groups identified and groomed by the applicant through the organization of 5 productions/events and income generating for the applicant through organizing those 5 events. R2. The activities proposed under this result are meant to build the organizational capacities of the SAC. However; they only include mapping and analysis no actual implementation (except for Advocacy under A10.1), is reflected neither in the logical framework nor in the budget and the indicator for this activity is contradicting the description. A2.2 the applicant declares among others “based on the report, the SAC will procure the required technical inputs for institutional strengthening, systems development and policy advocacy”, but under the indicators' section “organizational capacity building trainings designed and scheduled”. In conclusion the proposed activities do not help achieve the proposed result. A4.1 the purpose of the proposed base line need further clarification. It is not clear from the narrative what is exactly the purpose of these researches and what is the added value to those already existing. This information is essential to evaluate its scope, effectiveness and efficiency as well as the adequacy of the proposed timeframe. It seems that the proposed mappings and baseline under A4.1 have a double purpose, i) gather evidence based data for advocacy work and ii) and scope/gather data for the design of the training programme. In this case the proposed time frame will be 1) too short and 2) conflicting with activity 5.1. i.e the implementation of activity 5.1 which would depend on the results of the baseline analysis start before completion of the baseline work A4.1. A5.1 the applicant did not provide with information about the format of the selection. Did provide with extensive information on the selection criteria but it is not clear what form it will take. In the case this activity will be implemented in the form of a competition/contest, then costs related organizing a nationwide competition should be included in budget. This also will impact on the time frame feasibility analysis. 5.4 this activity is about ToT training design and targets large scope of skills, it is not clear to the evaluator who exactly will be responsible for design of the training and toolkit as the applicant refers only to “SAC” as service provider. Activities under result 6 seem very ambitious and broad. The applicant targets the development of the ToT and the production of a tailored training toolkit. Among the skills to be taught and material developed are: non formal teaching methodologies, competency based assessment, entrepreneurial innovation in the performing arts, guidelines independent analysis of economic opportunities for performing artists, step to take for testing feasibility and beginning the enterprise start-up process. In other section of the proposal it is also mentioned that the CEPAP training will include “how to use arts as therapy” (section 4.4). A6.1 is about organizing a serie of experimental workshops to develop the CEPAP training toolkit, the lead implementers of the activity are the youth ambassadors freshly selected. Not clear to the evaluator the methodology and the approach for these workshops and the link to the development of the toolkit. It seems that within only 4 months this activity aims at the same time equip/train the 10 freshly selected Youth Ambassador (ToT) whom will be at the same time leading on production of a high quality-large scope toolkit. The applicant declares: “the youth ambassadors will have responsibility for the processes in the development of the toolkit, following guidelines issued by the Samoa Qualifications Authority”. This seems unrealistic. Activity 7.1 which is about publicizing/presenting and scoping for the CEPAP trainings and toolkit, cannot actually happen within the proposed time frame, because 1) the toolkit design would not be completed yet and 2) the trainees involved in its implementation will be implementing the 10 planned community trainings (A7.3-A7.4). In general there is too much to do within a very limited timeframe. For a total period of 4 months. Youth Ambassadors and the PM will have to : i) organize community meetings in different locations of the country, ii) conduct community workshops iii), scope talents, iv) create an online database with 500 profiles, v) select trainees and vi) conduct at least 10 CEPAP trainings. In relation to the Incubation: no budget is allocated to neither the incubation, no information about the duration, services and supervision. If the partner (host incubator) is providing this service free of charge they should be included in the budget as inkind or co-financing contribution. Yet, this partner is listed as paid partner in the section 3 of the application. A10.1 includes elaboration of an advocacy plan, yet as per the proposed logical framework the advocacy plan has been elaborated by the PM and SAC under activity 1.3.
Type of ExpenditureDescriptionRelated Activity/iesCost for Unit (USD)Unit (per day, per person, per item, ...)Number of UnitsTotal Cost (USD)Amount co/self funded (USD)Amount funded by IFCD (USD)
Salaries / fees
Project StaffMonthly allowance for CEPAP managerAll the activities1000per month2424,000.000.0024,000.00x
Contractor/Subcontractor/ConsultantFees for servicesACTIVITY 2.1, ACTIVITY 4.1, ACTIVITY 5.3, ACTIVITY 5.42500per contract410,000.000.0010,000.00x
Subtotal34,000.000.0034,000.00
% of the Grand Total34.00%0.00%34.00%
Travel and per diem
Land Transportationvehicle rental for community meetings and trainingsACTIVITY 6.1, ACTIVITY 7.1, ACTIVITY 7.2, ACTIVITY 7.3100per event202,000.000.002,000.00x
Per diem for seminar/Conference participantsAllowance for Youth AmbassadorsACTIVITY 6.1, ACTIVITY 7.1, ACTIVITY 7.3, ACTIVITY 9.150per person1507,500.000.007,500.00x
Subtotal9,500.000.009,500.00
% of the Grand Total9.50%0.00%9.50%
Equipment and supplies
Equipment (total based on pro forma invoice enclosed with the application)Organisational infrastructureACTIVITY 1.3500per item105,000.000.005,000.00x
Subtotal5,000.000.005,000.00
% of the Grand Total5.00%0.00%5.00%
Communication
Promotional Activities / Events / Advertisements, etc.Series of public events showcasing youth performing artists and creation of economic opportunitiesACTIVITY 9.1, ACTIVITY 0.14000per event520,000.000.0020,000.00x
Publications (editing, design, printing, etc.)Publication of final CEPAP toolkit in English and Samoan language.ACTIVITY 6.245per unit2009,000.000.009,000.00x
Subtotal29,000.000.0029,000.00
% of the Grand Total29.00%0.00%29.00%
Other costs and services
Rent of Conferences/ Seminar RoomsCEPAP youth training eventsAll the activities250per training event205,000.000.005,000.00x
EvaluationEnd of project evaluation reportAll the activities2500per item12,500.000.002,500.00x
Studies/ Surveys/ Purchase of dataResearch reports: economic opportunities for performing artists; baseline survey youth engagement in performing arts; ACTIVITY 4.1, ACTIVITY 5.41000per research report22,000.000.002,000.00x
Translations/InterpretersTranslation of CEPAP toolkit to Samoan language.ACTIVITY 6.21000per contract11,000.000.001,000.00x
Subtotal10,500.000.0010,500.00
% of the Grand Total10.50%0.00%10.50%
Overhead
Postage/Office SuppliesOffice runningAll the activities500per month2412,000.000.0012,000.00x
Subtotal12,000.000.0012,000.00
% of the Grand Total12.00%0.00%12.00%
Grand Total100,000.000.00100,000.00
Percentage of Grand Total0.00%100.00%
4.1 Are the project’s expected results concrete, measurable and realistic? To what extent are the expected results correlated with the objectives, activities and budget?: 
The project’s stated expected results are expansive. The description of the results is concrete but often written as activity output rather than outcomes. “…recruited a competent Programme Manager for CEPAP … and equipment and supplies have been procured…” Similarly the measures are of outputs e.g. units produced rather than measures of result outcomes. There are activities that directly align to the objectives especially in relation to the toolkit, training and youth ambassadors. Some of the activities do not logically correlate to the objectives and their measures are somewhat unrealistic. E.g. youth ambassadors train 500 young people plus 5 event showcases leads to employment. The activities related to building capacity to advocate and participate in policy are less cohesive. Although the listed staff personnel demonstrate relevant qualifications and experience directly to the project it is unclear in the activities and budget how this expertise will be utilised. The staff, Youth Ambassadors, contractors and partners are all identified in contribution to or helping in collaboration in certain activities. It is assumed that the project’s diverse elements of the objectives and multiple expected results are the responsibility solely of the programme manager. The project lacks nominated personnel for ultimate responsibility of key specialised elements of the project such as training through to certification.
Outcome 1: a policy environment that promotes the diversity of cultural expressions is created through targeting structural change: 
Er1.2 The role of civil society in policy making and implementation strengthened;
Recommendation Status: 
Non recommended
2.3 To what extent is the time frame realistic and coherent with the activities?: 
In general the proposed time frame seems unrealistic and presents several weaknesses. In addition to those identified in the section 2.3 here are more examples: A1.1 only two months are foreseen to a implement several activities and a complex recruitment process. The applicant intends to publish for recruitment of a PM which will at least take one month. Once appointed the PM is in charge of producing communication materials, brochures and produce activity planning and secured SAC council approval. These activities would be possibly feasible if the PM is already identified, the latter case the applicant should be transparent about it. This is important information as it could influence the costs analysis and identify the direct beneficiary of this budget line. Expl: if the selected PM is a member or an associate of the SAC, the costs allocated and the impact of the project may have different reading, as those costs could be associated to SAC financial support. In addition, a 100% availability of the PM for the implementation of the proposed project is fundamental success factor. Within a very tight time frame and an expended set and scope of activities a PM who has multiple hats and/or engaged in other business or activities will likely be unable to deliver. R2. The activities proposed under this result are many and the time frame seems too short. They include: i) procurement procedure for hiring a consultant, ii) conducting an organizational capacity building assessment for the SAC, produce report and recommendation, iii) design and schedule capacity building trainings for the SAC. All in 2 months. A4.1, it is not clear to the evaluator why this activity starts 4 months after project quick off if the applicant intends to outsource it. The activity includes carrying a baseline for the implementation of the training programme. The proposed time frame seems too short and conflicting with activity 5.1. i.e implementation of the A5.1 which would depend on the baseline analysis starts before completion of the mapping.
2.4 Have the direct and indirect beneficiaries of the project been clearly identified? To what extent are the activities relevant to the target beneficiaries and address their needs?: 
Generally, the direct and indirect beneficiaries of the action are well identified; however, several proposed activities either do not much with the identified needs or require further clarifications. (see sections 2.4 and 2.3).
Recommended Funding: 
$0.00
Subtitle: 
Score: 
4
Evaluation summary: 

This project's main weaknesses are in the formulation of its activities and lack of coherence between activities, budget and objectives. This leads the evaluators to conclude that there are risks for poor implementation. The project timeframe in particular is not adequate, and there are also problems with the budget. The project idea however is a strong one and presents a good potential for impactful change if reformulated. The applicant should reapply to future cycles taking into consideration the comments of the evaluators.

4.4 To what extent does the project demonstrate potential for structural change (for example: changes in the policy environment; far-reaching changes in public and professional organizational structures; and changes in the way government and regulatory authorities do business)?: 
The proposed project, may have potential for inducing a structural change through the implementation of the results 6,9 and 10 (ToT, Toolkit, building capacity of a business incubator to adapt their services to the sectors' specificity, create an accredited VT. However, several weakness identified in the project design prevents the evaluator from firmly confirming such potential.
4.3 To what extent is it expected that this project has an impact on the country/region’s cultural policies and/or cultural industries?: 
The project will have impact on the nation and regions cultural policy and strategy in that it implements draft policy and seeks wider participation of youth ambassadors in the development and implementation of policy. The project also provide a training project and awareness campaign to increase understanding of performing arts as a legitimate employment option. Samoa is the first country in the Pacific to ratify the 2005 Convention. This project demonstrates participation in development and implementation of national and regional cultural industry policy. It provides a concrete contribution to the development of cultural industries in Samoa especially for young people in performing arts.
Outcome 1: a policy environment that promotes the diversity of cultural expressions is created through targeting structural change: 
Er1.2 The role of civil society in policy making and implementation strengthened;
4.4 To what extent does the project demonstrate potential for structural change (for example: changes in the policy environment; far-reaching changes in public and professional organizational structures; and changes in the way government and regulatory authorities do business)?: 
The project demonstrates potential for structural change in that it seeks to develop the organizational capacity of the Samoan Arts Council and also develop quality assured training in cultural entrepreneurship of performing arts, thus setting a new standard and provision of training that contributes to strengthening the cultural industries value chain.
4.3 To what extent is it expected that this project has an impact on the country/region’s cultural policies and/or cultural industries?: 
The proposed project, if improved has the potential to impact on cultural industries promotion in Samoa as it will provide performing arts youth entrepreneurs the opportunity to acquire the skills and the support they need to sustain their activities. The proposed project, if improved has the potential to impact on cultural policy in Samoa as it will provide evidence based advocacy data which may guide improvement of policies and strategies.
Overall evaluation: 
I do not recommend this project for funding. The proposed project is very ambitious. It is actually several projects in one. The timeframe is unrealistic for several critical activities needed to achieve the objectives. The budget and the staff assigned for carrying the activities are under estimated. The project includes consequent activities and budget for production and performances purposes.
Outcome 2: the value and opportunities that the cultural and creative industries offer in the achievement of sustainable development are clearly demonstrated: 
Er2.1 Innovation and new business models applied to cultural entrepreneurship;
Score: 
6
Outcome 3: contributions are made to sustainable capacity development in the cultural sector at institutional, organizational and individual levels: 
Er3.2 Capacity development needs relating to cultural value chain assessed and mapped;
Er3.3 Capacity development needs relating to cultural value chain addressed at appropriate levels.
Score: 
4
1.1 Please describe how the project’s short-term and long-term objectives are aligned with the main objective of the IFCD, which is to invest in projects that lead to structural change through the:: 
The project objective to increase employment of young performing artists and participation in policy aligns to the IFCD objectives in that it strengthens the organizational capacity of the Arts Council of Samoa and improves the professional capacities of young performing artists through training to support a viable local cultural industry.
1.2 How do the objectives of this proposal meet the current needs and priorities of the country/region in terms of cultural policies and/or cultural industries?: 
The applicant states that, “at the national level, Cultural Entrepreneurship in the Performing Arts Programme CEPAP is linked to the draft national culture policy and the National Cultural Industries Strategy Framework, both implemented by the Ministry of Education, Sports and Culture in partnership with the Samoa Arts Council. Among other items, the draft policy specifically outlines the need to support the cultural industries through enhancing standards and reinforcing linkages with the tourism sector”. The project seeks to acquire official accreditation from the Samoa Qualification Authority for the competency based training program developed as a result of this project. That directly contributes to enhancing standards.
1.3 To what extent are the project’s objectives specific and measurable?: 
The project objectives are general and broad and without specific measures identified. The objectives include: Employment for youth within the cultural industries; Youth in Samoa are active agents in promoting and protecting cultural diversity in Samoa; The Samoa Arts Council has the organisational structure and the institutional capacity needed for effective policy level Advocacy.
1.4 To what extent does the project contribute to the promotion of gender equality, youth, south-south and north-south- south cooperation and/or the participation of various social groups?: 
The project has specific measures to address social groups as mentioned below. A transparent, merit-based selection process will ensure a balance of males and females as direct beneficiaries of CEPAP. The CEPAP toolkit trainings will promote strong and positive role models of females in society in Samoa. Data disaggregation in monitoring and evaluation reports of CEPAP activities will provide evidence of gender sensitivity and inclusion. CEPAP is focused entirely on youth development and economic empowerment of youth. The primary beneficiaries will be economically marginalised youth who are currently unemployed but who have some experience in the performing arts, and who express interest and commitment to use their talent to propel themselves and their communities forward. The age range of youth is not stated.
Score: 
6
Date: 
Wednesday, June 15, 2016
Full Name of the representative of the National Commission as Signature: 
Dr. Karoline Fuata'i
2.1 What elements demonstrate the applicant’s organizational capacity (main activities of the institution/organization) and competence (skills and background of staff) to implement the work plan and manage the budget?: 
The applicant is Samoa Arts Council, an NGO established in December 2012. The mission of the Samoa Arts Council is to support, promote and nurture the Arts in Samoa as a viable industry in the Pacific & internationally. The organization’s strategic plan 2015-2017 shows that the organization's operations are undertaken by volunteer committees without staff. The President of the Samoa Arts Council reports it has 31 members in the report “National Development Workshop for the Cultural Industries in Samoa November 2014” provided as background. The project lists four people as staff without specific job titles that have relevant qualifications and experience to the project. They are involved in the responsibilities of: 1) Oversight of development and writing of toolkit content; mentoring young artists. 2) Assist with designing and creating costumes for performing artists; Business development / entrepreneurship technical inputs to CEPAP toolkit; Mentoring youth enterprise startups. 3) Expertise in the teaching of performing art skills; Technical inputs to the content of the CEPAP toolkit; Mentor for youth enterprise startups; Facilitate access by youth entrepreneurs to tourist markets, e.g. International Siva Afi Competition. 4) Mr. Allan Alo - Connect CEPAP performers to new markets in capacity as Director of Federation of International Dance and Arts Festivals for Oceania region; Technical inputs into content of CEPAP toolkit; mentor to youth artists; Organisation of public events for CEPAP. The budget and activities list only one project staff member, a CEPAP programme manager that is to be recruited during the project.
2.2 To what extent do the activities address relevant issues? Please explain how the methodology is appropriate to achieving the objectives?: 
The project activities address relevant issues in relation to cultural industries in Samoa. The project addresses the skilling and offers opportunities for young people to be entrepreneurs in performing arts. This addresses this issue of performing arts not being recognized as a career path or as a financially viable activity, and associated jobs not being understood or promoted. By organising a unifying body for participants (the Samoa Arts Council Youth Ambassadors Group), the strategy is to creative a supportive structure that can sustain their activities long after the workshops. CEPAP will support the implementation of the National Cultural Industries strategic framework, through training, enhancing quality and raising awareness of the economic value and employment opportunities within the cultural industries throughout the country. In general the project activities shift between a performing arts focus and a broader cultural industries focus. Both are relevant but the focus is not consistent throughout the project proposal or methodologies. The project methodology for the training toolkit and certification are concrete. There are a range of other methodologies to achieve the objectives that lack clarity of logic and appropriate effectiveness. For example, the objective is for SAC to build its organizational capacity to advocate and participate in policy. Firstly, recruiting a programme manager and acquiring equipment for the office, the new staff member produces a communications strategy and produces publicity materials to raise awareness of the economic value and employment potential of the cultural industries. The second activity is to engage a consultant to undertake a comprehensive Organisational Capacity Assessment. The organisation is small without staff apart from the project program manager. Simultaneously SAC signs an MOU with the Ministry of Education, Sports and Culture, the Small Business Enterprise Centre and the Samoa National Youth Council when the objective is capacity to advocate and participate in policy. Youth Ambassadors for Cultural Diversity are recruited then a local consultant / consultancy firm is recruited to conduct a Training Needs Assessment of the Youth Ambassadors group and an analysis report of the range of economic opportunities for performing artists in Samoa.
2.3 To what extent is the time frame realistic and coherent with the activities?: 
The length of the project is two years. The timeframes do not provide adequate time to undertake activity. For example the recruitment for the programme management, establishment of the office and development and production of communications for raising awareness of the economic value of performing arts occurs concurrently in the first two months of the project. The recruitment of a local consultant or consultancy firm to design and conduct a baseline survey of youth engagement in the performing arts is within 2 months. Two months is allocated for the 10 youth Ambassadors to create a database of 500 young people and train 200 young people. Over a year after the SAC signs an MOU and engages the Ministry of Education, Sports and Culture, the Small Business Enterprise Centre and the Samoa National Youth Council directly in activities, SAC develops an advocacy strategy and action plan to engage with policymakers and lobby for increased Government support to the cultural industries.
2.4 Have the direct and indirect beneficiaries of the project been clearly identified? To what extent are the activities relevant to the target beneficiaries and address their needs?: 
The project demonstrates it addresses the relevant issues and circumstances of cultural industries in Samoa. More evidence is required to substantiate the volume of beneficiaries. SAC demonstrates it had 31 members in 2014 and lists 18 artists in its online directory (although this is incomplete). Yet the direct beneficiaries are high numbers especially considering the emerging level of cultural industries, the population and the existing size of the professional cultural industry. Direct beneficiaries listed are: -The CEPAP Manager -The Samoa Arts Council -CEPAP MOU partners -Ten Youth Ambassadors -Two hundred (200) youth participating in the CEPAP training workshops -Five hundred (500) youth with profiles uploaded onto the CEPAP database -At least fifty (50) youth who have their business plans approved and selected by the Small Business Enterprise Centre for ongoing support from the Youth Small Business Incubator, as part of the national Youth Employment Programme. -At least one hundred (100) youth performing artists. -Artists within the Cultural Industries in Samoa. The Indirect beneficiaries listed are: -The Samoa Arts Council -CEPAP partners and stakeholders including youth entrepreneurs -Two hundred (200) youth who gain experience in developing business plans and receive constructive feedback from the Small Business Enterprise Centre
Score: 
4
3.1 Does the budget provide for adequate resources (salaries, fees, equipment, travel, communication, etc.) necessary for success of the project? If the budget has been overestimated or underestimated, please explain how.: 
The project total is $100,000 requested in full from IFCD. 34% of the budget is allocated to fees and salaries, with $24,000 allocated to the project manager (yet to be recruited). No fees or salaries are nominated for the allocated project staff listed as key staff members. $2500 is allocated to four consultants to undertake the following activities: 2.1: Local consultant to conduct an organizational capacity assessment. 4.1: Local consultant or consultancy firm to design and conduct a baseline survey of youth engagement in the performing arts, and an analysis of the existing range of diversity in cultural expression in Samoa. 5.3: Local consultant or consultancy firm to conduct a Training Needs Assessment of the Youth Ambassadors group and an analysis report of the range of economic opportunities for performing artists in Samoa. 5.4: A series of workshops to provide the Youth Ambassadors with in-depth knowledge of cultural diversity, upgrading of technical skills training on a range of performing arts tailored to the specific abilities of each Youth Ambassador, best practices in non-formal peer education and the Train the Trainer methodology, and entrepreneurship skills training focusing on identifying and accessing viable business opportunities in the cultural arts sector. A total of $7500 is allocated as a daily allowance for the Youth Ambassadors, with each person to receive $50 for 15 days for the following activities: 6.1: Content development for the CEPAP toolkit. 7.1: The Youth Ambassadors will organize a programme of publicity and communication events to raise youth awareness of the CEPAP toolkit, and the employment and economic opportunities available to them in the performing arts. 7.3: The Youth Ambassadors will organize at least ten (10) CEPAP training workshops involving a total of at least two hundred (200) youth. The training workshops will apply the CEPAP toolkit. 9.1: Having created a network of ten (10) Youth Ambassadors and provided CEPAP training workshops to at least five hundred (500) youth performing artists, The budget request for equipment is for $5000 allowing for 10 items at $500 each. The proforma invoice provided from Samoa Stationery and Books is for $7193.43 and includes laptops, a desk, a printer and ink, a cupboard and general stationery items. The Series of public events showcasing youth performing artists and creation of economic opportunities is a significant budget expense at $20,000 for 5 events.
3.2 What proportion of the budget is allocated to project activities versus overhead costs? Does the budget seem adequate and overhead costs estimated in compliance with the limit to a maximum of 30% of the total project budget?: 
An amount of $12,000 is allocated for running of the office. This is 12% of the total budget.
3.3 Does the project proposal indicate any additional financial contributions to the project, such as co-funding and/or self- funding?: 
The non-financial contribution is significant with the contribution from the dedicated Board members of the Samoa Arts Council providing their time and expertise. This has clearly been critical in the development of SAC and will continue to be for this project.
3.4 What actions have been foreseen to ensure financial accountability (e.g. Involvement of a financial officer)?: 
The CEPAP Manager will be primarily responsible for the programme management and donor reporting. For separation of duties, the Samoa Arts Council will contract an accountant on a part time basis (no budget allocation) to prepare monthly financial statements. The Treasurer of the Samoa Arts Council will review these statements on a pro bono basis. This will also serve as an independent checks and balance system for CEPAP financial management. The financial accounts of the Samoa Arts Council are audited every year. In 2017, 2018 and 2019, the Terms of Reference of the independent auditor will be extended to include a full audited report of the accounts of CEPAP, as a standalone project within the governance of the Samoa Arts Council.
Score : 
5
Submitted by the deadline: 
Yes
Application Form submitted either in English or French: 
Yes
Maximum amount requested is US$ 100,000 or below: 
Yes
Project implementation period is between 12 and 24 months: 
Yes
All sections of the Form are completed: 
Yes
Signature of applicant: 
Yes
The applicant does not have an ongoing IFCD funded project: 
Yes
Falls within the areas of intervention of IFCD: 
Yes