Barbados 2016 report

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Technical Information
Name of Party: 
Barbados
Date of ratification: 
2/10/2008
Organization(s) or entity(es) responsible for the preparation of the report: 
Ministry of Culture, Sports and Youth
Barbados Museum and Historical Society
National Cultural Foundation
Barbados Cultural Industries Development Authority
Officially designated Point of Contact: 
Title: 
Ms
First Name: 
Donna
Family Name: 
Greene
Organization: 
Ministry of Culture, Sports and Youth
Mailing Address: 
1st Floor East Wing, Sky Mall, Haggatt Hall, St. Michael
Telephone: 
246.621.2736
Fax: 
E-mail: 
donna.greene@barbados.gov.bb
Name of stakeholders, including civil society organizations, involved in the preparation of the report: 
Describe the multi-stakeholder consultation process established for the preparation of this report: 

The multi-stakeholder consultation process utilised for the preparation of this report consisted of one to one discussions, review meetings and written reports. While some entities such as the Barbados Museum and Historical Society, were familiar with the preparation of reports for UNESCO, other cultural stakeholders and partners required one to one meetings. All entities however, were encouraged to submit written reports. The review meetings were used to fill-in any gaps observed in the written reports where the information was unclear or required further explanation. This process is in keeping with the Ministry of Culture, Sports and Youth’s annual review process which forms an integral part of its annual budgetary process. However, in looking towards the future and the role which the preparation of the report played, the entire process to prepare this report can serve as a policy review mechanism which enables the Ministry to maintain consist dialogue with its key stakeholders.

Executive Summary
Please summarize in max 3500 characters the main achievements and challenges in implementing the Convention and the outlook for the future. Please note this is not an introduction to the report or an annotated table of contents.: 
This periodic report was prepared by the Cultural Policy and Research Section of the Ministry of Culture, Sports and Youth, in collaboration with the National Cultural Foundation and the Barbados Museum and Historical Society. This report specifically speaks to Barbados' culture sector as it pertains to the objectives of the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expression. It does not provide a comprehensive or detailed review of the programmes, projects and activities implemented in the culture sector since the online reporting format and its word restrictions would not permit this; instead it serves as a snapshot of a few of the activities and programmes which are taking place within the sector. This report presents some of the key achievements that occurred in Barbados' culture sector, specifically focusing on activities related to the 2005 Convention. There have been several achievements within Barbados' culture sector, however, within the sector's most recent journey the passing of the Cultural Industries Development Act and the establishment of the Cultural Industries Development Authority, can be identified as two key achievements. The Act, which was proclaimed in 2015, has given impetus to the sector, while providing several possibilities for engagement and employment opportunities for cultural practitioners. In a nutshell, this far-reaching piece of legislation encourages the sustainable growth and development of indigenous cultural industries, making these possible through the provision of funding for cultural projects, duty-free concessions and income tax benefits. The Act is implemented through the work of the Cultural Industries Development Authority which seeks to establish the cultural industries as a leading economic driver in Barbados via the introduction of economic stimuli including investment into the industry; increasing export and trade activity for creative goods and services and working with key partners in facilitating the establishment of Barbadian creative cultural brands for large scale commercial activity. The diligent efforts of the Cultural Industries Development Authority has resulted in cultural practitioners benefiting from training in sourcing finances, mentoring, pitching for investment and business development, as well as cultivating productive relationships for employment and commercial opportunities.Looking towards the future the Ministry of Culture, Sports and Youth in collaboration with its agencies  and civil society will continue to develop a culturally rich Barbadian society and a creative economy that will assist in fostering sustainable jobs, economic growth and a social fabric that speaks to positive living especially among youth. This would include several programmes and activities, of which the most immediate ones would be the review of the National Cultural Policy of Barbados, the hosting of the Caribbean Festival of Arts (CARIFESTA) in August 2017, and the legislating of the Film and Digital Media Commission. In addition to this the Ministry of Culture, Sports and Youth would continue to utilise its cultural cooperation agreements to engage in cultural exchanges which promote diverse cultural expressions.
Overview of cultural policy context
Parties shall describe the key objectives and priorities of their current cultural policy and the impact the Convention has had in their formulation or reformulation. They will also report on the opportunities and challenges to promote the diversity of cultural expressions in a digital environment.: 

The National Cultural Policy for Barbados was conceptualized and prepared with a focus on the future; with the intent of envisioning Barbados' cultural development beyond the present and with the understanding that Barbados, due to its large diaspora and as a result of technological advancements, is not limited to its geographical space of 166 square miles. The National Cultural Policy for Barbados therefore creates a framework for the continued positive development of Barbadian culture and it ensures that Barbadians and their culture are central to overall national development. The National Cultural Policy serves as an instrument to empower Barbadians and create an environment which would enable them to freely develop their innate creativity to the fullest. The Policy therefore seeks to focus on Barbadian culture as the synthesis of experiences and practices which define who Barbadians are as people, and on the various manifestations of those cultural experiences and practices which have shaped the unique national identity of Barbadians. It highlights the positive aspects of Barbados' culture, to inculcate those values and norms which can contribute to the strengthening of Barbadian communities, to the empowerment of its people and to awakening and sustaining a sense of pride in Barbadian culture which is reflected in its acceptance and promotion at home and abroad. 

Has the Convention been integrated into the policy development process in any of the following ways?: 
a) It is (or has been) the basis for changing one or more policies?: 
Yes
How: 
The 2005 Convention is focused on within the National Cultural Policy for Barbados and forms a key part of the Government's agenda for ensuring cultural diversity and the promotion and protection of art forms with an emphasis on ingenious art forms and cultural practices across local communities. Specifically the National Cultural Policy in the area of cultural diversity notes that the key policy goals are:  (a.) to promote and encourage opportunities which would allow the various communities in Barbados to highlight their cultural expressions; (b) to promote and to encourage cultural exchange programmes with countries of the Caribbean and the rest of the world, with a view to promote greater understanding of, and respect for, the diversity of cultures; (c) to implement and support programmes aimed at teaching Barbadians foreign languages; (d) to provide and support opportunities for Barbadians, especially the young ones, to interact with foreign cultures and (e) to implement and to support the terms and conditions of the UNESCO Convention for the Protection and Promotion of the Diversity of CulturalExpressions.
b) It is (or has been) a tool to promote policy discussion?: 
Yes
How: 

The Government of Barbados is in the preparatory stages of reviewing the National Cultural Policy of Barbados 2010 and the process of collecting information and data for input into the Quadrennial Period Report has served as a platform for engaging in regular dialogue and consultations with cultural civil society organisations, cultural non-governmental organisations and cultural institutions. These discussions would form part of the framework for further interactions and discussions with Barbados' cultural community which would reinforce and strengthen the existing dialogue between the Ministry of Culture and its constituents and stakeholders in the culture sector. The process of preparing the report has also served as a tool to map the development of cultural groups and emerging artists and their progress over time. It also provides the Government with a situational analysis of Barbados' cultural sector which the policy seeks to develop and support. 

c) It is (or has been) a reference for ongoing policy development?: 
Yes
How: 

As the Government of Barbados prepares to review the National Cultural Policy for Barbados 2010, the 2005 Convention would play a key role throughout the process. Specifically in collaborating and sharing information with other State Parties who have reviewed their cultural policies with assistance and guidance from the Secretariat. The work of the Intergovernmental Committee would be instrumental throughout this process as new opportunities, strategies as well as challenges are discussed and presented, particularly those which speak to digital media, capacity building and the greater involvement of cultural civil society organisations. In addition to this, the work of the Committee and the Secretariat through its Global Report, have provided information on the best practices in monitoring and implementing programmes, projects and policies to support and sustain cultural expressions. The Convention therefore has and would continue to serve as a reference for ongoing policy development. 

❭ CULTURAL POLICIES AND MEASURES

BOYA- The Business of Your Art

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

The objectives of this programme are as follows:

  • To introduce basic principles for arts business practices
  • To educate artists about supply and demand
  • To train artists/cultural practitioners in creating a plan for their business
  • To introduce basic marketing principles and market research to cultural pratitioners
  • To assist artists in understanding finance, fundraising and cash flow
  • To serve as a seeding program/incubator for cultural products and services for either the local, tourist or international markets.
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

BOYA- The Business of Your Art is a six module seminar series which takes place over six months. BOYA aims to: (a) equip cultural practitioners with the skills needed to determine the shape and viability of their artistic enterprise, (b) to understand the fundamentals of financing a business and (c) to make a solid business plan.The series is structured in such a way that each module builds on the other, each imparting a particular and discrete set of skills and tools, leading to a tangible outcome which is the creation of a viable, fundable project proposal.In order for cultural practitioners to best access and profit from the proposed facilities and mechanisms, including the Cultural Industries Development Act, they must have an understanding of the basic principles of sound business practice.Barbados’ cultural sector is made up mostly of persons working on a semi-professional, amateur and/or part-time basis. They are often trying to maintain households on salaries from their “traditional” jobs at the same time as they are attempting to grow their artistic business venture.Some major challenges posed by this approach are the issues of time management, capital investment, and the general sourcing and management of funds since with little or no collateral it is often very difficult to secure funding from lending institutions in order to further develop businesses in the arts and culture. It is therefore necessary for practitioners to fully understand the sector or industry which relates to their artistic talent as well as the risks involved with going into full time business in order to minimize said risks and maximize growth.Participants were mentored in: Business Incorporations and Intellectual Property Rights Management, Strategic Planning, Financing Creative Enterprise, Marketing and Brand Development, and Operations Management by highly qualified facilitators in their fields. The seminars were hosted at the Errol Barrow Centre for Creative Imagination at the University of the West Indies in Cave Hill St. Michael. 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 

Each participant who successfully completes the course will produce either a business plan or a full project proposal which can be used to ‘pitch’ to potential investors, funders or sponsors. 

f.2 Financial resources allocated to implement the measure: 

US$ 11,500

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

The Barbados Registry of Artistes and Cultural Workers

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

The Barbados Registry of Artistes and Cultural Workers is a programme of the Government of Barbados and it is managed and operated by the Cultural Industries Development Authority (CIDA), an agency of the Ministry of Culture, Sports and Youth.The Registry serves the purpose of facilitating the access of artistes, cultural practitioners, cultural entrepreneurs and cultural workers to the benefits provided in the Cultural Industries Development Act. The Registry also serves as a database of all participants in the cultural industries in Barbados and will facilitate the development of the cultural industries, through continuous research and updated information.Registration of cultural practitioners is designed to make investment in their enterprises more attractive to the private sector. 

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
financial
institutional
c.3. the main feature of the measure: 

To access the benefits outlined in the Cultural Industries Development Act and to access funding for cultural projects, cultural practitioners must first register as an artist or cultural worker. The Barbados Registry is the mechanism through which they must register. 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 

It is expected that through the Barbados Registry of Artistes and Cultural Workers cultural practitioners would be able to expand their businesses through the benefits offered in the Cultural Industries Development Act. It is also expected that their clientele would increase due to the free exposure on the Registry’s website, since the Registry provides an online platform where artistes can showcase their work to investors and consumers of the arts. 

f.2 Financial resources allocated to implement the measure: 

The Barbados Registry of Artists and Cultural Workers' total implementation costs, including hosting the website and all related technical components is approximately US$ 24, 000. However, the creation and hosting of the Registry was heavily subsidised through in-kind donations and goodwill on the part of a Barbadian digital firm based in Canada. The cost was therefore reduced to US$ 5,000.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

Cultural Industries Development Act

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

The Act provides for:1.the establishment of a regulatory framework to facilitate and encourage the sustainable growth and development of the cultural industries,2.funding for cultural projects and duty-free concessions and,3.income tax benefits in respect of cultural projects and related matters.

c. What is: 
c.1. the scope of the measure: 
Regional
National
International
c.2. the nature of the measure: 
legislative
regulatory
financial
institutional
c.3. the main feature of the measure: 

The Cultural Industries Development Act was proclaimed in 2015. The Act serves as the conduit through which the potential of the cultural industries would be realised. The Act recognizes the vital contribution of the cultural industries to sustainable development and seeks to promote the sector though the provision of incentives for cultural workers.The Act also encourages public-private sector partnerships and partnerships with all stakeholders through the establishment of the Cultural Industries Development Fund which is managed by the Authority. The purposes of the Fund are to: (1) finance cultural projects and programmes that are designed to develop the cultural industries sector and train cultural entrepreneurs, cultural practitioners,  cultural administrators and cultural workers; (2) provide cultural entrepreneurs with non-repayable grants to enable them to participate in local and overseas events, workshops and seminars and allow for training, marketing and export, and product development; and (3) provide repayable grants and loans for cultural projects and provide equity financing to allow investors to inject funds into cultural businesses and in return to take an equity share in the capital of such businesses.This legislation also makes provision for the establishment of a Cultural Industries Development Authority. The Authority is responsible for: promoting, assisting and facilitating the efficient development of the cultural industries and designing and implementing suitable marketing strategies for the effective promotion of the cultural industries.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 

The expected outcomes which are anticipated through the implementation of the Cultural Industries Development Act include, but are not limited to, the following:

  1. The continued capturing of practitioner data via the Barbados Registry of Artistes and Cultural Workers
  2. The implementation of a mapping and economic assessment of the cultural industries
  3. Developing and designing the processes and benchmarks towards standardizing industry processes
  4. Identify and support training and skills development for the industry
  5. Provide support for investment into the industry and work with stakeholders and constituents in the cultural industries to developt infrastructure specific to the industry, such as factories, galleries, studios, theatres, etc. 
  6. Identify markets for trade and develop trade links and strategies 
f.2 Financial resources allocated to implement the measure: 

US$ 200, 000Funds are provided through the budget allocated to the Barbados Cultural Industries Development Authority (BCIDA). CIDA has responsiblity for overseeing the implementation of the Cultural Idustruies Development Act.  

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

Cultural Policy and Intellectual Property Rights Workshop

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

The Cultural Policy and Intellectual Property Rights workshop focused on addressing the needs of the Caribbean artistic community with the central aim of placing cultural civil society organisations and practitioners at the nucleus of cultural policy throughout the region. It created a space for cultural civil society organisations and matters concerning their artistic development to be discussed. The Intellectual Property Rights component of the workshop was geared towards a frank and open discussion on: what these rights are, identifying these rights in artistic works, how to protect cultural works, and how to financially gain from these rights?  

c. What is: 
c.1. the scope of the measure: 
Regional
National
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

The Cultural Policy and Intellectual Property Rights Workshop  was a regional workshop for CARICOM countries. It created a space for cultural civil society organisations and matters concerning their artistic development to be discussed at a regional level. The workshop addressed issues in formulating, implementing and evaluating cultural policies in the Caribbean. The workshop was timely as Jamaica is currently reviewing its cultural policy, St. Vincent and the Grenadines is in the process of implementing theirs and  Trinidad and Tobago, Guyana and Barbados would soon commence the revision of their respective cultural policies.Likewise, the renewed emphasis on the cultural industries by CARICOM states necessitates the need for the formulation of strong cultural policies which accurately reflect and address the sector’s needs, and which can guide the growth and development of the cultural industries. As it relates to the Intellectual Property Rights component of the workshop practical examples of success stories as well as stories of missed opportunities, business losses and best practices would also be presented from industry leaders across the region. 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

It is expected that this workshop would serve as a platform for further engagment and dialogue among Caribbean Directors of Culture and cultural civil society orgranisations. It was anticipated that the workshop would allow for the sharing of best practices, pitfalls and opportunities for partnerships and collaboration among regional colleagues and partners, particularly in the areas of engaging meaningfully with civil society organisations and capturing cultural data within the Caribbean. 

f.2 Financial resources allocated to implement the measure: 

The workshop was sponsored by tthe Caribbean Development Bank. The total cost of the workshop was US$ 13, 500.

g. Name of NGOs and/or private companies engaged in the implementation of the measure, if any: 
Name: 
University of the West Indies
Type of Entity: 
Private company
Type of Involvement: 

The University of the West Indies assisted in the promotion of the workshop. 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
i.1 At what level the evaluation was conducted?: 
National
❭ CULTURAL POLICIES AND MEASURES

National Independence Festival of the Creative Arts (NIFCA) Performing Arts Ensemble

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

The key objectives of the NIFCA Performing Arts Ensemble are:

  • To offer interested NIFCA awardees an important ‘next step’ opportunity in their career development as artists
  • Provide advanced training in drama, dance and music principally, and also in areas of arts management and the business of the arts, including cultural entrepreneurship, intellectual property issues in performing arts, and personal development
  • Develop members performing and presentation skills, by affording opportunities to stage, or participate in , local and overseas performance events
  • Provide members with an opportunity to use arts-in-education techniques to respond to community needs for alternative pedagogies which empower and foster self-expression
  • To form a repertory company with a variety of theatrical works for performance
c. What is: 
c.1. the scope of the measure: 
Local
Regional
National
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

Following a successful run of the Theatre Arts Internship Programme, the NIFCA Performing Arts Ensemble was launched in 2016. The programme targets performing arts awardees from the National Independence Festival of the Creative Arts. It includes training in various styles of theatre from conventional stage performance to site-specific work. The programme targets approximately 30 interns between the ages of 16 -30 years. Upon selection, all members will be contracted for a period of two years, at the end of which they will be appraised. Non-adherent members, and/or members wishing to leave, will be rotated out at the end of the two-year cycle to make way for new membershipThe aim is to cultivate a body of regularly employed quality performers. As the NIFCA Performing Arts Ensemble develops a repertoire, performances will be available for hire. Apart from the developmental aspect of the programme, much of the Ensemble’s output will be marketable cultural products. 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 

The guiding principle of the NIFCA Performing Arts Ensemble is to put performing artists together with teaching artists and arts managers to advance the quality of the performers’ work, and also to create a repertoire of developmental and performance events that can be applied in a variety of settings where semi-professional/professional performing arts is wanted. The Ensemble would therefore create a team of players groomed and ready for performance opportunities. Further, it is proposed that the NIFCA Performing Arts Ensemble is expected to function s as an income-generating performing repertory company, available for local and overseas work. 

f.2 Financial resources allocated to implement the measure: 

USD 8,875

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

P.I.T.C.H Programme

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

The PITCH programme aims to teach cultural and creative business practitioners how to present their business proposals and market their businesses to potential investors. The programme enables cultural practitioners to define their product and create and/or improve their financial documents. It provides a platform and safe learning environment for creative product owners and developers to test and develop their selling skills to investors. 

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
financial
institutional
c.3. the main feature of the measure: 

The PITCH programme was created in response to findings which indicated that investors are often approached by cultural industries practitioners who lacked the key skills required to promote (pitch) their products or services to secure funding. This often resulted in several cultural businesses losing investment opportunities, which could have had a positive impact on the development of their business and the cultural industries in general. In response to these concerns the PITCH programme was designed to bring the potential investor and the creators of the products together much earlier in the production process. The private sector has played an integral role in collaborating with the Cultural Industry Development Authority in executing this project, acting as accessors of the investment potential of cultural practitioners and providing much need financial support and advice. The P.I.T.C.H. Programme has had four editions since its inception in November 2015.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 

The expected results from the implementation of the PITCH programme are:

  1. An increase in the investment opportunities for cultural practitioners
  2. An increase in the growth of cultural entrepreneurs who have secure funding
  3. The growth of sustainable cultural enterprises that are export ready 
f.2 Financial resources allocated to implement the measure: 

USD 15,000

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

P.I.T.C.H.  has grown and improved over the last 4 months. Using the feedback from the evaluation forms from 1st and 2nd edition, the 3rd edition of the programme PITCH was expanded to include an extra day for financials (financial planning, etc) as well as a day dedicated to PITCH practice before meeting the assessors. These revisions proved highly beneficial as the assessors noted that this was the most prepared and well informed cohort they had seen and this translated to increased interest from investors. To this end, it has been concluded that given the success of the participants, funding should continue for the PITCH programme.

i.3 Which indicators were used to determine impact?: 

The PITCH programmes were evaluated base on: (1).the number of cultural practitioners trained to approach investors and (2) the number of investors who supported the business proposals and projects of the cultural practitioners trained in the programme. 

❭ CULTURAL POLICIES AND MEASURES

Social Identity-Renewal and Integrated Upliftment Strategy (SIRIUS) : Mirror Image Media and Innovation Labs and Identity TV

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

The Mirror Image Media and Innovation Labs (MMIL) is a broad programme in media, images, innovation and identity designed to explore the Rt. Excellent Errol Walton Barrow’s notion of mirror image to build identity and national confidence. It challenges young artists to use this concept to produce innovative but indigenous music and accompanying videos firmly rooted in Barbadian history, culture, aesthetics, geography and tangible and intangible cultural heritage.From these labs Identity TV was developed as an entirely web-based TV channel which delivers visually engaging video programming that entertains, educates and provokes meaningful discussion amongst Barbadian youth. The channel consists of a combination of breaking news with live video coverage, entertainment- drama, comedy, reality shows, lifestyle features, profiles, mini-documentaries, festivals, events and educational content. 

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

The Social Identity-Renewal and Integrated Upliftment Strategy (SIRIUS) is a leadership and innovation crucible.  It is the first of three planned innovation centres. The SIRIUS promotes and develops several “centres of innovation” by encouraging existing entities to refocus themselves into creative spaces of originality.One of the components of the SIRIUS programme is the Mirror Image Media Lab (MIML) which provides training in animation, film-making, app design, coding, Robotics, Artificial Intelligence and Computer Aided Design (CAD). The Mirror Image Media Lab is aimed at empowering young participants to develop critical life skills and to start up their own businesses. Other components of the SIRUS programme include:

  • writing project proposals to access grant funding;
  • sensitization to the importance of Intellectual Property Rights - this will be managed by a volunteer who is an Attorney and who will guide participants in issues related to copyright, patents, trademarks and negotiating strategies. 
  • Africa Trade Centre - to explore opportunities for the development of trade with Africa;
  • Projects in specific areas such as Cell phone manufacture, Computer Programming, Drum Manufacture, Alternative Energy, Health and Wellness, Agriculture, Fashion/Design, etc.
d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 

The expected outcomes from the implementation of the SIRUS programme are:

  • The development of key leadership skills, innovative approaches to problems, self-confidence and a strong sense of identity among youth partners and clients.
  • The creation of an inter-agency approach to the building of stronger communities.
  • The beneficiaries would be using their skills and innovation to build successful businesses in high quality products and services which are export ready.
  • The beneficiaries routinely trade with the African Continent and Diaspora and generate foreign exchange.
  • More specifically, the SIRIUS is working to achieve the following strategies/ objectives stated in the National Youth Policy
  •  

Strategy 1: Employment Encourage and support young people to become more entrepreneurial in their approach to employment. The talents and energy of young people will be channelled towards the potential growth areas of ICT’s, Sports, the Cultural Industries and Agriculture.Strategy 2: Education Explore and develop other learning methodologies, such as “experiential learning”. 

f.2 Financial resources allocated to implement the measure: 

US$ 40, 000

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

Mapping of the Cultural Industries in Barbados

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measures: 

The main objective of the proposed mapping exercise of the Barbados Cultural Industries is to give greater visibility to the creative sector through the identification of the value of the sector, for social, cultural and economic purposes.  The mapping will concentrate on the core Cultural Industries of Barbados, and will explore production, distribution, exhibition and export of cultural goods, services and the role of intellectual property in the process.Some of the objectives of mapping of the creative economy of Barbados are:

  • The provision of a better understanding of the impact of the creative sector on the economy
  • Identifying the direct impact of the sector in terms of economic and employment effects.
  • The provision of the necessary data that would enhance decision-making and policy formulation so as to strengthen the creative industries; and facilitate the formulation of appropriate development strategies;
  • The designing of methods and techniques to be applied for measuring the economic and social contribution of the cultural industries;
  • Identifying the strengths and weaknesses of the sector;
  • Identifying the organisations of relevance to the growth of the sector, including those which may not be already existing;
  • Recommending the best approach to the formation of clusters.
    c. What is: 
    c.1. the scope of the measure: 
    National
    c.2. the nature of the measure: 
    regulatory
    institutional
    c.3. the main feature of the measure: 

    The mapping is intended to provide an economic assessment of the following sub-sectors to the Barbadian economy in terms of employment, exports of goods and services and intellectual property and to GDP, depending on the availability of data:

    • The music industry, including recording, live performance and music publishing
    • Film and television, including on-location productions
    • The book and magazine publishing industry
    • The performing arts
    • The visual and plastic arts
    • Festivals and cultural tourism
    • Fashion
    • Collective management of copyright and related rights

    It is expected that a national assessment of the subsector will be undertaken, covering the growth of the sector, its market size, organisation and competitiveness. It is also expected that institutions supporting the creative industries will be examined.A strategic analysis with respect to the strengths, weaknesses, opportunities and threats will be explored and any critical issues confronting the sector will be highlighted. Additionally, any specific strategies to mitigate these issues will be developed.  

    d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
    No
    e. What are the results expected through the implementation of the measure?: 

    The results of the cultural industries mapping exercise will be used to determine the following:

    • Value of sector’s gross production
    • Primary revenue generated by the sector
    • Sector productivity (income generated by each worker)
    • Value of sector’s imports and exports
    • Number of persons employed in the sector
    • Rate of growth for all variables over an identified period to be agreed on (eg 2005 to 2010 and 2010- to 2015.
    f.2 Financial resources allocated to implement the measure: 

    USD 25,000

    h. Was this measure introduced or revised in order to: 
    h.1. Implement the provisions of the Convention?: 
    No
    h.2. Support/nurture policy discussion inspired by the Convention?: 
    No
    h.3. Other reasons unrelated to the Convention?: 
    No
    i. Has the implementation of the measure been evaluated?: 
    No
    ❭ CULTURAL POLICIES AND MEASURES

    Emerging Directors’ Residency

    Context of the measure: 
    CULTURAL POLICIES AND MEASURES
    b. Key objectives of the measures: 

    The key objectives for the Emerging Directors' Residency are as follows:

    • Partner with local and regional arts platforms to offer developmental opportunities for artists
    • Provide a forum for emerging directors to research their craft through mentorship, and through access to documented and archived material.
    • Provide emerging directors with a secure and rigorous environment for practice, and the resources with which he or she may develop emerging work, and/ or experiment with new ideas.
    • Provide opportunities for actors to work with emerging directors in a developmental and experimental workshop setting.
    c. What is: 
    c.1. the scope of the measure: 
    National
    c.2. the nature of the measure: 
    institutional
    c.3. the main feature of the measure: 

    Residency programmes afford professionals time and space away from the demands of daily work life to do much needed professional development. Outside of traditional longer term training and development, a paid residency allows artists time, however short, for contemplative study and exploration. In the Barbadian context, there is much focus on the training of performers, however there are considerably fewer opportunities for those theatre artists with a special interest in directing to hone and develop their skills. Highly skilled, culturally aware and visionary directors are needed, as we move nationally to advance our cultural industries sector, and to enrich the quality of small and large scale staged events, whether drama, music, dance, or indeed the multi media event.The Emerging Directors' Residency responds to these training and developmental needs. The Emerging Directors’ Residency is a paid artist residency partnership for early career theatre directors, which provides them with an opportunity to conduct much needed research into Caribbean theatre and to explore and create through threatre form and style. The residency sponsors two emerging Barbadian directors. Each residency is based at Fresh Milk Arts Platform in Workman's, St. George. The residency runs for 50 hours which the residents much complete in two weeks. There are two fortnightly time frames scheduled and each candidate may choose which frame is suitable. A mentor will spend 10 hours in total with each resident over each 50 hour session. Each resident will have access to two actors for 15 hours to experiment and/or create work. At the end of each period, there will be a short showcase where the residents share aspects of the work they have been contemplating.

    d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
    No
    e. What are the results expected through the implementation of the measure?: 

    The Emerging Directors' Residency is mentored over the course of the programme by a noted Barbadian/ Caribbean director and at the close of the period, each will present, by way of a small showcase with actors, aspects of the work they have been exploring. 

      f.2 Financial resources allocated to implement the measure: 

      USD 3, 375

      g. Name of NGOs and/or private companies engaged in the implementation of the measure, if any: 
      Name: 
      Fresh Milk Arts Platform
      Type of Entity: 
      NGO
      Type of Involvement: 

      At residency takes place at, and is hosted by the Fresh Milk Arts Platform. 

      h. Was this measure introduced or revised in order to: 
      h.1. Implement the provisions of the Convention?: 
      No
      h.2. Support/nurture policy discussion inspired by the Convention?: 
      No
      h.3. Other reasons unrelated to the Convention?: 
      No
      i. Has the implementation of the measure been evaluated?: 
      Yes
      i.1 At what level the evaluation was conducted?: 
      National
      i.2 What were the main conclusions?: 

      /

      i.3 Which indicators were used to determine impact?: 

       

        ❭ CULTURAL POLICIES AND MEASURES

        Community Arts Development Programme

        Context of the measure: 
        CULTURAL POLICIES AND MEASURES
        b. Key objectives of the measures: 

        The objectives of the programme are as follows:

        • to create ensembles for theatre, drama, wind players, rhythm section muscians and vocalists,
        • to seek collaboration with cultural stakeholders such as the Ministry of Educatioin, the National Cultural Foundation and other arts organisations , in addressing such issues as pedagogy, teacher training, content, and availability of resources to facilitate creativity in the performing arts. 
        • to improve the standard and quality of performances during the National Independence Festival for the Creative Arts
        • to provide a major boost to the cultural re-awakening  at the community level 
        • to promote an appreciation and understanding of the value of the arts in all facets of our daily lives
        • to foster and promote a sense of national identity through the use of the arts
        • to begin a feeder programme for the establishment of a National School for the Performing Arts at some appropriate time in the future
          c. What is: 
          c.1. the scope of the measure: 
          Regional
          National
          c.2. the nature of the measure: 
          institutional
          c.3. the main feature of the measure: 

          The primary goals of the Community Arts Development Programme are as follows:

          • To expose local communities to the performing arts and to move the persons trained into academic programmes at the secondary and tertiary levels;
          • To stimulate and promote excellence in all areas of the performing arts;
          • To improve the quality of performing arts in Barbados;
          • To foster and promote a strong sense of national identity through the use of the arts;
          • To deliver  broad-based access to children in Barbados in all areas of the performing arts, regardless of levels of income, education, ethnicity, race, age, gender, whether as participants and or as audiences.
          d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
          No
          e. What are the results expected through the implementation of the measure?: 

          The expected results of the Community Arts Development Programme are:

          1. Students would be trained to read and write music
          2. The development of performance skills in steel pan and ensemble skills by performing in a steel band
          3. The formation of two steel pan bands
          4. Students trained in dance and drama
          5. Increased community arts programming for the youth
          6. A commitment from the Ministry of Education, the Barbados Community College, the National Cultural Foundation, the Errol Barrow Centre for Creative Imagination at the University of the West Indies to conduct community programmes which develop creativity in youth and build a strong platform for the performing arts in Barbados
          7. An end of year production by the students of the programme demonstrating the skills learnt and acquired.
          8. The creation of ensembles for theatre, drama, wind players, rhythm section musicians and vocalists
          9. The publication of a report on the programme and its outcomes 
            f.2 Financial resources allocated to implement the measure: 

            US$ 26,000

            g. Name of NGOs and/or private companies engaged in the implementation of the measure, if any: 
            Name: 
            University of the West Indies
            Type of Entity: 
            Private company
            h. Was this measure introduced or revised in order to: 
            h.1. Implement the provisions of the Convention?: 
            No
            h.2. Support/nurture policy discussion inspired by the Convention?: 
            Yes
            h.3. Other reasons unrelated to the Convention?: 
            No
            i. Has the implementation of the measure been evaluated?: 
            No
            Have you taken or supported initiatives involving civil society in activities: 
            Promote the objectives of the convention through awareness raising and other activities: 
            No
            Please explain how: 
            Collect data and share and exchange information on measures adopted at local and international level: 
            Yes
            Please explain how: 

            The formulation of the National Cultural Policy, as well as the development and continuation of cultural programmes, projects and activities are always preceded and accompanied by consultations with the cultural civil society organisations, cultural practitioners, cultural stakeholders and policymakers. The last mass national cultural consultation took place in 2012 with discussions focusing on the Cultural Industries Development Act. Since then smaller consultations have taken place with sector specific groups. For example, in December 2014 a consultation was held with stakeholders and practitioners from the film and digital media sector in Barbados. In addition to this, working with key stakeholders such as the Errol Barrow Centre for Creative Imagination and the Sir Arthur Lewis Institute for Social and Economic Studies, both of which are institutions of the University of the West Indies, diverse studies and surveys have been produced on Barbados’ culture and cultural industries. These studies require input through consultation from cultural practitioners and the civil society organisations which promote and protect their work.Furthermore, through its annual training programmes, workshops and activities, the National Cultural Foundation, in keeping with a key component of its mandate, regularly shares data and exchanges information with Barbados cultural civil society organisations on measures adopted at the local and international level. Similarly, working in collaboration with the Cultural Industries Development Authority and the National Cultural Foundation, the Indigenous Services Department of the Barbados Investment and Development Corporation, as well as the Barbados Coalition of Service Industries share information on data and other related measures with the cultural community on a regular basis through workshops, seminars and working series. In addition to this, they also provide sponsorship for civil society based organisations when they seek to conduct their own research on the sector.

            Provide spaces where ideas of civil societies can be heard and discussed while developing policies: 
            Yes
            Please explain how: 

            Physical space is made available for cultural civil society based organisations, cultural practitioners, cultural stakeholders and members of the cultural community at the:  Ministry of Culture, Sports and Youth, the National Cultural Foundation, through the Barbados Investment Development Corporation, the Barbados Coalition of Service Industries, the Ministry of Labour, the University of the West Indies, Central Bank of Barbados and the Community Development Department. This list of available space is not exhaustive as other government agencies also provide space, agencies such as the National Conservation Commission within the Ministry of Environment and Drainage. In addition to the space, provided, at times secretarial and administrative services when requested are provided. The cultural community has a long established working relationship with the Government of Barbados which includes the facilitation of working space for organisations and practitioners when available.

            Implement Operational Guidelines: 
            No
            Please explain how: 
            Other: 
            Please explain how: 
            Is Civil Society contributing to this report?: 
            Yes
            Name of the Organization(s): 
            Haynesville Youth Club
            Pinelands Creative Workshop
            Barbados Arts Council
            Barbados Museum and Historical Society

            Contribution from Civil Society

            This section is to be completed with information provided by civil society: 
            Has the civil society taken initiatives to: 
            Promote the principle and the objectives of the Convention locally and internationally: 
            No
            Please explain how: 
            Promote ratification of the Convention and its implementation by governements: 
            No
            Please explain how: 
            Bring the concerns of citizens, associations and enterprises to public authorities, including vulnerable groups: 
            No
            Please explain how: 
            Contribute to the achievement of greater transparency and accountability and accountability in the cultural governance: 
            No
            Please explain how: 
            Monitor policy and programme implementation on measures to protect and promote diversity of cultural expression: 
            No
            Please explain how: 
            Build capacities in domains linked to the Convention and carrying out data collection: 
            No
            Please explain how: 
            Create innovative partnerships with the public and private sectors and with civil society of other regions of the worlds: 
            No
            Please explain how: 
            Challenges encountered or foreseen to implement the Convention: 
            Solutions found or envisaged: 
            Activities planned for next 4 years to implement the Convention: 
            Supporting attachment provided by the Civil Society: 
            Describe main results achieved in implementing the Convention: 

            As noted in the introduction to this report, the 2005 Convention and the work of the Secretariat are in keeping with the goals and objectives of the National Cultural Policy for Barbados specifically objective 12 which speaks directly to cultural diversity. Within this objective five main goals are identified to guide the implementation of the Convention . These are:

            1. to promote and encourage opportunities which will allow the various communities in Barbados to highlight their cultural expressions
            2. to promote and encourage cultural exchange programmes with countries of the Caribbean and the rest of the world, with a view to promoting greater understanding of and respect for the diversity of cultures
            3. to implement and support programmes aimed at the teaching of Barbadians communication in foreign languages, particularly in Spanish and French
            4. to provide and to support opportunities for Barbadians, especially the young ones, to interact with foreign cultures
            5. to implement and support the terms and conditions of the UNESCO Convention for the Protection and Promotion of the Diversity of Cultural Expressions.

            These goals have been implemented and achieved through the work of the Ministry of Culture, Sports and Youth, working in close collaboration with other ministries, agencies and nongovernmental organisations. However, to date one of the key areas of achievement has been the establishment of the Cultural Industries Development Authority after the passing of the Cultural Industries Development Act. The Cultural Industries Development Authority (CIDA) has been established to stimulate the growth of the cultural industries of Barbados through the implementation of effectively designed strategies for the promotion and marketing of Barbados' creative cultural goods, services and experiences. A key element of CIDA's work has been the creation of the Barbados Registry of Artistes and Cultural Workers. The Registry serves the purpose of facilitating the access of artistes, cultural practitioners, cultural entrepreneurs and cultural workers to the benefits provided in the Act.

            Challenges encountered or foreseen to implement the Convention : 

            The main challenge encountered came through the preparation of the periodic report, and this challenge came through the collection of data across both the public sector and civil society organisations. For the public sector organisations the information required is not located within one institution which would act as a repository, instead the information for the report is across departments and ministries which also use culture as a mechanism for social engagement and development. Departments and ministries have their own reporting format for national, regional and international reports which are different to the one used by the 2005 Convention. For the cultural civil society organisations, some of these institutions do not produce annual reports of their activities and therefore while they had an overall objective for the organisation, this was not available for their individual programmes.

            Solutions found or envisaged to overcome those challenges: 

            Having observed the aforementioned challenges, the Ministry of Culture, Sports and Youth, working in collaboration with its cultural agencies: the National Cultural Foundation and the Cultural Industries Development Authority would work to strengthen these deficiencies through the hosting of workshops and seminars on the preparation of annual reports for cultural civil society organisations on financial and non-financial activities.

            Steps planned for the next 4 years: 

            The overall goals for the next four years would be to:

            1. promote the Convention among cultural practitioners and cultural organisations, as well as to the general public
            2. Review the National Cultural Policy for Barbados
            3. Create an action plan to accompany the National Cultural Policy for Barbados
            4. Develop a mechanism for the capturing of cultural data and activities undertaken by cultural organisations, stakeholders and practitioners.
            5. Integrate the Convention into new cultural cooperation agreements
              1. Economy and Finance: 
              1.1. Total Flows of Cultural Goods and Services: 
              1.1.a Cultural Goods: 
              Total exports in cultural goods: 
              USD: 
              Year: 
              Source: 
              Total imports in cultural goods: 
              USD: 
              Year: 
              Source: 
              1.1.b Cultural Services: 
              Total exports in cultural services: 
              USD: 
              Year: 
              Source: 
              Total imports in cultural services: 
              USD: 
              Year: 
              Source: 
              1.2 Contribution of cultural activities Gross Domestic Product: 
              Total GDP: 
              USD: 
              Year: 
              Source: 
              USD: 
              Year: 
              Source: 
              Which methodology was used to calculate the share of culture in total GDP?: 
              1.3. Government expenditure on culture: 
              Total government expenditure: 
              USD: 
              Year: 
              Source: 
              Share of culture in government expenditure: 
              USD: 
              Year: 
              Source: 
              2. Books: 
              (a) Number of published titles: 
              Num: 
              Year: 
              Source: 
              (b) Number of publishing companies: 
              Total all companies: 
              Num: 
              Year: 
              Source: 
              Small Size Companies: 
              Num: 
              Year: 
              Source: 
              Medium Size: 
              Num: 
              Year: 
              Source: 
              Large Size: 
              Num: 
              Year: 
              Source: 
              (c) Bookshops and sales: 
              Bookstore chains: 
              Num: 
              Sales, USD: 
              Year: 
              Source: 
              Independent Book stores: 
              Num: 
              Sales, USD: 
              Year: 
              Source: 
              Book stores in other retail: 
              Num: 
              Sales, USD: 
              Year: 
              Source: 
              Online Retailers (labels): 
              Num: 
              Sales, USD: 
              Year: 
              Source: 
              (d) Translation flows: 
              Number of published translations: 
              Num: 
              Year: 
              Source: 
              3. Music: 
              (a) Production / Number of albums produced: 
              Physical Format: 
              Num: 
              Year: 
              Source: 
              Digital Format: 
              Num: 
              Year: 
              Source: 
              Independent Format: 
              Num: 
              Year: 
              Source: 
              Majors: 
              Num: 
              Year: 
              Source: 
              (b) Sales / Total number of recorded music sales: 
              Physical Format: 
              Num: 
              Year: 
              Source: 
              Digital Format: 
              Num: 
              Year: 
              Source: 
              4. Media: 
              (a) Broadcasting audience and share: 
              Year: 
              Source: 
              Programmes: 
              (b) Broadcasting media organizations: 
              Year: 
              Source: 
              Ownership: 
              Public: 
              Radio channels: 
              Television channels: 
              Both radio & television channels: 
              Total: 
              Private: 
              Radio channels: 
              Television channels: 
              Both radio & television channels: 
              Total: 
              Community: 
              Radio channels: 
              Television channels: 
              Both radio & television channels: 
              Total: 
              Not specified: 
              Radio channels: 
              Television channels: 
              Both radio & television channels: 
              Total: 
              Total: 
              Radio channels: 
              Television channels: 
              Both radio & television channels: 
              Total: 
              (c) Newspapers: 
              Year: 
              Source: 
              Publishing format - printed: 
              Free Only: 
              Non-daily newspapers: 
              Total: 
              Paid Only: 
              Daily newspapers: 
              Non-daily newspapers: 
              Total: 
              Both Free and Paid: 
              Daily newspapers: 
              Non-daily newspapers: 
              Total: 
              Publishing format - both printed and online: 
              Free Only: 
              Daily newspapers: 
              Non-daily newspapers: 
              Total: 
              Paid Only: 
              Daily newspapers: 
              Non-daily newspapers: 
              Total: 
              Both Free and Paid: 
              Daily newspapers: 
              Non-daily newspapers: 
              Total: 
              Total: 
              Daily newspapers: 
              Non-daily newspapers: 
              Total: 
              5. Connectivity, infrastructure, access: 
              Number of mobile phone subscribers per 1000 inhabitants: 
              Num: 
              Year: 
              Source: 
              Number of households with Internet access at home: 
              Num: 
              Year: 
              Source: 
              Number of individuals using the Internet: 
              Num: 
              Year: 
              Source: 
              Percentage of people participating in cultural activities at least one time during the last 12 months: 
              6. Cultural Participation: 
              Activity (in %): 
              Cinema: 
              Female: 
              Male: 
              Total: 
              Theatre: 
              Male: 
              Total: 
              Dance (including ballet): 
              Female: 
              Male: 
              Total: 
              Live concert/musical performance: 
              Female: 
              Male: 
              Total: 
              Exhibition: 
              Female: 
              Male: 
              Total: 
              TOTAL: 
              Female: 
              Male: 
              Total: 
              Is there any available data on the reasons for the non participation in cultural events?: 
              Main reasons for non-participation (in %): 
              Too Expensive: 
              Female: 
              Male: 
              Total: 
              Lack of Interest: 
              Female: 
              Male: 
              Total: 
              Lack of time: 
              Female: 
              Male: 
              Total: 
              Lack of information: 
              Female: 
              Male: 
              Total: 
              Too far away: 
              Female: 
              Male: 
              Total: 
              Other: 
              Female: 
              Male: 
              Total: 
              7. Additional clarifications: 
              First Name: 
              Family Name: 
              Organization: 
              Position: