SDC Culture and

Development Policy
Dancers are taking photos with their
mobile phones before going on stage for their
performance.
Dhaka, Bangladesh, 2016

2
Contents

Introduction 5

Why is culture important for development? 6

SDC objectives, approaches and measures 12

Factoring in the cultural dimension: a warranty for effectiveness and sustainability 12

Fostering diversity in artistic and cultural expressions: a driver of change and cohesion 16

Knowledge management and coordination 22

Appendices 26
Appendix 1:
Implementation principles for SDC support to the culture sector in partner countries 26

Appendix 2:
Implementation principles for SDC support in facilitating the access of artists from the
South and East to the Swiss and international public, markets, and networks 28

References 30

Dancers are getting

ready to perform
on the stage at the
National Museum.
Dhaka, Bangladesh,
2016
Honorine Diama, 27, (centre) waits for her turn
to perform during the “Diakoya Dogotoro Le
Médecin malgré lui” (Molière), production by
Assitan Tangara in Niarela. Their projects have
been supported by SDC.
Bamako, Mali, 2016

4
Introduction

This SDC culture and development policy paper pre-

sents a framework for understanding the multiple
“Culture stands at the links between culture and development and for in-
cluding them as a factor in all of the SDC’s develop-
beginning and the end of ment work.

all development” The SDC, in its efforts to contribute to the reduction

of poverty and inequality, seeks to identify and build
Leopold Sédar Senghor on the cultural resources, local knowledge, and cre-
ative forces on hand in the societies where it works.
This approach is applied in all of the thematic areas
and regions where the SDC is active. In addition, the
SDC allocates funding specifically earmarked for the
culture sector of its partner countries.

The SDC’s commitment in the area of culture and

development has its statutory basis in the Federal
Act on International Cooperation of 1976, among
the specific purposes of which is to “encourage
people to develop their abilities and give them the
possibility of actively participating in the econom-
ic, social and cultural development of the societies
they belong to”. It accords, moreover, with the ob-
ligations undertaken by Switzerland in ratifying the
2005 UNESCO Convention on the Protection and
Promotion of the Diversity of Cultural Expressions. It
is a commitment that rests on the SDC’s 30 years of
experience in this area.

It should be noted from the outset that the SDC

does not have a mandate to work for the promotion
of culture in Switzerland. This responsibility falls to
the communes, the cantons, and the Federal De-
partment of Home Affairs. It is also not the task of
the SDC to promote Switzerland’s image around the
world (which is the mandate of Presence Switzer-
land) or to increase its own visibility through the cul-
tural activities that it supports, though it does make
a contribution in these areas.

5
Why is culture important
for development?
beliefs.”1 As such, it represents a set of resources
– inherited, but also renewable – unique to each
“People are not individual, group, or society. Culture expresses the
meaning that people attach to their own existence
developed by others, they and development. As a source of identity and dig-
nity, a generator of social capital, culture fosters
develop themselves” self-confidence in individuals, and cohesiveness and
resilience in groups. It serves as a springboard, ena-
Joseph Ki-Zerbo bling people to re-invent themselves. Cultural rights
– including the right of access to, and of participa-
tion in, the cultural life of one’s own choice – are
The importance of the relationship between cul- fundamental human rights and are indispensable to
ture and development has been pointed out at human dignity and the freedom to develop one’s
the SDC since the 1980s. That relationship has own personality. In a word, culture is a lever of fun-
become the focus of renewed attention in the damental importance for sustainable development
post-2015 development agenda debate, in re- and the fight against multi-dimensional poverty.
sponse to the need for a more holistic and inte-
grated approach to sustainable development, an Because it possesses these features, there is always
approach that considers not only outcomes, but a risk that culture will be exploited, particularly for
also the processes that lead to them. The Swiss political or ideological purposes, or that it can be-
position on a framework for sustainable develop- come a source of unfair discrimination. While these
ment post-2015 states that the “new transform- risks must be squarely faced, they do not in any way
ative framework for sustainable development diminish the intrinsic value of culture nor the poten-
needs to include and make strong reference to tial that it represents for human development.
human rights, including economic, social, and cul-
tural rights as well as civil and political rights”. It
further notes: “Promoting cultural diversity and Cultural diversity as a part of the
intercultural dialogue as well as leveraging the heritage of humanity
potential of cultural and artistic resources sup-
ports the inclusion of marginalised groups. It is Cultural diversity is as essential to humanity as bio-
also important for fostering peace and for sus- diversity is to nature. It makes the world a richer and
tainable development as a whole”. The Federal more varied place and enlarges the range of choi-
Council’s 2013-2016 Dispatch on International ces available. It is the breeding ground that allows
Cooperation introduced the notion of considering different cultures to continue to develop and enrich
art and culture as further channels for achieving themselves through contact with each other, with-
its objectives. The 2017-2020 Dispatch is expected out drifting towards rigid identities. It is one of the
to recommend that this approach be maintained. sources of development, which must be perceived
not merely in terms of economic growth, but also
The SDC’s approach to culture and development as a means of attaining to a satisfying intellectual,
can be understood as being grounded principally – emotional, moral, and spiritual existence. Culture,
though not exclusively – on the following concepts it must be emphasised here, is a dynamic concept.
and arguments: What is at issue is the principle of diversity itself, not
the momentary state of a culture at any given point
in time.
Culture as a resource and a right
Cultural diversity must be fostered and protected.
Within the context of this policy paper, culture is While globalisation has created the conditions for
understood in the broad sense as “the whole com- greater interaction between cultures, it has also giv-
plex of distinctive spiritual, material, intellectual and en rise to the threat of a certain homogenisation,
emotional features that characterise a society or
social group. It includes not only the arts and let-
ters, but also modes of life, the fundamental rights 1 Definition taken from the “Mexico City Declaration on
of the human being, value systems, traditions and Cultural Policies”, 1982.

6
and with it an imbalance, where the economical- Artistic expression as a driver
ly wealthiest societies hold an advantage when it of change
comes to the propagation of their cultures. Failure
to grant recognition to a minority, a language, or One of the distinctive features of art is that it is both
the practice of a religion, can fuel tensions and even an integral part of the culture to which it gives ex-
trigger conflicts. These challenges call for national pression and, at the same time, is also extrinsic to
and international public policies that promote re- that culture, to the extent that it challenges cultur-
spect for the rights of minorities, freedom of expres- ally established practices. Because of this, artistic
sion, and the exemption of cultural activities, goods expression has throughout history served as a goad,
and services – the bearers of identities, values, and urging both individuals and societies on to change
meanings – from the rules of the free market. their perceptions and to set themselves in motion.
As a field of symbolic confrontation appealing both
to reason and to the emotions, artistic expression
Intercultural dialogue and makes it possible to broach sensitive issues and
exchange as a foundation for challenge social and cultural norms in a subtle but
peace effective manner. It creates a space for reflection,
self-criticism, and debate, providing a stimulus for
The free flow of ideas and open debate on differen- a multiplicity of views and for social transformation.
ces make an essential contribution to mutual under- Art can help to encourage the exercise of freedom
standing and tolerance. Dialogue and intercultural of expression where it has come under threat. After
exchange thus lay the groundwork for peaceful rela- conflicts, artistic expression can make it possible to
tions between individuals, communities and states. deal with the past, facilitate dialogue and mutual
Development cooperation is itself intrinsically a pro- understanding, and restore the hopes and confi-
cess of intercultural exchange and dialogue. dence of people in themselves and in their futures. People are
celebrating the
Holi festival.
Narayangonj,
Bangladesh, 2016

7
 Lots of children and other neighbourhood
residents come out to watch a performance
of “Diakoya Dogotoro Le Médecin malgré Over the past decade, the notion of the “creative
lui” (Molière), by the theater group Assitan economy” has attracted increasing attention, both
Tangara. Their projects have been supported
by SDC.
at the United Nations and in many individual coun-
Bamako, Mali, 2016 tries.2 The creative industries have shown particular-
ly strong growth and resilience, and this both in in-
dustrialised economies and in the developing world,
on a local, national and global scale. Cultural tour-
ism – with an interest in both tangible and intan-
gible cultural heritage – generates a large share of
global tourism revenues. Investment in culture and

2 See the Creative Economy Reports, 2008, 2010, and 2013,

published by the UNCTAD and the UNDP.

8
 Theater performers in a drama at the
Shilpokola Academy.
Dhaka, Bangladesh, 2016

creativity has also proved to be an excellent means While recognising this potential, and the fact that
of revitalising the economy and creating jobs in cit- artists and culture practitioners must be recognised
ies, where an ever-growing proportion of the world as professionals capable of supporting themselves
population now lives. Such investments also gener- through their work, it should not be forgotten that
ate other benefits, in the form of improvements in the value of artistic expression cannot be measured
social cohesion and inclusion, in the prevention of in economic terms alone. A tension often arises be-
violence, in capacity-building and in the promotion tween freedom of expression and the need to re-
of innovation, particularly among the young. Nur- spond to market demand, between inclusion and
turing these sectors requires only a limited financial commercial viability.
investment and can yield tangible benefits for vul-
nerable populations while contributing, at the same
time, to the protection of their natural and cultural
heritage.

9
10
Dogon men can be seen wearing kanaga
masks during the festival of masks and
puppets in Markala, north of Segou.
Markala, Mali, 2016

11
SDC objectives,
approaches and measures
Factoring in the cultural dimension:
a warranty for effectiveness and sustainability

“A stranger may well have big eyes,

but he still sees nothing”
African proverb

Saints arrive to
attend Hindu
festival holy
bathing.
Sunamganj,
Shylhet,
Bangladesh, 2016

A woman’s hand bag with an image of Audrey

Hepburn joins hundreds of people during Sunday
Easter Mass in downtown Bamako.
Bamako, Mali, 2016

12
The failure of well-intentioned development pro- In implementing its development
grammes and the discrepancy between the Millen- cooperation policies, the SDC
nium Development Goals and the results achieved adopts the following approach:
have revealed the inadequacy of development poli-
cies that take a blanket approach, ignoring the dis- ››The SDC is conscious of the values and refer-
tinctive features that characterise different cultural ence systems that underlie its strategies. It makes
contexts. certain that the members of its staff are capable
of understanding the distinctive cultural features
Culture plays a crucial role in negotiating develop- that characterise the societies in which the SDC is
ment processes. When it lies at the heart of change, active. At the organisational level, it takes cultural
culture can act as a catalyst, opening the way to differences into account in all of its analyses and
social and cultural transformation. However, it can operations.
also set itself up as a barrier to change, where
change is perceived as unnecessary, all too precipi- ››The SDC maintains with its partners a dialogue
tous, or even as a threat. For this reason, the cultural between equals, in which cultural differ-
dimension must never be neglected in development ences are respected. It is cognisant of the fact
cooperation efforts. that Switzerland’s role as a donor country gives
rise to an asymmetrical relationship that can be
an impediment to open dialogue, and it works to
overcome this challenge.

13
Models are
performing in a
fashion show at
Dhaka.
Dhaka,
Bangladesh, 2016

14
A few Malians come out to dance at the cotton club
SDC measures
in Bamako on a Friday night. A year ago five people
died in an assault claimed by an Islamist group on a This SDC approach is reflected in the following
Bamako nightclub. The most recent attack a few days measures:
prior on March 21st 2016 was when gunmen allegedly
opened fire on a hotel being used as a base for an EU
military facility in Mali’s capital, Bamako. ››Diversity in the composition of teams and
Bamako, Mali, 2016 partnership networks
At its cooperation offices, the SDC attempts to
ensure that the staff is composed of culturally
diverse teams. Similarly, it strives to create a
››The SDC is actively committed to fostering network of partners that are themselves diverse
respect for cultural rights. When cultural or re- and, at the same time, sensitive to the cultural
ligious practices are used to restrict or to violate diversity of the societies in which they operate.
other human rights, the SDC does not merely
voice condemnation, but seeks rather to encour- ››Intercultural skills
age constructive dialogue and mutual efforts to Intercultural skills are among the fundamental
find solutions suited to the context. requirements for members of the SDC staff,
both at the recruitment stage, and as part of
The SDC sees this approach as the foundation of their continuing training. These skills include not
all development cooperation. It is an indispensable only the basic principles of intercultural com-
prerequisite both for the effectiveness of the SDC’s munication, but also the ability to reflect upon
operations and for obtaining inclusive and sustain- one’s own identity, and to observe and analyse
able results. intercultural issues.
In order to enhance the awareness, knowledge
This approach underpins all of the SDC’s op- and, in particular, the skills of its staff members,
erations in all areas. This approach is expressly teams, and partners where questions of inter-
reflected in the SDC’s gender policy paper, which culturality are concerned, the SDC provides the
specifies that “approaches to gender issues must following resources:
be flexible and adapted to the individual context”
and that “activities must be based on endogenous ›› Support for experience-sharing initiatives,
strategies”. It is also of decisive importance in the providing opportunities to address and reflect on
field of education, where the SDC’s priority is on experiences, both good and bad, that staff mem-
ensuring access for all to a quality education that is bers have had in connection with intercultural
adequate to their needs, is considerate of their val- issues (Knowledge-Learning-Culture Division of
ues, and contributes to their ability to live together the SDC)
with others. Thus, for example, particularly in Africa,
the SDC encourages teaching in the local langua- ›› Focused training programmes, particularly at
ges, or bilingual education, with curricula that make the management level (SDC, in cooperation with
use of local skills and are adapted to the needs and the FDFA Directorate for Resources and outside
realities of the local communities. This approach is professionals)
of crucial importance also in connection with such
issues as food security, risk and disaster prevention, ››Quality of processes
healthcare, conflict prevention, and governance. The quality of processes designed to make pos-
Local knowledge and practices, the traditional so- sible the achievement of objectives is a matter of
cial, economic, and institutional structures, as well paramount importance for the SDC. Such pro-
as the prevailing political structures and power rela- cesses should be people-centred, participatory,
tionships are, in all contexts, decisive factors in the responsive to the distinctive cultural features of
definition and achievement of objectives. the places where the SDC operates, and maintain
flexibility. Such characteristics are crucial if the
communities concerned are to take ownership
of these processes and maintain their autonomy.
The SDC project cycle management tools3 make
it possible, to a certain extent, to take cultural
aspects into account in the planning, monitor-
ing, and evaluation of strategies and projects.
All depends, however, on their being used with
adequate skill, sensitivity, and flexibility.

3 Impact hypothesis and theory of change, political economy

analysis, monitoring of development-relevant changes (MERV),
beneficiary assessment, conflict-sensitive programme manage-
ment, etc.

15
 A man in the audience watches Oumar Konaté from Gao
perform in Songhoi blues bar in Baco Djicoroni Golf.
Bamako, Mali, 2016

Fostering diversity in artistic and cultural expressions:

a driver of change and cohesion

“Art is about asking questions and allowing people

to explore the complexities of the answers to those
questions. It’s not about getting everybody to
think the same thing. It’s about getting people to
experience humanity on a different level”.
Gillian Slovo

The SDC takes the view that an independent, di- ››Preventing violence and conflicts, facilitating
verse and inclusive culture sector4, particularly conflict transformation, making it possible to
in transitional countries and fragile contexts, can deal with the past and enabling reconstruction at
contribute in a decisive and original manner to sus- the level of the individual and of the society as a
tainable development, democratic transition, and whole
the promotion of peace by advancing the following
objectives: ››Promoting discovery and access to new ideas,
strengthening self-confidence, creativity and
›› Strengthening the role of civil society, as both a innovative capacity
participant and an advocate in cultural life and in
social and political processes ››Instilling dignity, meaning, and a sense of beauty,
making possible hope and confidence in the future
›› Protecting freedom of expression and nurturing
the conditions for the emergence of democratic The SDC sees development of an independent, di-
discourse, promoting the growth of pluralistic verse and inclusive culture sector in partner coun-
societies tries as an end in itself. It also recognises that the
culture sector can be a source of valuable partners
››Encouraging inclusion and social cohesion, for achieving certain of the specific objectives of
cultural diversity and intercultural dialogue, and SDC programmes in its priority areas.
respect for otherness and minorities
In many developing and transition countries there is
no adequately funded policy for promoting cultural
diversity. Equally absent is a developed market with
an effective legal framework for the protection of
4 Culture and creative sectors are referred to in this policy as
all sectors whose activities are based on cultural values and/or intellectual property. Artists and other independent
artistic and other creative expressions, whether those activities culture practitioners must struggle to accomplish
are market- or non-market-oriented, whatever the type of struc-
ture that carries them out, and irrespective of how that structure professional training and to find resources for the
is financed. Those activities include the development, the crea- pursuit and dissemination of their creative efforts.
tion, the production, the dissemination and the preservation of
In some cases, they even place their own existence
goods and services which embody cultural, artistic or other cre-
ative expressions, as well as related functions such as education in jeopardy by practising their art. At the same time,
or management. The culture and creative sectors include inter the lack of adequate spaces for the dissemination of
alia architecture, archives, libraries and museums, artistic crafts,
audiovisual (including film, television, video games and multime- culture makes it difficult for the general population
dia), tangible and intangible cultural heritage, design, festivals, to have access to, and to participate in, the county’s
music, literature, performing arts, publishing, radio and visual
arts. (Definition used by the European Parliament in its regulation
cultural and artistic life, particularly outside the cap-
on establishing the Creative Europe Programme 2014-2020) ital cities.

16
Actors are
performing
the drama “Karbala”
at the Shilpokola
Academy.
Dhaka, Bangladesh,
2016

17
 Folk singers are performing in Lalon Mela.
Kustia, Bangladesh, 2016

A dancer jumps up a wall during a

contemporary dance routine in Kettly Noel’s
dance studio called Donko Seko in Bamako
in Mali.
Bamako, Mali, 2016

18
These challenges are exacerbated at the internation- See appendices 1 and 2 for the allocation of
al level. Because of the many technical and financial responsibilities, principles of implementation, and
constraints that limit the mobility of artists from de- priorities for the SDC’s culture programmes and
veloping countries, they and their works have only projects.
limited access to international markets and networks.
Such access is, however, an important source of op- ››Artistic expression in the SDC’s non-culture
portunities and experience, a gateway to gaining programmes
recognition, obtaining funding, and establishing the In addition to its dedicated programmes, the
professional contacts that can be useful, or even in- SDC routinely gives consideration to the contri-
dispensable, for the pursuit of their creative activities. bution of the culture sector in achieving certain
specific objectives in the areas to which it assigns
thematic priority. Where it appears useful, the
SDC measures SDC integrates cultural and artistic activities into
programmes whose thematic focus is on areas
The SDC translates this approach into practice other than art and culture. Thus a programme
through the following measures: designed to create jobs and provide income
could promote the competitiveness of a culture
››Culture programmes and projects industry (e.g., artisanal crafts) with a strong
The SDC supports diversity of cultural and artistic potential in a given context. An educational
expressions in the countries of the South and programme could integrate artistic activities as
East,5 and promotes in those countries the vitality an element of quality education. A programme
and development of inclusive culture sectors. To addressing the causes of a conflict could avail
that end, the SDC carries out dedicated pro- itself of artistic creation as a means of establish-
grammes and projects in partner countries and in ing a protected space for intercultural dialogue.
Switzerland. With these programmes, it pursues, A programme designed to promote governance
in particular, the following objectives: could provide support for arts advocacy activi-
ties. Finally, art, as a medium of communication,
›› To provide artists and culture professionals can be an effective tool for awareness-raising
of the South and East with an opportunity to or prevention efforts within the framework of
receive training, strengthen their skills, and SDC programmes, particularly if the chosen form
develop their careers, their organisations, and of artistic expression is intrinsic to the means
their networks, and to obtain respect for their of cultural communication among the people
rights, recognition for their work, and improved concerned.
working conditions.
In such cases, artistic expression is seen, above
›› To encourage artistic expression and cultur- all, as a means to an end, and the objectives of
al creativity of the countries of the South the programme have priority over development
and East; to support the dissemination of works of the culture sector. Where it makes use of art
of art, and to promote the establishment of as a means of awareness-raising, the SDC is
spaces for reflection, dialogue, and debate, par- nevertheless sensitive to the fact that an all too
ticularly in connection with cultural productions interventionist approach can be counterproduc-
that address social or development issues, while tive in terms of the message that it is trying to
respecting the artistic freedom and programme convey, and understands that talent and artistic
autonomy of the SDC’s partners. freedom are essential to the creation of original
works capable of appealing to and moving their
›› To promote greater access to, and involve- audience.
ment in, the cultural and artistic life in SDC
partner countries among the local populations,
particularly in rural, peripheral, or disadvantaged
regions.

›› Through efforts in Switzerland, to facili-

tate access for artists and culture profes-
sionals from the South and East, and for their
works, to the Swiss and international public,
markets, and professional networks.

5 The term “countries of the South and East” refers to the list
of countries eligible to receive official development assistance,
which is revised at regular intervals by the Development Assis-
tance Committee (DAC) of the OECD.

19
››Multilateral This contribution, amounting to 1% of Switzer-
On occasion, the SDC takes a stance on the land’s total contribution to UNESCO, is intended
subject of culture and development, as a partici- to support the visibility and the implementation
pant in the procedures for establishing norms at of the Convention, which was ratified by Swit-
the United Nations, in particular, at meetings of zerland in 2008 and which serves as a valuable
the General Assembly and of the Economic and normative instrument fundamentally consistent
Social Council (ECOSOC). with the SDC’s culture and development policy.
Payment of the contribution to the IFCD is subject
Switzerland, through the SDC, contributes to the condition that the efficiency of the Fund is
financing to the International Fund for Cultural maintained. The United Nations and International
Diversity (IFCD), which was established by the Organisations Division of the FDFA’s Directorate
2005 UNESCO Convention on the Protection and of Political Affairs monitors the contribution in
Promotion of the Diversity of Cultural Expressions. coordination with the Federal Office of Culture.

20
››Art and communication der to document its activities, and such commis-
The SDC’s support for cultural and artistic ex- sions may provide artists from the SDC’s partner
pressions in the countries of the South and East, countries with income and a certain visibility and
whether in its operations abroad or in Switzer- recognition. They are not, however, to be con-
land, is not intended to promote the image of sidered as support for culture as such, as they do
Switzerland nor that of the SDC and its activities. not necessarily encourage free expression by the
The SDC may commission work by artists in or- artists commissioned. The funding for such com-
missions is to be taken from a different budget,
as a rule, the communications budget.

Edel Dolo, who is in his 50’s, used to sell In essence, the image that can best reward the
tickets for the movies before it closed down. SDC for the support it provides for cultural and
He now lives and takes care of the abandoned
artistic expressions in the South and East is one
“cinéma Le Vox”, which has been part of his
life for decades. of an organisation that embodies the values that
Bamako, Mali, 2016 Swiss foreign policy seeks to promote, including
respect for democracy and human rights, and
peaceful coexistence between peoples. It is the
image of an organisation that does this by taking
an interest in what its partners have to say,
allowing them to express themselves through
artistic works produced by their own creative
efforts.

An old movie reel can be seen in the empty

and abandoned “cinéma Le Vox” in Bamako.
Many classic cinemas have closed due to lack
of interest by the public.
Bamako, Mali, 2016

21
Knowledge management
and coordination

Souleymane Niaré is currently the highest

“It is through conversation ranking elder of the Niaré family, which is the
founding family of Bamako and a such seen
as ‘royals’.
that knowledge flows Bamako, Mali, 2016

directly from person to

person, learning takes
place, insights are
gleaned, connections are
made and relationships
are built”.
David Gurteen

A group of women are waiting for the cultural

function to start.
Mymensing, Bangladesh, 2016

22
The SDC’s Knowledge-Learning-Culture Division The Knowledge-Learning-Culture Division also coor-
provides encouragement and guidance in the shar- dinates the SDC’s culture and development activities
ing and capitalisation of experience related to the with other federal agencies, both at the strategic
links between culture, art and development. It deals and at the operational levels, employing effective,
with requests by staff members for advice and net- efficient, and transparent information-sharing and
work contacts, in particular, by facilitating a com- coordination mechanisms.
munity of practice. It assists with the integration of
learning into key SDC procedures, working together
with the Quality Assurance Section.

23
24
Bangladeshi people participate in a colorful
parade to celebrate the first day of the Bengali
New Year or Pohela Boishakh in Dhaka,
Bangladesh on April 14, 2016. Thousands of
Bangladeshi people celebrate it with different
colorful rallies, cultural programs with
traditional dance and music, this Bengali year
was introduced during the regime of Emperor
Akbar to facilitate revenue collection in the
16th century.
Dhaka, Bangladesh, 2016

25
Appendices

Appendix 1:
Implementation principles for SDC support to the culture sector
in partner countries
The SDC provides support for the local culture sec- 3. Culture programmes have their own
tor in partner countries through dedicated projects legitimacy
and programmes (“cultural percent”). Culture programmes and projects make a practical
contribution to the achievement of the SDC’s over-
all objectives for development, transition, and hu-
Implementation principles for the manitarian aid, particularly with regard to govern-
cultural percent ance and the strengthening of civil society. Culture
programmes have their own legitimacy: there is no
1. The SDC devotes a minimum of 1% of requirement that they be adapted to the SDC’s the-
its budget to art and culture in its partner matic priorities for a given country.
countries
A minimum of 1% of the SDC’s operational budget 4. The SDC favours long-term commit-
in any given country/region is devoted to support ments
for initiatives in the local artistic and culture sector To the extent possible, the SDC prefers to support
through dedicated projects and/or programmes. multi-year programmes rather than sporadic short-
This commitment is incorporated into the coopera- term projects, because the former make it possi-
tion strategies and funding is taken from the respec- ble to achieve more sustainable results in the local
tive framework credits foreseen in the quadrennial culture sector, among other things, by influencing
Dispatch on Switzerland’s International Coopera- the framework conditions within which the sector
tion. develops. Such long-term programmes also make
it possible for the SDC to adopt a partnership ap-
2. The principle of the cultural percent applies proach (as opposed to a sponsorship approach), and
in all four domains of SDC operations to better focus its financial and human resources.
The principle of the cultural percent applies in all
four domains of SDC operations: Cooperation with 5. The SDC may initiate regional pro-
Eastern Europe, Regional Cooperation, Global Co- grammes
operation, and Humanitarian Aid. Within each of Where the SDC has a regional presence covering a
these domains, responsibility for implementation group of countries, it can initiate regional culture
of the principle falls to the SDC’s geographic divi- programmes. It is recommended that such pro-
sions and global programmes. Authority for the grammes be firmly anchored at the national level.
specifics of implementation of culture projects and The regional dimension makes it possible to pro-
programmes is delegated, to the fullest extent pos- mote cultural exchange, which serves as a source of
sible, to the SDC cooperation offices (including SDC regional cohesion and can generate new opportuni-
offices integrated into an embassy).6 By decentralis- ties for artists.
ing authority in this way it is possible to define sup-
port priorities in accordance with the local context, 6. The SDC respects its partners’ artistic
needs, and opportunities. The SDC offices abroad liberty and freedom of expression
make the requisite staff resources available for moni- The SDC respects the rights of its partners to artistic
toring culture programmes and ensuring that pro- freedom and to freedom of expression, while mak-
gramme managers have access to appropriate con- ing certain, at the same time, that support is not
tinuing training; they employ local or international given to extreme positions that could be perceived
experts as required. as offensive or harmful (“do-no-harm” approach).
It assesses each situation on a case-by-case basis
and strives to build relationships based on trust with
partners who share its values.

6 “Small grants of the Embassies in the field of international

cooperation” financed by the SDC are not counted among the
measures used for implementing the cultural percent, although
they may sometimes have similar objectives.

26
7. The SDC implements its programmes Priorities for the cultural percent
in a coordinated manner
Within the framework of its programmes, the SDC 9. The SDC gives priority to support for
seeks dialogue with other international donors, civil society activities
both public and private, who are active in the field The SDC gives priority to support for activities and
of culture. It attempts to identify opportunities for initiatives by civil society organisations. Such initia-
coordinating support mechanisms in order to limit tives may also include advocacy work, dialogue, and
the transaction costs for partner organisations cooperation with public authorities and institutions
working in this field. The SDC may also delegate to for bringing about improvements in framework
others the implementation of its culture programme conditions (cultural policy, protection of intellectual
in a given country; in so doing, however, it forfeits property, etc.).
a precious opportunity for direct interaction and
a preferential relationship with some of the most 10. The SDC gives preference to capaci-
committed and creative members of the civil soci- ty-building vs. infrastructure funding
ety. The SDC provides artists and culture professionals
with an opportunity to be trained and build their ca-
8. The SDC monitors results in a manner pacities, to develop their professional activities, their
that is suited to the nature of culture pro- organisations and their networks. In cases where
grammes there is an absolute necessity, it may contribute to
In general, culture programmes are monitored us- the funding of infrastructure or to the preservation
ing the SDC’s standard monitoring tools. In working and rehabilitation of tangible cultural heritage.
with its partners, however, the SDC takes into ac-
count, both at the planning stage and in its assess- 11. The SDC encourages cultural diversity,
ment of results, that such programmes are intended diversity of opinion, and dialogue
to bring about changes that are primarily qualita- The SDC promotes cultural and artistic activities that
tive in nature, and thus often difficult to measure or create a space for dialogue and debate, building
to predict. It is careful to observe, to listen, and to bridges between different population groups, and
identify the intangible effects of its support, making encourages cultural diversity and diversity of opin-
use of information sources (testimonials, narratives) ion. When supporting cultural production it is con-
that complement its standard tools (logical frame- sistently mindful of the opportunities for dissemina-
work approach). tion. It avoids association with elitist activities.

12. The SDC promotes equal and decen-

tralised access to cultural life
The SDC promotes efforts to provide rural and/or
disadvantaged communities with access to, and op-
portunities to participate in, cultural life and artistic
expression. In particular, it provides support for their
activities and for centre-periphery exchange. It also
encourages the participation of young people and
inter-generational exchange. It promotes equal par-
ticipation of women and men.

13. The SDC assists culture professionals

in connecting with local markets
Where there are local or regional markets for artistic
or cultural production, the SDC seeks to assist art-
ists, artisans, and culture entrepreneurs in connect-
ing with those markets and taking advantage of the
available opportunities.

27
Appendix 2:
Implementation principles for SDC support in facilitating
the access of artists from the South and East to the Swiss and
international public, markets, and networks
Working out of Switzerland, the SDC facilitates ac- ful of the independence they require to work and
cess for artists, culture professionals, and cultural maintain their reputation.
productions from the countries of the South and
East to the Swiss and international public, markets,
and professional networks. Priorities
The SDC’s culture programme in Switzerland is 4. The SDC gives priority to medium and
managed by the Culture and Development Team of long-term partnerships
the Knowledge-Learning-Culture Division. The SDC In the interest of continuity and greater effective-
implements the programme through awards of fed- ness, the SDC gives preference to partners in Swit-
eral grants and mandates. zerland that enjoy international recognition and that
dispose of high-quality platforms specifically de-
signed for facilitating the access of artists from the
Implementation principles South and East to Swiss and international profes-
sional markets and networks. These platforms are
1. The SDC supports the initiatives of integrated into their regular activities, are renewed
competent organisations annually over many years, and operate on an ongo-
SDC support is not granted directly to the artists and ing basis not limited to one event in the year. The
productions from the countries of the South and SDC may form multi-year partnerships with such or-
East but via professional organisations active on the ganisations, which are monitored using the applic-
Swiss cultural scene, in particular from civil society able project management tools.
(associations and foundations). These organisations
have at their disposal the expertise and networks 5. The SDC may support other initiatives
needed to assist the SDC in achieving its objectives. that generate tangible benefits for artists
of the South and the East
2. SDC support is awarded as a comple- The SDC may support individual, one-time initia-
ment to market forces and in accordance tives, organised locally or by organisations without
with the principle of subsidiarity a dedicated platform for access to the international
The SDC supports projects whose costs are not fully market, but which generate tangible benefits for
covered by market resources. These are projects that invited artists from the South and East (artist fees,
aim to support and disseminate cultural produc- quality exchanges with their peers), and which con-
tions that convey identity and meaning, and whose tribute to the development of an audience through-
value cannot be measured exclusively in commercial out Switzerland for the cultural productions of the
terms. The funding structure of such projects must South and East. It delegates to others the imple-
include donations from other public or private spon- mentation of this part of its programme. The quality
sors. SDC assistance is granted only on condition of the platforms in terms of the SDC’s objectives
that the project is not already being subsidised for is of greater importance than the quantity of ini-
the same purpose by any other federal agency. tiatives supported, as it is not the goal of the SDC
to promote the development of the Swiss cultural
3. The SDC seeks culture partners who scene as such.
share its values and respects their right to
design their own programmes 6. The SDC places special focus on the cinema
The SDC seeks partners committed to the values This decision is warranted by the importance of in-
that underpin the SDC’s support for culture and ternational co-productions for films in general and,
the arts. In particular, it expects its partners to offer in particular, for the production of cinematic works
equal opportunities to both male and female culture in countries where the film industry is not (well-)de-
professionals. While engaging in regular dialogue veloped. Though not alone in this, film is a medium
with its partners on those issues, the SDC is respect- that is easily accessible and particularly well-suited

28
for provoking reflection and debate. Further consid- means of creating new opportunities and of build-
erations that speak for a special focus on cinema are ing capacities.
the large number of internationally recognised cul-
ture organisations in Switzerland with professional 9. The SDC encourages the networking
contacts in the industry, and the extensive know- role played by diaspora communities liv-
ledge and experience that the SDC has acquired ing in Switzerland
through its work in this area over the years. The The principal beneficiaries of SDC cultural support
SDC devotes a maximum of 60% of its culture pro- are artists living in countries of the South and East.
gramme budget in Switzerland to cinema projects. When allocating funding, however, the SDC pays
attention to considering the outreach and network-
7. The SDC gives preference to artists ing activities by representatives of diaspora commu-
and productions from partner countries nities living in Switzerland. The SDC also welcomes
Within the bounds of its limited resources, and in the role such representatives can play in the deci-
the interest of maintaining the coherence of its ac- sion-making bodies of the organisations it supports.
tivities, the SDC gives preference to initiatives and They indeed often have special ties with the cultural
programmes that involve artists and productions life of their home countries, giving them access and
from its partner countries. This prioritisation makes connections that can help to facilitate the work of
it possible, where appropriate, to furnish artists re- the SDC in supporting development of the culture
ceiving support within the framework of the SDC’s sector there.
local culture programmes with a means of connect-
ing with the Swiss and international cultural market.

8. The SDC favours the active participa-

tion of artists and culture professionals in
the dissemination of their works
While the SDC does not exclude providing support
for artistic production, it does nevertheless have a
special interest in promoting the dissemination of
cultural works and in providing artists and culture
professionals with an opportunity to participate in
that dissemination process, to engage in exchanges
with their public, and to establish contacts between
themselves and other professionals. The SDC sees
this as a central element of intercultural dialogue, a
Dancers are performing in a cultural show on
the stage of the National Museum at Dhaka.
Dhaka, Bangladesh, 2016

29
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30
31
Imprint

Editor:
Swiss Federal Department of Foreign Affairs FDFA
Swiss Agency for Development and Cooperation SDC
3003 Bern
www.sdc.admin.ch

Design:
Visual Communication FDFA

Photographs:
Bangladesh: GMB Akash
Mali: Dominic Nahr

Orders:
www.sdc.admin.ch (heading “Publications”)

Specialist contact:
Division Knowledge-Learning-Culture
Team Culture and Development
+41 (0)58 462 34 75
[email protected]
www.culturematters.ch

This publication is also available in German, French and Spanish.

Bern, 2016