APPROACH TO THE LOCAL CULTURAL MANAGEMENT INDICATORS
By: Felipe Chávez Gutiérrez [1]
"We in culture ... we must make them understand that we are only to create social cohesion ... when we are able to convince our management politicians that we are the only elements that generate a permanent wealth and stable development, they will realize that we must have a budget more in line with reality and stop being so poor children in the family. "(Fernando Vicario)
With increased public investment in cultural activities, the proliferation of cultural agents in the town, with the intention of making oversight and monitoring of projects motivated from the Local Council of Culture and especially the value of assessing the strengthening of Local Culture System Puente Aranda, a couple of years ago started a debate against indicators cultural management in the locality. This document is a proposal to build collectively approach these performance indicators that allow us to evaluate, reflect and rethink, if necessary, cultural policies and development projects in the area 16 of Bogotá. It leaves open the debate to that from other areas of the nation build monitoring and evaluation methodologies to strengthen the National System of Culture bringing the country's social development.
Accepting the definition of culture of the General Law of Culture:
In its broadest sense, culture may now be the set of distinctive spiritual, material, intellectual and emotional features of society or social group. It includes not only the arts and literature, lifestyles, fundamental rights of human beings, value systems, traditions and beliefs. (Act 397 of 1997)
begin with the recognition of different levels of organization and expression of local culture without addressing the dimension of values \u200b\u200band beliefs, we will focus on people and organizations that develop artistic and cultural activities as otherwise it is they who represent the local cultural feel. With these people, there are two areas of work: one, the self, that of independent creation that does not have any private or state funding and to that extent is an expression of the popular. And two, the level of institutional, public projects, where some local leaders and organizations are able to be contractors of the State to develop a social investment project in culture.
In the foreground has a wealth of bands, artists and leaders, some stakeholders in the local dynamics and other district or national projection with no interest in the local. The second plane has about five organizations with the capacity to contract and implement projects under the current legal status.
Although there is no diagnosis or a comprehensive inventory account of local cultural offerings - that this should be a priority in the line of Research and Encouragement of Culture Local System, which would involve an arduous research methodology update variable constant at the diagnosis - this exercise is to propose a methodology for evaluating and monitoring of cultural projects that are part of the Development Plan of the town, although it can be applied to self-managed projects, as well:
PROCEDURES INDICATORS FOR THE CONSTRUCTION OF LOCAL CULTURAL MANAGEMENT
1. Knowing the integral formulation of the project, its aims and objectives, assessing the performance or achievement of objectives.
2. Identify: activities, difficulties, achievements and recommendations for each of the objectives of the project, applying a continuous improvement scheme as a strategy for evaluation.
3. Provide documents of activities: pictures, videos, publications and support activities, especially as the memory of cultural development.
4. Make a matrix with four variables: coverage, quality, sustainability and positioning, in each variable must provide quantitative data and their respective qualitative analysis.
With these four simple procedures can generate a document that yields comprehensive report on the implementation of a cultural project.
These assessment procedures can be performed from the perspective of an agent in the execution as a contractor or staff member or external supplier, each one you have your point of view but these procedures are used to establish meeting points evaluation, ie to look the same item from different angles.
WHERE DOES THIS SCHEME TO BUILD SURGE OF MANAGING CULTURAL INDICATORS?
This proposal is experience in the implementation of cultural projects that have detected the need to be quantitative management reports to various entities, authorities and the community, but as cultural brokers are reluctant to quantify the trade, we oppose any ideological attitude to participants in the cultural dynamics are treated as "beneficiaries", "clients" or a simple "number of coverage," at the bottom keep the hope that the dehumanization does not infiltrate in the implementation of the processes with human beings . But at the same time as managers and administrators of public funds are aware of the importance reports "targets" that support the importance of social investment, reconciling between these two extremes is this proposal.
Another element that gives rise to this scheme is the diversity and lack of systemic processes in the evaluation of cultural projects. For each contractor, auditor, advisor, leader or cultural agent posed as to assess and evaluate themselves and meet the other, dialogue is difficult because different items are evaluated with different criteria and there are generated disagreements in the relationship between agents local cultural.
For example, when talking about diffusion of an event the contractor says having distributed 50 posters and 500 leaflets two days before the event in addition to a carnival parade two hours before you and say they have informed at least two thousand people in the neighborhood. But the inspector replied that the neighborhood can live ten thousand people of which 80% did not even know the realization of this event. In that case what is the rate applied?.
Regarding the spread always generate these discussions it is said that the town has about 360,000 inhabitants How many people are informed of the realization of cultural events, how many are involved?. In a project as Artistic Training Local School Cultural and Puente Aranda EFAP with an investment of $ 72,000,000 = only 300 people being trained are certainly not representative in comparison to the total population of the town, but on the other hand are 300 people who previously were not able to participate in the dynamic local culture. The same applies to attendance at events, among other things because the town does not have adequate scenarios that can bring more than two thousand people - These are real limitations of social investment projects - This point of debate is clarified by taking as example mass culture where 40,000 people attend the concert stage for singer-fashioned but the media say that "everything Bogota - Over six million people - was in concert (¿?).
In that sense it is important to differentiate the advertising of the summons, although the two procedures are part of the broadcast, the call has to do with the assistance of public or beneficiaries to a specific activity and publicity open information given the whole community. Can occur if an event with much publicity (posters and brochures) with very few assistants and other hand an event with little publicity and many assistants, for example a card or poster in a school that ensures many attendees.
The last element that gives rise to this proposal is the dynamic that generated the Law 80 contract system, the contractor comes to town with a working plan based on your criteria for the terms of reference for technical clarity is a very broad framework of activities where the specific conceptual and methodological is given by the contractor. This creates a great social responsibility for people and organizations that develop cultural projects.
ORIGIN OF PROCEDURES
The first procedure to know the integral development of the project, is a prerequisite in the process of evaluation and monitoring. He has performed for people who do oversight, even interventoría, without knowing project formulation, then "measured" from what is inferred from the title.
The second procedure for continuous improvement refers to the effective monitoring and evaluation, to the contributions of the beneficiaries, providers and participants to apply coordinated during implementation and not remain as a lament when the contract is settled and in fact no improvement.
The third procedure refers to the need to leave a memory of the cultural projects, in that sense it requires a cultural documentation center administered by the Local Council of Culture or in agreement with a public library, which preserve and disseminate information, reflections, videos and photographs of projects and the living history of the town.
The matrix of fourth case seeks to expand the idea of \u200b\u200bthe cost benefit as a cultural project can not be evaluated simply by attending an event. The variables of coverage, quality, sustainability and positioning give the possibility to assess in a harmonious and systematic development of a project. Then expand the understanding of each variable in the array. COVERAGE
coverage means the number of people, institutions and organizations that are part of the project, the public, participants and beneficiaries. Is the main indicator of project scope. Depending on the objective coverage of the activity may be direct or indirect.
For example, in a project of artistic training the young participants are the direct beneficiaries while the audience in the samples are indirect beneficiaries. But in a cultural programming project as a carnival, the public is the direct beneficiaries and indirect beneficiaries artists.
always generates debate coverage is considered as the indicator of the cost - benefit. We understand that the cost benefit is not an elementary division of the value of an event divided the number of spectators, it is not the same as a hundred people attending a good artistic function or five hundred people attend a malfunction. With the intention of mass culture has believed that valid measurement is the number of attendees, what we call "counting heads." While attendance is an important indicator of cultural activities, we believe that there may be the only evidence to analyze the development of a cultural process factors as quality, sustainability and impact position on the implementation and evaluation of cultural processes. QUALITY
Variable is more difficult to determine because it touches the fields of aesthetics. Areas could be established in the artistic quality (the work as such), production (the technical and logistical) the staging of events (installation, animation, identification) and the quality of pedagogy.
is possible that the quality of cultural projects is determined by the taste and enjoyment of the beneficiaries. Although the viewer can decide to participate in an activity or not, his mere attendance at an event not an act of approval. It also appears the quality of participation, if the public is integrated with the event, if you go to criticize, if you go just by looking and goes, if it goes off guard a few minutes but it is not interested. On the other hand, when the cultural offer is so little compared to the number of inhabitants, the community may attend an event mass of poor quality. In that sense it is the responsibility of the organizers and cultural managers ensure quality parameters based on their cultural and social training. SUSTAINABILITY
in local cultural processes has become a tradition, the eternal home, such as workshops that start at a zero level of training and terminating at the zero level, as some neighborhood groups born each term of a project and dismantle when there is no contractual reasons. Therefore we consider very important factor of sustainability as an indicator of cultural management, understood as the real capacity of consistent quality process for a period of time and opportunity to achieve their objectives.
Sometimes we tend to believe that a project must generate as many groups as leaders or organizations involved in it, but the reality suggests otherwise. It would be important to ask about the economic means of survival for local cultural groups and neighborhood against public investment, be aware of the cultural front of real demand.
ultimately Sustainability is not based on the work capacity of a leader or in the presence of a name in different areas of cooperation, sustainability would be represented in the quality and projection of cultural and economic factors, motivational, creative and knowledge which revert to the cultural development of a proposal. POSITIONING
is a concept borrowed from the theories of marketing that refers to the perception of the market (public) versus a product. In the case of local culture, refers to the level of acceptance of the people against the cultural service because there would be no culture without the ownership of their community. Here come
variables as the credibility of the organizer, advertising, media efforts and the approach chart. The diffusion-based positioning is relative, has recently generated interest for local projects appear in the mass media and tend to believe that the quality of the project depends on its appearance on television. Experience has shown that coordination or broadcast news media covering that allows but that is not an indicator of the quality of the event, sometimes events are transmitted with low coverage and sometimes the events relevant to cultural history local no han sido registrados por los medios.
Aunque la difusión por los medios masivos de comunicación es importante –además de ser parte de su deber social - nadie asegura que una nota de treinta segundos en un canal nacional contribuya a la convocatoria para un evento; pero es obvio que esa difusión permite un alto posicionamiento del proyecto y de la localidad como espacio cultural.
INDICADORES DE GESTIÓN DEL CUARTO CARNAVAL DE PUENTE ARANDA
A manera de ejercicio desarrollaremos el esquema propuesto con el proyecto cuarto Carnaval de Puente Aranda:
1. La formulación integral del proyecto reposa en el fondo de Desarrollo local de Puente Aranda available to the public.
2. The final report of the contractor develops obligation liability: activities, achievements, challenges and recommendations.
3. It features a selection of 100 photographs and a video documentary of 25 minutes on the project. You can see copies of these reports in the Executive Advisory Office locations IDCT, the Local Development Fund of Puente Aranda, the Council of Culture Local Puente Aranda and Cultural Network file Puente Aranda (Incognita - Carretaca)
4 . The proposed matrix can be as specific as you want, but then we will report on a page Fourth project implementation Carnival Puente Aranda in 2003.
PROCESS QUALITY COVERAGE
SUSTAINABILITY POSITIONING
CALL 1000 posters handbills
7000 5000
invitations
half sheet poster in polychrome with the best design among 22 proposals.
Graphics Unit in all advertising pieces
programs and invitations hand has a very short lifetime (a couple of weeks) the poster remains more in private collections and institutions.
It achieved a high recognition of the poster and logo for the carnival and was distributed in the places of greatest concentration of people in all UPZ.
The community is appropriately informed. CARNIVAL CONSULTING
205 hours of advice from literature, visual arts, theater, dance and music troupes troupes
6 consultancies result
3 troupes with older
3 troupes with youth groups and children assembled
The groups have good level of processing.
are Qualified, dance and literature.
artists group communicated with other local processes, began their process of organization in the locality.
The extras are a pretext for strengthening neighborhood groups.
The professional level of credibility allowed advisers counseling process.
The writers and artists are projected to other district activities. MEETING
10 Puppet Theater puppet shows
average 250 people per show. 3 local groups
7 groups visiting professionals
Nine functions performed with professional groups.
A local group made an impaired function.
Each role had professional technical resources
There is a demand but short supply of puppet theater in the town.
educational institutions and community action boards recognize the importance of the functions of puppet theater for children.
MEETING WRITERS
10 writers participating
4 recitals
200 spectators
There are quite a creative level. The concerts counted
implements quality logistics.
There are serious concerns of young people in literary expression.
Literature is not recognized as a public event convened in quantity.
II ARTS HALL OF "THE GAME OF VISION"
20 artists 20 days
exhibitors hall open to the public
There is a marked difference between professional artists and empirical, both with good level of development.
The room was installed in the Casa Museo Antonio Nariño feeds quality.
There are several artists with the aim of presenting their works to local audiences.
The public has started to attend art salons.
The show is seen as a meeting and dialogue on the local arts
III ARANDA BRIDGE CULTURAL FAIR 60 artisans exhibitors
10 days of an open fair
There was a selection process that allowed high level of development and variety of products
artisans are willing to make financial contributions to the realization of the fairs as a matter of financing.
The show was broadcast with cultural events and media mass allowing the large crowds.
For the location, the park dahlias colon ensures profitability for exhibitors. CARNIVAL ROCK
12 local bands in concert 1200 spectators
hearing was conducted to establish the order of the bands.
There were different trends in rock music and scenic high
The rock is very popular among young people, this ensures the public and new groups that contribute to the development of different genres
The concert featured professional technical production and quality bands allowed a high position. CARNIVAL ROOM PHOTO
Puente Aranda
15 registered, 6 photographers exhibitors
6 days of public exhibition
Although there is a level of professional photography, photography interest of the participants perceived creativity to take on the carnival theme
Several young people from community sector and consider it important to record the memory of the cultural processes
The exhibition in the corridor of the city government allowed widespread at the local public, both the exhibition and the Carnival. Pre-carnival PARADE
150 artists troupes parading
6 2 troupes invited advised
The groups advised and made the EFAP a colorful parade
The commitment of local advisory groups and enabled a further parade
A parade is a cultural event that breaks the daily places
GRAND CARNIVAL 450 artists troupes parading
16, 6 counseled, 4 local, 4 guests. 5000 spectators
professional troupes are featured with large deployments. The extras advised achieved a good level of development.
The tour hit a cross section of the town. It has created a tradition of parades by 56 career
The parade produces a high level of recall in the community. Had TV record. FIESTA DE CARNAVAL
2 1500 spectators
professional orchestras
The two orchestras with young musicians have a very professional level of performance and animation.
For the bands it is important to be in open environments. The festive atmosphere that demands the community is energized with orchestras
By providing quality professional groups, the community feels committed to participate in events.
PROCESS QUALITY COVERAGE
SUSTAINABILITY POSITIONING
CALL 1000 posters handbills
7000 5000
invitations
half sheet poster in polychrome with the best design among 22 proposals.
Graphics Unit in all advertising pieces
programs and invitations hand has a very short lifetime (a couple of weeks) the poster remains more in private collections and institutions.
It achieved a high recognition of the poster and logo for the carnival and was distributed in the places of greatest concentration of people in all UPZ.
The community is appropriately informed. CARNIVAL CONSULTING
205 hours of advice from literature, visual arts, theater, dance and music troupes troupes
6 consultancies result
3 troupes with older
3 troupes with youth groups and children assembled
The groups have a good level of development.
are Qualified, dance and literature.
artists group communicated with other local processes, began their process of organization in the locality.
The extras are a pretext for strengthening neighborhood groups.
professional level allowed advisers credibility in the process of consulting.
The writers and artists are projected to other district activities. MEETING
10 Puppet Theater puppet shows
average 250 people per show. 3 local groups
7 groups visiting professionals
Nine functions performed with professional groups.
A local group made an impaired function.
Each role had professional technical resources
There is a demand but short supply of puppet theater in the town.
educational institutions and community action boards recognize the importance of the functions of puppet theater for children. WRITERS MEETING
10 writers participating
4 recitals
200 spectators
There are quite a creative level. The concerts counted
implements quality logistics.
There are serious concerns of young people in literary expression.
Literature is not recognized as an event to convene groups in quantity.
II ARTS HALL OF "THE GAME OF VISION"
20 artists 20 days
exhibitors hall open to the public
There is a marked difference between professional artists and empirical, both with good level of development.
The room was installed in the Casa Museo Antonio Nariño nurturing quality.
There are several artists with the aim of presenting their works to local audiences.
The public has started to attend art salons.
The show is seen as a meeting and dialogue on the local arts
III CULTURAL FAIR PUENTE ARANDA
60 artisans 10 days
exhibitors open fair
There was a selection process that allowed high level of development and variety of products
artisans are willing to make financial contributions to the realization of the nature of trade fairs co.
The show was broadcast with media and cultural events which allowed the large crowds.
For the location, the park dahlias colon ensures profitability for exhibitors. CARNIVAL ROCK
12 local bands in concert 1200 spectators
hearing was conducted to establish the order of the bands.
It showed different trends in rock music and scenic high
The rock is very popular among young people, this ensures the public and new groups that contribute to the development of different genres
The concert featured professional technical production and quality of the bands allowed high positioning. CARNIVAL ROOM PHOTO
Puente Aranda
15 registered, 6 photographers exhibitors
6 days public exhibition
Although there is no level of professional photography, photography interest of the participants perceived creativity to take on the issue Carnival
Several young people in the industry Community important to consider the record and memory of the cultural processes
The exhibition in the corridor of the city government allowed widespread at the local public, both the exhibition and the Carnival. Pre-carnival PARADE
150 artists troupes parading
6 2 troupes invited advised
The groups advised and the EFAP made a colorful parade
The involvement of local advisory groups and enabled a further parade
A parade is a cultural fact breaking local daily
GREAT CARNIVAL 450 artists troupes parading
16, 6 counseled, 4 local, 4 guests. 5000 spectators
professional troupes are featured with large deployments. The extras advised achieved a good level of development.
The tour hit a cross section of the town. It has created a tradition of parades by 56 career
The parade produces a high level of recall in the community. Featured record TV. FIESTA DE CARNAVAL
2 1500 spectators
professional orchestras
The two orchestras with young musicians have a very professional level of performance and animation.
For the bands it is important to be in open environments. The festive atmosphere that demands the community is energized with orchestras
By providing quality professional groups, the community feels committed to participate in events.
COMMENTS
is difficult to specify the number of people attending events or outdoor mass. But there is a range or average attendance. The task of counting would require a people devoted to this task.
[ 1] Director Carretaca Cultural Association. Undergraduate Student in Philosophy, University of St. Thomas Aquinas. Professional Technical Student Human Resource Management, Coordinator of the Fourth SENA Carnival Puente Aranda.
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