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Kate Pugh (Chair Cultural Protection Fund Advisory Group & Alex Bishop) - The UK’s Cultural Protection Fund

The UK’s Cultural Protection Fund

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Kate Pugh (Chair Cultural Protection Fund Advisory Group & Alex Bishop) - The UK’s Cultural Protection Fund

  1. 1. CReW Cultural Relations at Work - Jean Monnet project Reinforcing cooperation on cultural heritage in the EU Neighborhood South The Royal Society, London (October 22-23, 2018) The UK’s Cultural Protection Fund Speakers: Kate Pugh, Chair Cultural Protection Fund Advisory Group & Alex Bishop, Grants Manager Cultural Protection Fund Profile of the Fund. The Cultural Protection Fund (CPF) received £30 million from the UK Government over the period 2016-2020. The Fund is a partnership between the British Council and the Department for Culture, Media, and Sport (DCMS).It is managed and delivered by the British Council. The objective of the Fund is to safeguard and restore tangible and intangible cultural heritage affected by conflict in the wider MENA region by supporting projects responding to locally identified development needs, with the involvement of global grantees and local partners. The Fund offers mid and long term, small (£5K-£100K) and large (£100K- £3million) grants, which are assigned after a transparent and robust decision-making process. So far, the CPF has received almost 1000 expressions of interest, with a success rate of 20-30% after EOI stage. Figure 1. Eligible countries. CPF presentation
  2. 2. Profile of funded projects The CPF mainly promotes cooperation between UK organisations and local partners. In more detail, 52% of projects are led by UK organisations, 37% of projects are led by organisations based within target countries, and 11% of projects are led by organisations that are based elsewhere in the world. As for the nature of funded projects, a majority (39%) deal primarily with built heritage and archaeology & monuments (28%), two projects out of ten are devoted to museums, libraries and archives, and there is also room for the protection and safeguarding of intangible cultural heritage (12%). Projects must fit ODA (Official Development Assistance) requirements. Outcomes. The CPF has three main outcomes: 1. Cultural heritage protection: Cultural heritage under threat is researched, documented, conserved and restored to safeguard against permanent loss. 2. Training and capacity building: Local professionals have sufficient business or specialist skills to be able to manage and promote cultural assets which [will] benefit the local economy and society. 3. Advocacy and education: Local people are able to identify and value their cultural heritage and have a good understanding of what can be done to protect their cultural heritage and the role it plays in society and the economy Some examples Première Urgence Internationale Location: Gaza Strip, Occupied Palestinian Territories Grant: £1,755,000 Figure 2. Projects by location. CPF presentation Figure 3. Grantee countries. CPF Presentation
  3. 3. Partners: L’école Biblique et Archéologique de Jérusalem (OPT), The Islamic University (OPT), Palestine University (OPT) Objective: to carry out protection activity at two archaeological sites in Gaza; one site hit by airstrikes and burnt and the other with mosaics run over by tanks. One used to be only archaeological site open to the public in Gaza, and it is now open again. The project includes significant amounts of training in heritage skills for students and local government officials, as well as bringing very large numbers of Gazans to visit the sites. Arcenciel Location: Lebanon Grant: £84,616 Partners: direct, no partnership Objective: to safeguard Syrian intangible cultural heritage in the form of mud-brick architecture. Syrian master artisans train other refugees (displaced people from the North of Syria to Lebanon). The project supports the construction industry and also gives potential for returning families (to Syria) to rebuild a house. Royal botanic garden Edinburgh Location: Yemen Grant: £484,110 Partners: Environmental Protection Authority, Yemen, TOPOI Excellence Cluster, Germany, Senckenberg Society for Nature Conservation, Frankfurt am Main (Germany) Objective: The project builds on a wider existing natural heritage project (20M US Dollars). The objective is to create an inventory of cultural heritage on Soqotra (a Yemeni archipelago)including intangible cultural heritage. This includes training people in how to use it as a tool in planning and make this happen. Rationale for CPF. The CPF has been implemented following a practical and a moral commitment. The increase in the destruction of heritage has prompted the UK government to align UK national policy with international standards, including the ratification of the Hague Convention in September 2017. The increasing interest in cultural heritage protection is also due to the potential of heritage as a driver of social and economic sustainable development. CPF in context. The CPF aims to foster international cooperation based on openness and flexibility. Its Theory of Change is also based on value for money and sustainability, this is why the Fund also relies on external advisors to set parameters, shape strategic directions, monitor and evaluate. All in all, the CPF was patterned after an idea for a collaborative device for social, economic, and relational renewal. Core principles of the CPF. CPF activity rests on some basic principles: - Open fund with transparent eligibility criteria and outcomes-based approach; - Broad and inclusive definition of cultural heritage and its value to communities; - Projects responding to locally identified development needs and involving local partners; - Decision making informed by appropriate expertise, best practice and awareness of complementary initiatives; - A high-quality user experience for applicants and grant recipients.
  4. 4. The future of the Fund. To date, current funding allocation is almost complete, as money has already been allocated up to 2020. There is potential for expansion if further funding is secured. To do so, it is crucial to look at the overall impact of the Fund to date as well as areas of unmet need to help shape proposals for any future iteration of the Fund. To strengthen the Fund’s capabilities, complementarity is key. Such awareness is very important due to the number of actors; funders need to take a joined-up approach. This could be brought into the CPF work in the Cultural Heritage Funders Network, which includes other relevant funders such as the new ALIPH foundation.

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