devinitorg/iati-policy-markers huggingface dataset:
Mada Masr Next Generation Partnerships Mada Masr is an independent online newspaper, founded in June 2013 in Cairo.  Their reporting and investigative journalism, published in both English and Arabic, is highly respected across the region and they are regularly referred to as the only credible news source left in Egypt. They also have a track record of publishing high quality cultural content, in the form both of creative writing and essays and of detailed coverage of Cairo’s artistic life, as well as organising or co-organising cultural events. This artistic and cultural coverage has from the start been marked by its innovative approaches to form and content, and by its desire to experiment. They have been financially stable since inception, having been primarily funded through grants and gradually transitioning into self-funded activities.

They are a founding member of a network of independent Arab media organisations, which meets every February to discuss shared issues and is currently engaged in putting together an alternative curriculum for young Arab journalists. Goals 

•	Growth of audience/community growth. 

•	Publication of impactful content leading to meaningful engagement – especially concerning gender and intersectionality. 

•	Increase in sustainable revenue generating activities.

•	Increased number of students engaging with the programme. 

•	Increased musical content and events. 

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Expected outputs

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•	A series of discussion meetings with students from various Cairo universities resulting in a podcast. 

•	A series of pieces of content produced with a working group on gender and intersectionality.

•	A multi-form series on the contemporary music scene, including text and podcasts. 

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Expected outcomes

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•	Increased engagement of the next generation of young Egyptians, particularly students, with Mada Masr’s content, including as producers. 

•	Incorporation of the results of sustained thought on gender and intersectionality into Mada’s procedures. 

•	Critical thinking on the intersections between music and society in Egypt today.  

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Arab Media Lab Prince Claus Fund Network Partners The Arab Media Lab, founded in 2010, is a media art collective based in Morocco. Its aim is to strengthen the Media Art sector in Morocco and the Arab world by developing actions of education in order to contribute to personal and social change in the community. By stimulating artistic exchange between North and South they endeavour to educate people about the power of media art as a vital means to engage with and communicate about social issues. The Arab Media Lab organises a range of different activities, including workshops, a festival, lectures and masterclasses. This is the only project in the country that uses new media to help the community create, produce and gain expertise for free. The activities proposed are a series of media arts workshops and master classes with lecturers and special guests from Morocco and beyond. The aim is to support media artists from Morocco, allowing participants to reflect on their own body of work by connecting with other filmmakers and media artists. Through these workshops and masterclasses participants will be mentored to develop socially important content by discovering new ways to approach media arts and film making, both from a technical and a theoretical point of view. The workshop and masterclass cycle will be organised yearly, including themes such as: alternative and experimental film, video art, digital mapping, net art, media installation, creative documentary, experimental music video and blogging.
Selección Artificial A project by Biquini Wax ‘Artificial selection’, a project by Bikini Wax EPS (BWEPS), an independent contemporary art space in Mexico City offers an alternative space for study, discussion and creative collective production where young artists are able to question identity not as natural and unchangeable, but as a social formation. 

The project involves the collective production of 3 large immersive installations that question race, gender and class (showcased in the BWEPS building over the course of 12 months), 3 workshops, study circles and contributions to their Youtube Channel. The work will be developed in research laboratories and will be part of BWEPS’ public, open and free programming, thereby involving the selected contributors, the constant study circles and the audience of the art space. Mexican society can be said to be largely characterized by racism towards indigenous people, sexism, gender discrimination towards women and the LGBTTTI community and individuals, as well as classism. Cultural networks and individuals are not exempt from this kind of violence and unfortunately often reproduce it. The #MeToo movement in Mexico is a case in point, it erupted last March and has visibilized numerous cases of sexual harassment by famous writers, artists, filmmakers and musicians associated to the creative community in Mexico. 

The project aims to experiment with modes of socialisation and collective construction of knowledge. With the proposed program BWEPS wants to question identity not as natural and unchangeable, but as a social formation. _++Outputs:++_

· 3 large installations

· 3 exhibitions

· 3 workshops

· 3 circles of studies

· Bi-weekly Youtube capsules

_++Outcomes:++_

· Facilitate the creation but also the critical discussion of the notion of a ‘safe space’ for a community of precarious cultural workers and agents.

· Identity questioned not as natural and unchangeable, but as a social formation through art and discussions.

_++Impact:++_

· An empowered and positively visible community of cultural workers and agents that are part of marginalized and discriminated groups. 

· More awareness raised on the marginalization of the LGBTQI community in Mexico / an alternative vision on identity. people interested in building ‘safe spaces’ for social gathering, study and creative production around intersectional identities
Cultural Emergency Response CER programme The Cultural Emergency Response (CER) programme supports first aid to cultural heritage damaged by man-made disaster, natural disaster or conflict. By taking immediate action, CER aims to prevent further damage and implement basic repairs. CER believes that rescuing cultural heritage helps affected communities reaffirm their sense of identity, community and human dignity. An object – a temple, a statue, a manuscript – may be a powerful symbol for a community. Especially for deprived or excluded communities, cultural heritage and its preservation helps to safeguard their physical presence in world history.

Worldwide Cultural Emergency Response projects provide financial means and support to quickly help to evacuate, stabilise or rescue cultural heritage that is under imminent threat of destruction or that has been damaged by man-made or natural disasters.

CER projects are always implemented in direct cooperation with local partners in the affected communities in order to afeguard the heritage these communities feel is important tot hem.

CERs’ approach, extensive local network, ability to respond immediately and broad remit still fills a void. CER remains a crucial bridge between people with immediate needs and bigger organisations. CER’s focus will therefore be on situations that remain difficult for other organisations to respond to. Cultural heritage otherwise lost is safeguarded

Physical remnants illustrating cultural diversity are preserved

Safeguarding cultural heritage supports affected communities to overcome disastrous situations

Emergency response to damaged cultural heritage worldwide
Documentation and Preservation of the Inscriptions of the Historical Tombs at the Shuhada-e-Saleen Cemetery in Kabul a project by HAFO Construction and Production Company Sayed Jawed, through his organisation HAFO Construction and Production Company, aims to document and preserve the inscriptions on the historical tombs at the Shuhada-e-Saleen Cemetery in Kabul, Afghanistan. The cemetery is the oldest and largest one of the city, and the inscriptions of its tombs contain important information on Afghanistan’s past. The tombs are currently under threat, because of reoccurring flash-floods, and uncontrolled residential construction on the graveyard grounds. Tombs are being damaged or reused, and inscriptions become illegible. To preserve the inscriptions, the project team will identify 20 of the most important gravestones for documentation (photographic and drawings), preservation (consolidation and protection) and restoration. Inscriptions on these gravestones will be translated, and activities will be organised to raise the awareness of the historical importance of the gravestones. • Survey and identification of the 20 most important gravestones in Shuhada-e-Saliheen suitable for documentation 

• Documentation of key gravestones, both photographically and through drawings 

• Interpretation and translation of the inscriptions into local languages 

• Preservation and protection of the inscription on the tombs from further damages (consolidation; protection with cages etc.)

• Restoration of the missing pieces of inscription on the gravestones for carrying forward the valuable information on to the next generation 

• Professional photography of key gravestones for the purposes of publishing catalogues/booklets 

• The students of Kabul University and archeologists/conservators of the Directorate of Monuments in Kabul will be invited to understand the importance and skills for the preservation of inscription on the gravestones.
Safeguarding of Joachim deBrum Documents a project by the Alele Museum Library and National Archives During this project the Alele Museum, Library and National Archives on Majuro, Marshall Islands, will clean, catalogue and digitize the documentary heritage collection of Joachim deBrum. The collection, located at the museum but in poor shape, is the heirloom of a successful and influential indigenous family, containing over ca. 10.000 documents on life and business on the Marshall Islands and the wider region from the 1880s until the mid-1930s. There are very little documents available on the history of the Marshall Islands. The collection is one of its kind, and can be considered an invaluable, unique historical and cultural resource. However, the deBrum papers have been inaccessible for years due to their fragile condition and remote location, and have never been researched before. Also, they are facing ever-present threats: the hot and humid climate of the Island, frequent natural disasters and a rising sea-level as a consequence of global warming and climate change. Through this project the Alele Museum, in close collaboration with the family owners, will largely increase the accessibility of the collection and ensures the future (digital) preservation. - Digitization of the documents to preserve their content
- Cataloguing of the documents to improve their accessibility
- Cleaning of the document, and facilitating proper storage in new archival folders and boxes, in a safe air conditioned environment
Cemeti Institute for Art and Society Next Generation Partnerships Cemeti – Institute for Art and Society was founded in 1988 in Yogyakarta as Cemeti Art House, making it the oldest platform for contemporary art in Indonesia. At its core it is a platform for exchange, providing space for artists to develop and exhibit their work. In 2017 the founders stepped aside from the day to day running of the organisation to create space for a younger generation to take the lead. The first act of the new team was to change the name to its current form. This change highlights the new programmatic direction of the organisation that is starting to focus on artists and cultural practitioners working to address key social and political issues, and as the applicant states: ‘the use of the word ‘Institute’ builds on the idea of instituting as a collective social process in which we find forms for shared urgencies and ideologies’. ++Inward Transformation:++
 • Strengthen the new generation of Cemeti agencies, both as a team and as individuals, who are not afraid to dream, are visionary, critical, professional, disciplined, polyglot, articulate, tough, and pay respect for diversity. • Dismantling the history of Cemeti practices to learn from successes and failures so that they can continue to do self-assembly honestly and wisely. 
 • Dismantling and reorganizing the archive of Cemeti's activities so that they can learn from past movements, learn from their successes and failures and to elaborate knowledge from the archives to strengthen current programming strategies. 
 • Building an archive of the art movement in the work area of Rizhomatic Archipleago and activating it through a small library "Peripheral Narrative Reading Corner". 
 • Pioneering alternative economic ventures by developing Cemeti stockroom with a startup method. 
 

++Outward transformation:++ 
 • Contextualise the position and role of Cemeti in the dynamics of contemporary art and social practices through the elaboration of the perspectives of the new generation of Cemeti. 
 • Develop knowledge production practices through art practices, laboratory work methods of art work (especially residencies), archive activation, and channels of inclusive interdisciplinary exchange. 
 • Optimisation of digital technology to build internal and external communication channels to share practical experience and knowledge distribution. 
 • Continue to play its old role as a bridge connecting contemporary Indonesian art practices with the global art scene, while continuing to build networking relationships with art practices in various parts of the Indonesian archipelago. 
 • Building networks between spaces, collectives and movements; and become part of the mobilizer so that space, collectively, the movement has a greater role in creating change.
Damage Assessment Mission National Museum of Brazil a project by the International Institute for Conservation of Historic and Artistic Works (ICC) The proposed Damage Assessment Mission (DAM) will identify and prioritise post-disaster conservation actions, specifically to:

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• Attend local stakeholder meetings and site induction with key Museum staff and government officials including the Museum Director Prof. Kellner, Deputy Director National Museum of Brazil, Cristiane Serejo, Head of Conservation Ms Marcia Souza, and Rescue Coordinator, Claudia Rodrigues.

• Document the recovery activities of artefacts and collections undertaken and in progress through site visits to the temporary Museum labs and storage containers on site.

• Identify the level of material need, including storage requirements, conservation resources and expertise needed on the ground to prevent deterioration to salvaged materials and artefacts,

• Clarify the role and involvement of other international bodies and NGOs as well as detailing the local protocols necessary for conservation work to be implemented.

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The result of the DAM will be presented in a joint meeting with representatives of the National Museum of Brazil, and will be published in a report/ roadmap. The report will be promoted via the IIC website and its network, including ICCROM, ICOM-CC, ICOM Brazil and IBRAM (The Brazilian Institute of Museums), supported by the British Council, Smithsonian Institution, ICOM LAC Regional Alliance and Blue Shield. Finally, the report will be presented in a Panel at the IIC Annual General Meeting in January 2020. The DAM also has the aim to raise awareness of the recovery needs as well as strengthening local professional and institutional capacity to unlock the funding needed to support the longer term ambition to restore the museum.

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INFRA Bank of Tools and Experiences A project by Sound Art Sonandes INFRA Bank of tools and experiences consists of the publication of the results of an artistic experimental high tech sonar project involving young deaf people. It will explore electroacoustic composition via vibrations by using an amplification system which will pass through a wooden floor, transmitting the vibrations to the bone structure of the participants to evoke actions and expressions of their bodies in space. Workshops are held in 4 Latin American countries. Bolivia is the highest and most isolated country in South America. Sonandes wants to collaborate more with countries in the region, they feel Bolivia to be too isolated despite being assisted with energy and creativity in the arts and cultural sector by neighbouring countries and seek more participation in the Ibero-American culture. The project _INFRA Bank of tools and experiences _follows this line as the project takes place in several countries in the region and they want to publish their results which they see as a replicable model -internationally. 

During March 2016, a group of 500 disabled people started a march towards the city of La Paz demanding a bonus of 60 euros per month, remaining in the streets near the government  Palace for two months and in spite of repression by the police, they managed to put a series of demands and needs on the public agenda. Sonandes  follows up on this by making use of a comparative advantage they have in human resources, infrastructure and networks. Outputs

The overall project: 4 workshops in La Paz, Bolivia; Buenos Aires, Argentina; Medellin Colombia; Santiago de Chile (Chile), 40 open sessions with deaf participants.

15 participants per laboratory, 6 mediators, 60 internal sessions of the mediators and 4 public talks with a capacity of about 200 attendees. The final work will be carried out in 4 public exhibitions in cultural centers, 200 attendees per exhibition,

Funding asked for: an audiovisual record in documentary format, a printed edition in book format, a freely accessible web platform.

Outcomes

The participants in the workshop will have lived a new experiment on which they can build further.

The international deaf community will benefit from this project by learning from the documented experience

Foreseeable Impact.

Could be an important guide for future workshops with deaf people, for whom technology can play an increasingly important role. young deaf people
Lab Nuvem Negra de Narrativas Negras a project by Coletivo Nuvem Negra The Coletivo Nuvem Negra (Black Cloud Collective) is formed mostly of students at the university PUC-Rio. They will run two editions of the Black Cloud Lab, working in schools with young peoples aged between 14 and 21. The young people will be given immersive courses in art and culture from a black perspective. 

Each edition will last for 4 months. Despite over half the Brazilian population identifying as black, afro-Brazilians are severely under-represented in the countries cultural sphere. For example, over 90% of Brazilian books are published by white authors. Since the fair-right Jair Bolsonaro became president in January 2019, a rise in racist hate speech and actions have been recorded in Brazil. Additionally, in May 2019 his government announced sweeping funding cuts to university education. This context makes the work of black student collective Coletivo Nuvem Negra very relevant.  The collective has been running events and has produced four issues of its magazine, the Jornal Nuvem Negra, since 2015. Outputs: 150 selected participants, representing a diversity of gender, ethnicity, class and sexuality, will received an immersive cultural education from a black perspective. 

Two publications, and two theatrical presentations. 

Outcomes: Improved self-esteem and capacity for self-expression of the young black students involved in the labs. 

Impact: Increased involvement by young black voices in the cultural sphere. young afro-Brazilians
CER Leadership Course 2019 Leadership for Cultural Heritage Stewards in Challenging Circumstances Working in areas of culture under threat Cultural Heritage professionals face unique challenges in managing projects, balancing both preservation in a variable environment and the dynamics of change in the community. They often lack the opportunity to develop leadership skills that will improve their ability to create more effective proposals and project management strategies, garnering more resources and partnerships. This leadership course will equip these emerging leaders with the tools and techniques needed to tackle these challenges and assist them in developing a professional network of colleagues dealing with the same issues. The Smithsonian Cultural Rescue Initiative and the Prince Claus Fund offer heritage stewards from its networks a high-quality leadership development program, customized for challenging scenarios caused by conflict or disaster and incorporating the kind of project development training available to leaders in the cultural sector.

This second edition will kick off with in-person training sessions in the Netherlands, where participants spend several days with a small group of peers learning together from a professor of Leadership Studies and an experienced international project development professional. Each participant brings a project idea on which they want to build a communication and management strategy and project implementation. The instructors devoted time to lecture, group exercises, and advice on participant’s projects. Sessions are complemented by discussions with cultural heritage leaders, bringing classroom lessons to life and providing networking opportunities. The course culminates with our participants engaging in a mock review panel with international donor organizations and verbal feedback session with the donors.

A series of short follow up webinars is planned for the spring and summer of 2020 to further support participants move forward on the business side of the preservation of cultural heritage. After the leadership module participants will:

· be familiar with the basic principles of team building and leadership

· be familiar with the basic principles of project planning and project management

· be familiar with basic principle train-the trainer principles

· have a better overview of the funding landscape and language used in applications

· be able to identify and engage with (inter)national institutions and coordination mechanisms to align and strengthen cultural heritage initiatives locally

· have developed concrete steps to implement their envisioned project

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