A Framework for Developing an Arts Education Policy
This statement is designed to provide information on the development of an arts education policy(See 'Arts and Education in Canada: A Window to the Future', Report from York, submitted by: Jane Cutler, Arts Coordinator, York Region District School Board and D. Paul Schafer, World Culture Project, in Culturelink no. 33/April 2001, pp. 64-65.). It outlines the process of developing an arts education policy in some detail, and raises a number of fundamental questions at each stage in the policy process. It is based on experiences to date in developing policies in a number of areas, and may be as intensive or extensive as educators prefer.
In general, there are four distinct stages in the development of an arts education policy. These stages are:
- Prerequisites for the development of the policy;
- Development of the policy itself;
- Approval and implementation of the policy;
- Evaluation of the policy.
I. Prerequisites for the development of the policy
In order to develop an arts education policy effectively, the stage must be properly set. This requires attending to a number of matters at the very outset, including making the present policy explicit, researching policies, practices, experiences and beliefs in other jurisdictions and other countries, determining the scope, context and terms of reference for the policy, and establishing a critical path for the creation of the policy.
Making the present policy explicit
It is often said that arts education policies do not exist and that the problem is to create them. It is more accurate to say that arts education policies already exist, and the problem is to make them explicit. This is necessary in order to determine how effective existing policies are in meeting actual and potential needs.
The first step in the policy process involves making the implicit policy explicit. What programs and practices exist at present? How many teachers are involved in teaching the arts? What art forms are included? What art forms are excluded? What in-service and professional development opportunities are available for teachers? How much funding is available to the arts compared to other disciplines? How is the existing policy administered, and who is responsible for administering it? An analysis of these matters will reveal in no uncertain terms what the existing policy is, how effective it is in meeting actual and potential needs, and whether a new policy is required. It is important to know this even if a new policy is not created. It lets people know where they stand and gives them something concrete to respond to or react against.
Researching other policies, practices and beliefs
It is worthwhile to undertake some basic research to determine what arts education policies exist elsewhere. How have other educational jurisdictions - and other countries - handled the development of arts education policies? There may be valuable lessons to be learned here with respect to how arts education policies can be developed most effectively in terms of needs, outcomes, programmes, funding, training, facilities, administration, and the like.
Scope, context and terms of reference
It is advisable to ascertain the scope, context, and terms of reference for the policy at the beginning of the policy process. How extensive is the policy to be in terms of art forms, new developments, new technologies, cultural diversity, media requirements, audio-visual resources, facilities and equipment, courses, training programmes, multicultural activities, and extra-curricular endeavours? What is the overall context within which the policy is situated, and how is it changing? What terms of reference will be needed to govern the development of the policy? What policy directives already exist in legislation? How general or specific will the policy be? What is it designed to accomplish?
Establishment of a critical path
It is essential to establish a critical path for the development of the policy at the very outset of the policy process, even if it is changed many times during the actual development of the policy. This critical path should establish specific dates and time frames for all research activities, the development of the policy itself, approval and implementation of the policy, evaluation of the policy, and commencement of the new policy cycle. It is particularly important to set out in advance when all research activities will be conducted - particularly opinion polls, surveys, interviews, focus groups and the like - as it may be too late to conduct them later if they are not incorporated into the process in advance. One of the biggest mistakes in policy development is to leave insufficient time to attend to key requirements in the policy process, only to find that lack of time does not permit their inclusion later.
II. Development of the policy
Once the prerequisites for the policy have been attended to, it is possible to proceed to the development of the policy itself. There is a logical sequence of steps to be followed here, commencing with the creation of a vision (ideals and principles), continuing with the refinement of the vision in the light of reality (outcomes, objectives and priorities), and concluding with final actions (strategies and tactics). Each step in the process is slightly more practical and specific than the step immediately preceding it, thereby yielding a process that moves progressively from initial inspiration to concrete action.
Ideals and principles
No step in the policy process is more necessary than the creation of a vision. What is the ideal arts education? How will it affect teachers and students? What role will it play in the curriculum? What contributions will it make to other disciplines? What balance is required between creation and performance, historical and contemporary experience? What programmes, facilities, equipment, funding and administration are required to produce the ideal arts education? What level of community support and involvement is needed? What has been learned from teaching the arts in the past that is helpful in providing the principles on which an ideal arts education should be based?
It is essential to give consideration to these matters at the very beginning of the policy process, even if they are deemed to be 'impractical' or 'unrealistic'. They are fundamental aspects of the policy process, and will be brought into line with financial and administrative realities during the next step in the policy process. It is important to remember that a policy that lacks a vision is unlikely to inspire people to action regardless of how well it has been designed and developed.
Outcomes, objectives and priorities
Once ideals and principles have been established for the policy, it is possible to proceed to outcomes, objectives and priorities. This is where the ideals and principles get tailored to reality, since there will likely be insufficient financial, capital and human resources to meet the ideals and principles established for the policy. Consequently, the outcomes, objectives and priorities should be as specific and pragmatic as possible, as well as susceptible to various forms of measurement.
As far as outcomes and objectives are concerned, what would an effective programme in arts education look like? What resources, programmes, in-service activities and professional development opportunities are needed to realize it? How many teachers are required? What level of artistic mastery and technical proficiency is required of the students? In what ways can the desirable teacher-to-student ratio be realized? What facilities and equipment are needed? How much funding is required? How are the objectives and outcomes measured to ascertain if they are meeting actual and potential needs?
In the area of priorities, how will budget realities shape the policy once the budget has been set? It is important to consider this well in advance, as this will have a crucial bearing on the implementation of the policy, and this is what makes establishing priorities for the policy one of the most difficult parts of the policy process. Some very tough questions will have to be asked - and answered - with respect to what priorities are set. This area is often so contentious that it is entirely ignored by policy-makers, thereby making it difficult for implementers of the policy to know what is most essential if resources are scarce and decisions have to be made among a number of competing options.
Strategies and tactics
Designation of the outcomes, objectives and priorities should prove helpful in determining the strategies and tactics for the development and implementation of the policy. What strategies and tactics are needed to ensure the commitment of ministries of education, school boards, teachers, students, parents, principals, community groups, and the arts and educational communities generally? Who will be responsible for approving the policy once it is finished? Who will be responsible for its implementation? Have these groups been involved in the process? If so, how is their input to be used? What about the recipients of the policy? Are there strategic and tactical ways of using their input in the actual approval and implementation of the policy? Finally, what form will the policy take? Will it be a short, written statement, a detailed report, an audio-visual presentation, or some other type of policy instrument? Are recommendations to be included in it? Are they directed at particular groups? How general or specific is the policy? It is important to give consideration to these matters well in advance of approval and implementation, since this will affect the outcome of the policy and the public and private response to it.
Often people who make important decisions about the approval and implementation of the policy have not been involved in the process. This deprives policy-makers of valuable input and ideas. It also reduces the chance of the policy being approved and implemented once it is completed. Thus, the determination of strategies and tactics is one of the most important parts of the policy process. Successful approval and implementation may well hinge on the strategies and tactics that have been developed during this stage of the policy process.
III. Approval and implementation of the policy
Approval and implementation is a key part of the policy process. It does not make much sense to spend a lot of time and energy preparing a policy if approval and implementation are problematic or unlikely. Much may depend on the actual type of policy, as well as on how ambitious it is.
If approval requires a formal commitment from policy committees and decision-makers, it is advisable to prepare for this well in advance. This helps to work 'bugs out of the system' and anticipate problems before they occur. It is particularly important if approval requires some sort of public presentation, since failure to anticipate reaction in advance may result in rejection rather than approval of the policy in public. This is why it is valuable to engage those charged with approval and implementation of the policy in the policy process. It is also why it is advisable to circulate the policy in draft form to key decision-makers, particularly committees of the board, principals and teacher organizations prior to any public presentation. It helps to provide feedback and anticipate reactions before they happen.
Once the policy is approved, it is ready for implementation. What leadership and decision-making processes will be used to implement the policy? What are the policy roles and responsibilities of the ministry of education, the school board, faculties of education, teachers, students, parents, trustees, parents' and teachers' organizations, community groups, and professional associations? It is advisable to spell these roles and responsibilities out in as much detail as possible, as failure to do so may impair the implementation of the policy.
Implementation is one the most crucial parts of the policy process, since 'the proof of the pudding is in the eating', as the old saying goes. However, this is often where one of the biggest mistakes is made in policy development. Policy-makers are so delighted once the policy is approved that often no provision is made for implementation. It is assumed that implementation is the responsibility of others, not themselves. This is why it is advisable to set up 'monitoring committees' to oversee the implementation of the policy once it is approved. Failure to do so may curtail the ultimate effectiveness of the policy.
IV. Evaluation of the policy
Once the policy has been in existence for some time, it is important to evaluate it. How has the existing situation changed as a result of the approval and implementation of the policy? Is the policy meeting the needs of students, teachers, parents, boards, professional organizations, community associations, and the like? What indicators are used to determine this? How, and by whom, should these indicators be applied? Do indicators exist in other areas that might be useful in ascertaining the effectiveness of the policy? Some basic research in this area may be necessary if suitable methods and techniques are to be devised to assess the effectiveness of the policy once it is implemented.
This completes the process of developing an arts education policy. Having set out the process in detail, it remains to comment on some of the benefits that might be expected from developing an arts education policy.
In the first place, an arts education policy should yield more financial, administrative and human resources for arts development than is possible with an implicit policy. This should help to raise the profile and priority for the arts in the education system, as well as integrate the arts more fully into the curriculum and the education system generally.
In the second place, an arts education policy should clarify the roles and responsibilities of key stakeholders in the process. Teachers and students should have a better idea of what is expected of them, and trustees, principals and boards should have a better understanding of the contribution the arts make to a well-designed and well-implemented curriculum.
Finally, and perhaps most importantly, an arts education policy should make it possible to develop arts programmes in a coherent, comprehensive and cohesive manner, rather than piecemeal, partisan and partial manner. This should help to eliminate duplication and waste, utilize resources more efficiently, identify needs more effectively, and plan future developments more successfully.
The beneficiaries of these activities are teachers, students, boards, parents, principals, trustees, and the public at large. By taking the time to develop an effective arts education policy, stakeholders and recipients are likely to participate in the process more actively and share the benefits more fully.
For more information, please contact: Jane Cutler, York Region District School Board, The Education Centre - Aurora, 60 Wellington Street West, P. O. Box 40, Aurora, Ontario L4G 3H2, Canada; e-mail: firstname.lastname@example.org; http://www.yrbe.edu.on.ca
Evaluation of Performance and Production Figures for the Theatres in Vienna and Graz (Austria)
The aim of the study - which was commissioned by the österreichische kulturdokumentation. internationales archiv für kulturanalysen and carried out by Raimund Minichbauer - was to evaluate performance and production figures for the theatres in Vienna and Graz. This should provide an initial statistical base for cultural policy decisions in the area of the performing arts. The performance and production counts were analysed for October and November 2000 in Vienna and October 2000 through January 2001 in Graz.
Comparison: Graz - Vienna
In addition to presenting the figures and statistical data on the specific branches of theatre for the two cities, the study also presents the comparative analysis of the two.
To compare absolute figures, it is possible to multiply the figures from Graz based on the relationship of the populations (1:6.7). This would result in 40 performances per day for Graz (Vienna: 46.8) or 280 weekly (Vienna: 327). This means that the offer in Graz, relative to the population, corresponds to roughly 85% of the offer in Vienna.
Although the difference shown by this comparison seems relatively small considering the central position of Vienna, there are still qualitative differences in the offering, mainly in terms of the 'smaller' areas, where absolute figures are relevant.
Relation: Budget - Offered Performances
The collected data provides an initial basis for conclusions about the relationship between budgetary provisions and productivity at the various structural levels.
Looking at the data for Vienna, the major theatres are a good starting point, as here the percentages move in a comparably large scale. With a solid 23% of the public funding, they produce 19% of the offering. Significantly higher are the relative costs of the national theatres (nearly 69% of the public funding in contrast to 9% of the performances), and significantly lower are the costs for the medium-sized theatres (2.6% of the public funding with 18% of the performances) and independent groups (4.4% of the public funding with 38% of the performances).
In Graz, major theatres produce 41% of the performances with 96% of the available financing, whereas independent theatres offer 47% of the total performances with only 4% of the public funds.
For more information, please contact: österreichische kulturdokumentation. internationales archiv für kulturanalysen, Schultergasse 5/15, A-1010 Vienna, Austria, tel: ++43 1 535 2705; fax: ++43 1 533 4989; e-mail: email@example.com; http://www.kulturdokumentation.org
Cultural Centres and the Overall Problems They Face
by Jean-Noël Mathieu, General Secretary of the European Network of Cultural Centres / Historic Monuments
I would like to present the cultural centres concept, that 'strange idea', those 'different places', so far from traditional institutions. By different, we mean geographically (we are outside the cities), intellectually and mentally (our working methods differ). Cultural centres are places where people can meet together, visit, stay, produce intellectually and artistically. They are independent 'modern monasteries'. Empiricism is their way of life, practised as a virtue ('you don't get very far when you know where you're going'), and independence is their moral. They are laboratories that take heritage, usually considered to be a liability, and transform it into an asset and a tool for the future.
Cultural Centres (CCs for short) began joining forces in France in the 1970s. Today, the concept has gone European and the banner is now being carried by 40 centres across Europe (as well as a few centres outside Europe). All of these centres have a common charter that expresses their philosophy of action. We could say that these cultural centres are an empirical experiment, collectively built in Europe with a long-term focus.
A CC is a contemporary, intellectual, artistic project for a historical monument. On one hand, this intellectual, artistic-unconventional-project needs to be protected and housed by a historical monument. On the other hand, the historical monument needs to be restored, saved, and revived. What we are dealing with is, therefore, a living interaction between two orders of reality, a complex, living relationship that comes into being. As with every relationship, there are good manners and rules of the game established between the monument and the project.
The monument is not just a roof with four walls, a hangar, a warehouse. It is a space that has a specific and elaborate meaning. It is an architectural site that is by no means neutral. It is also a place with a memory: This space also had an intellectual and social reason for existing. It has a story to tell, many stories.
Our contemporary project restores that monument, and restores it in all of its facets. It restores the enclosed and covered areas, the walls and the roof. It restores the architecture, the quality and beauty of the spaces. It restores and rebuilds the meaning of the place, both its memory and the significance that it can have for us today. It is therefore, mutatis mutandis, a transposition.
However, the monument has a considerable say as to how this transposition is to take place: it conditions and orients the contemporary project. It can even reject and kill the project. It can also favour the project and allow it to grow and blossom. A CC is therefore based on intuition and a wager: here we make an attempt to do something that we need today.
Take the example of the Carthusian monastery of Villeneuve-lez-Avignon. The project took on very different forms. Everything from books, gardens, major fine arts exhibits, audiovisual productions was tried to no avail. Then we discovered that the monument favours a specific activity, offering residences to playwrights. Facing Avignon, the monument offers writers space to work individually (Carthusian cells) as well as collective spaces to show their work to theatre professionals and the general public (cloisters, tinel).
This discovery took twenty years at the Carthusian monastery. Fortunately, we are now able to move more swiftly. We have a much clearer view of what a monument accepts and what it does not, the effect that the architecture has on the project, and how the project must continue to evolve within this architecture. A laboratory is something that reinvents itself every day.
Linking a project to the memory of a site is not straightforward. It can be a rather indirect and subtle process. To take an example, the Royaumont Abbey has become a place for research and expression in the field of mediaeval vocal music, not because the monastery dates back to mediaeval times but rather because this mediaeval monastery has always been a place to work and create, intellectually, materially. And the work continues! It is important to demonstrate through the CC's work that intellectual life continues within the monument.
A CC project is a complex one. It strives to restore the monument, to encourage people to visit it, to gather documentation, to organize seminars and activities of artistic creation, to provide accommodation, etc. It is not a disparate project, it is simply a complex one. Each of the various functions are necessary. They flow together into what we call a contemporary CC project that brings the monument back to life. Each CC project is unique and its management must be unique if the functions are multiple. Restoring the monument is only one of the functions, no more and no less important than any of the others. Restoration is a function that simply cannot be handled in isolation.
In summing, CC is a project whereby the work focuses on space and memory. It is an overall operation to transform a historical monument, giving it a contemporary mission or purpose. Saving and restoring a building must be handled as part of a complex whole. In order for a symbiosis between the historical monument and the contemporary project to take place, the cultural centre needs to carry out its activities while the monument is being restored. We need to allot enough time for the symbiosis between the monument and the project to take place. This means that we must not move too quickly.
For more information, please contact: Réseau Européen des Centres Culturels / Monuments Historiques, the European Network of Cultural Centres / Historic Monuments, Secrétariat, c/o Association des Centres Culturels de Rencontre, 9, rue Bleue, 75009 Paris, France, tel.: 33 (0)1 53 34 97 00; fax: 33 (0)1 53 34 97 09; e-mail: firstname.lastname@example.org; http://www.accr-europe.org
Artists in Context
An artists' mobility programme within the framework of the European voluntary service
For ten years, the Pépinières européennes pour jeunes artistes has supported the emerging creators' advancement and their professional fulfilment in order to take an active part in the setting up of new relations by promoting youth's mobility on the European artistic scene and a rich mix of techniques and experiences. Since 1998, the Pépinières has thus developed the Artists in Context programme within the framework of the European voluntary service.
This programme is intended for young artists in all fields, aged between 18 and 25 years who are citizens or legal residents of a country in the European Union or a country participating in the programme. It allows them to carry out - within a host organisation, for a period of 6 months or more - an artistic project dealing with relations to others and the living context. This initiative is always realised in a country different from the artist's country of origin in order to expose him/her to a cultural environment which could enrich his/her prospects.
The artist's project is carried out in close collaboration with the host organisation, which ensures the training as well as the follow up and guiding of the artist during the residency.
For more information, please contact: Pépinières européennes pour jeunes artistes, B.P. 13 - 78164 Marly le Roi, Cedex France, tel.: 33 (0) 1 39 17 11 00; fax: 33 (0) 1 39 17 11 09; e-mail: email@example.com; http://www.art4eu.net
Banff Media Co-productions
Media and Visual Arts
The Banff Media Co-production programme at the Banff Centre for the Arts (See Culturelink no 33/April 2001, p. 50.) plays a unique and leading role in the world of Canadian and international multimedia, interactive and new media, television, research, art and cross-disciplinary practice.
The Media and Visual Arts department brings together the arts, changing technologies and media to support and develop high-quality creative projects made for a variety of platforms. The diverse environment of the Banff Centre unites the performing arts, music, visual and media arts, architecture, science and technologies.
The programme encourages projects that research and interrogate emerging digital cultures, such as location-based installations, electronic publishing. Projects using networked new media, such as broadband and wireless, cable and fibre services are also encouraged. It works with outside partners to create high-quality television for speciality channels, digital channels and broadcast, often for the hybrid world of platform and technology convergence.
The Banff Centre encourages proposals from artists, independent producers, researchers, broadcasters, Internet distributors, artists' networks and centres, distributors, interactive media, game and software developers, as well as galleries and museums. Media and Visual Arts work in partnership with the Creative Electronic Environment (CEE) and other departments in the Centre for the Arts to support television, interactive media, multimedia, and research co-productions. Participants have access to an affordable, professional, and creative environment to explore the full potential of television and interactive media development - and to generate a quality product.
Always wanted to be creative, linking media and the arts? Go for it!
For more information, please contact: Office of the Registrar, The Banff Centre for the Arts, Box 1020, Station 28, 107 Tunnel Mountain Drive, Banff, Alberta, Canada T0L 0C0, tel.: +1 403 762-6180; fax: +1 403 762-6345; e-mail: firstname.lastname@example.org; http://www.banffcentre.ca/CFA
The Nordic-Baltic Platform of Cultural Management Training
The Nordic-Baltic Platform of Cultural Management Training is a pilot project providing training and learning opportunities, as well as information and communication services, to the arts and cultural constituency of the Nordic, Baltic Sea and Barents Sea countries. It is one of the European Network of Cultural Administration Training Centres' (ENCATC) three year project-oriented platform working in close cooperation with education/training centres, cultural institutions/administrations and professionals actively involved in the arts and culture around the Baltic Sea (See Culturelink no. 30/April 2000, pp. 9-11.). The project is formed by 92 members from 25 European countries.
The Nordic-Baltic Platform functions as a laboratory for new innovative approaches to arts and media management and adopts an integrated approach involving different sectors of employment.
The provision of training/learning opportunities and related services is aimed at strengthening the professional knowledge and competencies of the cultural workforce and future cultural operators.
The aims of the Platform are the following:
- To strengthen theory and practice of arts and media management;
- To ensure an interdisciplinary and integrated approach to arts management education/training;
- To share experiences from other countries and other professional sectors;
- To support the emergence of new professional profiles in the cultural, artistic and media sectors;
- To encourage the cooperation between trainers, researchers and managers active in the arts, culture and media sectors;
- To create new partnerships with arts organizations, cultural industries and media sector;
- To function as a laboratory for new initiatives related to arts management and cultural administration;
- To constitute a resource centre for the arts and cultural constituency, as well as for cultural policy makers.
The project is targeted at cultural/arts/media managers, cultural administrators, cultural/artistic event organizers and cultural producers, participants in courses of arts/media management and cultural administration.
Activities/services are concentrated around training/learning, research, consulting, and information.
For more information, please contact: ENCATC, c/o KIT, Vestergade 5, DK-1456 Copenhagen K, Denmark, tel.: +45 33 158214; fax: +45 33 328182; e-mail: email@example.com
Masters' in Arts Management
Have you thought of doing an MA in Arts Management?
Studying for a Masters' in Arts Management might enhance your career prospects... Think about it...
The Department of Arts Policy and Management at City University (London) welcomes applications for the next academic year starting in October 2001.
The opportunity is that the course allows you to plan your own pathway of studies because you choose the modules you want to study; in other words, it gives you the possibility to direct (or re-direct) your career in whatever direction you want and only study those subjects you feel you need to know more about.
You are required to complete 4 modules - 2 compulsory and 2 electives - and a 15,000 word dissertation where you will be able to explore a topic of your choice.
The compulsory (those you have to do) modules are:
- Arts Management in Practice, and
- Arts Framework.
The elective modules (those you choose 2 from) on offer are:
- Arts Audiences
- Finance and Marketing
- Human Resource Management
- Policy-making in the Arts
- Art, Design and Commerce
- Music Management
- Education in the Arts
- Managing the Visual Arts
- Managing International Cultural Relations.
There are also a range of complementary 'academic support' initiatives available that are especially designed for those who left school some time ago. These skills, for example, presentation skills or report writing, will also greatly enhance the quality of your performance as a professional in your chosen field.
A bit of background
Each year the MA welcomes students from 30 different nationalities and responds to this diverse constituency by focusing on the arts and cultural realities not only of the United Kingdom but also of other countries in Europe and the European Union, Americas and Asia. Likewise, the network of alumni includes a few thousands professionals who have attended City's courses during the last 27 years and who are making successful careers in all corners of the globe.
If you do not have access to the web, just reply to this message or e-mail Ursula Richards for a brochure and application form at the following e-address: firstname.lastname@example.org
Alternatively, you can telephone this number: +4420 7477 8751 for information.
For more information, please contact: Department of Arts Policy and Management, City University, Barbican Centre, London EC2Y 8HB, United Kingdom; http://www.city.ac.uk/artspol
SOCIAL SCIENCES (REGULAR POSITION)
Institut national de la recherche scientifique (INRS) is seeking candidates for the regular position of professor-researcher primarily to develop the strategic research area of 'Culture, Science and the New Economy' at the Urbanisation, Culture et Société Centre. The successful applicant will focus on 'Cultural Policies.'
As part of top-level multidisciplinary teams, develop innovative research projects on:
Public policies on the creative arts, artistic practices, heritage and cultural identities in a context of globalization.
The development and impact of cultural policies compared to international perspectives.
With the support of the Institut, secure financing for research activities through subsidies and contracts with partners in all areas.
Participate in training activities, in particular at the master's and doctorate levels, as well as supervise research students and staff.
Doctorate degree in political sciences, public administration or sociology.
Post-doctorate research experience would be an asset.
Scientific projects demonstrating autonomy and originality.
Ability to work in a team and within a network.
Solid skills in teaching and supervision at the master's and doctorate levels.
Potential to develop a major research project in the medium term and proven ability to obtain required financing.
PLACE OF EMPLOYMENT
French is the INRS's working language. Knowledge of English is required; a third language would be an asset.
In accordance with the collective agreement in effect at INRS.
Interested applicants must forward a complete resume, a copy of their three most important publications, a brief summary of research and teaching interests as well as the name and contact information of three references, no later than September 21, 2001, to:
Institut national de la recherche scientifique
Urbanisation, Culture et Société
3465 rue Durocher
Call for Proposals
Center for Policy Studies
International Policy Fellowships 2002
The Central European University Center for Policy Studies (CPS) is calling for proposals for its year 2002 International Policy Fellowships (IPF) programme, which is affiliated with the CPS and the Open Society Institute-Budapest. Broadly speaking, an open society is characterized by a reliance on the rule of law, the existence of a democratically elected government, a diverse and vigorous civil society, and respect for minorities and minority opinions. Launched in late 1999, the CPS works with a broadening circle of policy analysts and institutions to promote the development of policy center networks throughout Central and Eastern Europe, the former Soviet Union, and Mongolia, as well as countries in South and Southeast Asia, the Middle East, and North Africa. The Center undertakes policy research and advocacy that furthers the open society mission and disseminates quality analyses in accessible formats.
The CPS International Policy Fellowships are intended to support the analytical policy research of open society leaders and to provide these Fellows with professional policy training. The programme aims to improve the quality of analysis in countries where the Soros Foundations work by ensuring that these leaders are able to conduct research in their home region while maintaining local affiliations and a high degree of mobility and intellectual freedom. Fellows participate in four training seminars in Budapest over the course of the fellowship year conducted by professors of public policy from around the world and gain vital skills including how to write professional policy documents, identify appropriate policy instruments, and effectively advocate policies-skills that are underdeveloped in countries where the Soros Foundations work. Good policy analysis is characterized by elements including a reliance on well-researched data; comprehensive, non-ideological assessment of relevant factors and options; explicitly stated criteria for assessing options; consideration of the interests and groups affected; and the clear presentation of feasible recommendations for action, as well as how these recommendations should be communicated and implemented.
Outstanding Fellows from Eastern Europe may be nominated to participate in additional training and research opportunities, including a three-month International Junior Public Policy Scholar Fellowship in Washington, D.C., in affiliation with the Woodrow Wilson Center's East European Studies programme. The Woodrow Wilson International Center for Scholars, the United States' official memorial to President Wilson, was established by congressional legislation in 1968. Meant to reflect and continue Woodrow Wilson's commitment to a deeper understanding of issues crucial to global peace and stability, the Center serves as an international, interdisciplinary, non-partisan scholarly institute which fosters scholarship in the humanities and social sciences and encourages dialogue between the academic and policy communities. East European Studies, housed at the Woodrow Wilson Center, provides a non-partisan forum for bringing historical and contemporary understanding of the former communist states of Eastern Europe and the Baltics to the nation's capital and throughout the country. For more details on the Wilson Center and its East European Studies programme, please see further details in the on-line version of this announcement and visit the Center's website at www.wilsoncenter.org
Applicants are encouraged to submit individual, practical and policy-oriented research proposals in the following subject areas. The product of each fellowship will be a detailed analysis of a major issue to be published in English and translated into other languages:
Fellowship Issue Areas
- The Public Policy Process
- The Impact of European Union Expansion on Non-Accession Countries
- Policies to Promote Criminal Justice Reform and the Rule of Law
- Conflict Prevention in Southeast Europe
- The Role of Universities in Social Transformation
- Primary and Secondary Education Reform Policy
- Information Policy to Build Open Information Societies
- Media Policy
- Gender Policy
- Roma Policy
- Children's Services Policy
- Cultural Policy
- Urban Policy.
Terms of the International Policy Fellowship Award
Fellows will be provided with a one-year stipend, expenses including travel and needed communications equipment to work full-time on research of their design in one of the above areas. The amount of the award will vary depending on standards in the Fellow's country of residence and the budgetary needs of the proposal.
To Apply: Application Requirements and Procedures
All initial queries must be entered on-line via the Internet directly into the IPF application database found at http://www.osi.hu/ipf/apply.html. Those who have no possibility to access the Internet (including from public libraries, Internet centres, or national Soros foundations) should send an e-mail to email@example.com or call the IPF offices at (36 1) 327-3863 to discuss the best alternate application solution. Finalists will be interviewed at the expense of the IPF. Successful applicants will be notified in November or December 2001 and no later than January 15, 2002. The fellowship research cycle will approximate the period from February 2002 to February 2003.