Applying Program Logic Modeling to Project Grant Funding:

A Case Study of Barbados’ Cultural Action Fund

Ian W. Walcott (B. Sc., M.A., M.Sc.)
Business Development Consultant
National Cultural Foundation (Barbados)

Biography
Ian Walcott manages Barbados’s grant program for artists: Cultural Action Fund. He is a Project
Management Consultant and founding member of the Barbados Chapter of the Project
Management Institute. In 2001, he conceptualized the Caribbean & Latin American
Conference on Project Management. A former research fellow in International Relations at the
University of Brasilia, he is further specialized in Comparative Business & Management. Mr.
Walcott is a member of the International Association of Theatre Critics.

Abstract
Barbados recently embarked on an ambitious program to stimulate its Creative Economy.
International agencies too are advocating good fortune in this sector. Unfortunately, there is scant
literature demonstrating how best to manage creative industries. Initial research suggests
significant capital investment and entrepreneurial strategies are needed to propel this sector.

This paper examines the Cultural Action Fund (CAF) - a programmatic intervention designed to
stimulate entrepreneurship. Furthermore, Project Management is strategically used to engineer
behavior of the sector’s constituents. Equally important is the qualitative methodology of logic
modeling in program design and its implications for evaluation. Similarly, CAF employed
quantitative assessment for selecting projects. This too has positive implications for program
evaluation.

This case study reveals how Barbados is making grand steps in applying Project Management
together with an explication of program logic modeling.

Keywords
Creative Economy, grant funding, project management, logic models
Introduction

In December of 2004, the Barbados Government through its agency the National Cultural
Foundation (NCF) launched the Cultural Action Fund (CAF). As the main agency for national
cultural programs and interventions, the NCF is well positioned to determine and measure the
needs of the country’s cultural stakeholders and constituents.

Additionally, Barbados has embarked on an impressive national program aimed at developing a

third economic mainstay, the Cultural Industries. As such the Prime Minister’s 2002 Forum on
Culture led to the establishment of a National Task Force on the Development of the Cultural
Industries. Some two years later the Task Force presented the Prime Minister with the country’s
second major development strategy for cultural development since gaining independence in 1966.
(The first was done in the early 80s by Dr. Edward ‘Kamau’ Brathwaite, one the leading cultural
icons of Barbados and the Caribbean. It must be noted that the Brathwaite report informed the
formation of the said NCF.)

One of the key findings of the Task Force was the lack of financial options and support for the
creative industries which in turn contributed to stifling the growth and development of the sector.
Though many a stakeholder may argue that this evidence was clearly empirical, a social
intervention or policy still had to be informed by research and this therefore created the rationale
for developing the CAF.

However, before discussing the Fund’s rationale we will briefly define the cultural and creative
industries then examine the logic model used to design the intervention and what the NCF hopes
to achieve in the medium to long term with the CAF or other similar funds.

This case study will therefore examine the appropriateness of logic models in designing
programmatic interventions, together with the implications for project/program evaluation.

1
Defining the Cultural and Creative Industries

For the purposes of this paper, we will adhere to the broad categories that were outlined by
Barbados’ national strategy. However, it remains noteworthy that this very definition was
informed by that of UNESCO which states that cultural industries “combine the creation,
production and commercialisation [sic] of contents which are intangible and cultural in nature.
These contents are typically protected by copyright and they can take the form of goods or
services.” The emphasis on intellectual property is also underscored by David Throsby [2001, p.
112] who states that “cultural goods and services involve creativity in their production, embody
some degree of intellectual property and convey symbolic meaning.”

The following categories were used in the Barbados strategic paper:

1. Arts and Culture

a. Performing Arts
b. Visual Arts
c. Literary Arts
d. Photography
e. Craft
f. Libraries
g. Museums & Galleries
h. Archives
i. Heritage Sites
j. Festivals
k. Arts Supporting Enterprises
2. Design
a. Advertising
b. Architecture
c. Web and Software
d. Graphics
e. Industrial Design
f. Fashion
g. Communications
h. Interior and Environmental Design
3. Media
a. Broadcast (Radio, TV, Cable)
b. Digital Media (including software and computer services)
c. Film and Video
d. Recorded Music and Publishing

From the above outline, one can conclude that the Barbados strategy for its Creative Economy is
quite ambitious and all encompassing. The rationale behind the creation of the CAF is therefore
appropriate rooted in this national strategy.

2
Applying a Logic Model to the Cultural Action Fund

According to the W.K. Kellogg Foundation Evaluation Handbook, a logic model is “a systematic
and visual way to present and share your understanding of the relationships among the resources
you have to operate your program, the activities you plan to do, and the changes or results you
hope to achieve.”

Logic models also help to paint a picture that shows the rationale behind your program which in
turn can become a useful tool for presentations when the need arises to defend the intervention.
Not only are logic models useful in program design, but also indispensable at the evaluation
stage, by providing a visual against which project/program evaluators can design their
measurement tools. In essence, the models are simply divided into goals or strategy and projected
outcomes. According to Peter Rossi [1999, p. 111], “the organizational arrangements and
program operations that constitute the routine functions of the program are based on a set of
beliefs, assumptions, and expectations about what the program must do to bring about the
intended target-program service transactions.”

Logic models are also defined as such because they follow an if-then logic or assumption. If
certain resources are put in place with the commensurate activities, then certain outcomes are
likely to be achieved once the particular target group is met over the short to long term. In logical
framework (logframe) analysis this is referred to as the intervention logic which then gives us a
justification for supporting and implementing the program.

Let’s now examine the logic model of the CAF and the assumptions that were made in its design.

3
 Cultural Action Fund Program Logic Model
Program: Goal: Develop & Enhance a Cadre of
Cultural Entrepreneurs in the
Action Fund Cultural Industries

Inputs
Inputs or
or Outputs
Outputs Clients
Clients
Activities
Activities Short-term
Short-term Intermediate
Intermediate Long-term
Long-term
Resources
Resources ***
*** Reached
Reached
***
*** Outcomes
Outcomes For
For Outcomes
Outcomes Outcomes
Outcomes
***
*** Approved
Approved ***
*** Clients
Clients From
From Problem
Problem
Cultural/
Cultural/
Provide
Provide ***
*** Clients
Clients Solved
Solved
Continued
Continued Artistic
Artistic SMES,
SMES, CBOs
CBOs
Grant
Grant Successful
Successful ***
*** ***
***
Funding
Funding Projects
Projects &
& NGOs
NGOs with
with
Guidelines
Guidelines Project
Project Increased
Increased Increased
Increased
Cultural
Cultural Completion
Completion revenue
revenue National
National
Technical
Technical Maintain
Maintain all
all Focus
Focus
Provide
Provide For
For cultural/
cultural/ Economic
Economic
Assistance
Assistance Records
Records &&
Relevant
Relevant Improved
Improved Artistic
Artistic Activity
Activity
Documents
Documents Artists
Artists
Contacts
Contacts Administration
Administration Services/
Services/ In
In
Consulting
Consulting && Project
Project Products
Products Cultural
Cultural
Institutional
Institutional Culture
Culture
Networking
Networking Management
Management Industries
Industries
Facilitation
Facilitation Strengthen-
Strengthen- Consultants
Consultants
Activities
Activities ing
ing

External Influences
Government Funding Support, Market accessibility, CSME

Figure 1

The Program Goal

The CAF is referred to as a program because it was designed to fund and manage several small
projects over the course of its life, hence a program. Its goal is to develop a cadre of entrepreneurs
and cultural practitioners in Barbados with enhanced administrative and project management
skills. This was borne out of the need to have these constituents better manage themselves seeing
that one of the anomalies of the cultural industries is the high degree of self-employment
[Heilbrun & Gray 2001, pp. 331-332]. As such, the NCF has strategically developed the CAF
program to engineer this sector of the market and influence behavioral change amongst its
cultural practitioners.
In the above figure it also shows that there are a number of external influences which will impact
on the program’s goal. It is therefore assumed that government will remain committed to
developing the sector by providing the necessary funding; that artists will continue to have access
to markets especially within the Caribbean region; and that the platform of the Caribbean Single
Market and Economy (CSME) will be the springboard from which the constituents can export
their cultural goods and services.

Case 1
The Bridgetown Film Group was successful in receiving funding from the Grant Program in
2005. Here are some of the successful changes that were engineered as a result of accessing the
fund:
The Film Group moved from an ad hoc entity to becoming a bona fide corporation that is a
member of the Barbados Small Business Association (BSBA). Membership in this Association
increases networking potential and other tax benefits.

4
In order to access disbursements from the fund, the Film Group had to submit regular project
status reports as per the form below:

PROJECT STATUS Project Name: CAF Project No. Project Manager:

REPORT

Project Dates: Total Project Cost: Financing: Project Phase:

(tick one)
$ CAF = ( ) Initiation
(please attached copies ( ) Implementation
of all invoices that were ( ) Closeout
submitted to CAF) ( ) Evaluation

List All Activities to be performed up to this reporting period & state degree of completion in
percentage points (please note that funds will only be disbursed upon completion of an activity and the
NCF retains the right to verify this):

(1)

List Any major challenges encountered up to this point:

(1)

Prepared by: Date: Approved by: Date:

1. This encouraged the recipient to see their work in project terms with the understanding
that henceforth, any new film project can be treated with such a methodology.
2. Additionally, evidence of the final project was required together with a project closeout
report.

5
Inputs

CAF is funded with a percentage of the profits from the combined lotteries in Barbados. In
essence, this gives every Barbadian a sense of ownership of the program since it’s the average
citizen whose continued support of the lotteries indirectly funds the CAF. Together with this
funding, the NCF offers technical support, consultation and facilitation through its Business
Development office.
When the fund was first launched in December 2004, it had already accumulated BD$1.2 million
dollars with a subsequent average deposit of BD$60, 000 per month.

Activities

Once the above resources are in place, it’s now incumbent on program managers to provide clear
guidelines and policies and create an enabling environment where grant recipients can network by
developing business connections.
Information management of the fund becomes critical at this point so as to keep all constituents
updated on processes and information relevant to their applications. To this end, CAF has its own
Internet presence at http://caf.ncf.bb .
Other networking activities include thematic symposia where successful grant recipients are
invited to showcase their projects and discuss their experiences. These fora also allow the
recipients to interact with each other and barter their goods and services. Very often, a mere
access to information is enough to create a new business opportunity.

Outputs

It is further assumed that once the above is in place, there will be approved projects whereby
successful applicants must maintain proper project files and records as a prerequisite to receiving
their disbursements. It is hoped that this will create a discipline among our constituents and
further strengthen our institution from within by generating organizational knowledge in program
design, monitoring and evaluation as well as grant fund management.
The key project management tool that has been engineered in this regard has been to encourage
all grant recipients to manage a Project File.
On receiving their official notices of acceptance, all CAF recipients are taken through a brief
workshop on how to prepare and manage the Project File.

Managing the Project File

The Project File is the project manager’s main control system. It’s a working file with day to day
information from start to finish of the project. The project manager keeps this file up to date and
available for inspection by the NCF Business Development Department upon request.
The Project File usually takes the form of a lever arch file but we have encouraged digital formats
as well. The information is inserted in reverse order with the newest information at the top, or
front, of each section.

6
Typical Project File Data

1. Project Initiation Information: This information includes any documents relating to the
project initiation process, enquiry information, expressions of interest and any letters or
documents or Memoranda of Understanding. Data relating to pre-qualification or pre-
conditions will also be filed here.
2. Project Plans: This will include all Schedule Plans and/or Baseline Plans, i.e. completed
Gantt chart, PERT Chart and the projects Work Break Down (WBS) structures. All
records should be kept up to date and any changes recorded through the lifecycle to
completion of the project.
3. Terms of Reference (ToR’s): This will include the ToR’s for the project manager and all
staff employed within the project. This identifies the responsibility charter of the project.
Information relating to assumptions or external factors affecting the project in some way
will be filed here. Assumptions and external factors may be outside the scope of the
project but may have an effect on achieving the project deliverables. Detailed evaluation
on assumptions will be contained in the Project Risk Plan.
4. Progress Reports: Weekly, monthly and quarterly reports for both the project team and
customers will show all the issues that were dealt with and the outcomes of any decisions
made. They will be useful for auditing and evaluating purposes. This section may also
include the following:

Revised Gantt Charts

Resource Sheets

Staffing Reports

‘What if’ projections

Fallback Plan implementation

Use of Contingency expenditure

Key decisions that were made via email
5. Project Timetables: These are the timetables of all those employed in the project.
Timetables for delivery of equipment and materials can also be included in this section.
6. Forecasts/Projections: These will be the progress reports and any estimated completion
dates for tasks, against the set budget. Included here will be estimates and/or financial
data from other stakeholders or sub-contractors.
7. Estimates and Budget Reports: The project file should contain all the original
spreadsheet estimates and how these estimates were arrived at for resources materials,
plant etc. These calculations may be necessary to resolve any problems during the
project. Copies of budget and revised budget reports should be provided in date order as
the project progresses.
8. Minutes of Meetings: Team meetings should be formally minuted. This will include
internal and external meetings. These will be kept in the project file with all actions
minuted with named/owned actions for future reference.
9. Amendment or Variation Requests: All amendments that are formally requested during
the project must be recorded for future reference to facilitate the auditing process, i.e. any
variation to time, cost and quality. This will affect the project budget.
10. Risk Assessment and Plan: This is a record of the risks identified in the approval stages.
Detailed here will be an evaluation of external factors and assumptions which may be
outside the scope of the project, but which may have an effect on achieving the
deliverables.
11. Contracts: All the contracts (both original and any additional as the project progresses)
relating to customers, suppliers, subcontractors etc, as well as letters relating to each
party are included here. These may be needed if any disagreements arise during the

7
 project and for evaluation at the end of the project to ensure the original contract has been
fulfilled.
12. Organization Chart: This is the project team structure and identifies who reports to
whom in the team (a parent organisational structure may also be shown). The external
suppliers will also be identified here to determine communication links.

Figure 2 – Example of Org Chart used by CAF Project –

The Musical Production “Redemption”

13. Project Specifications: All the documents and specifications to be undertaken within the
project should be included. Any technical specifications and further information can also
be included.
14. Acceptance Documentation: On large-scale projects there may be interim handovers,
when clients accept certain parts of the completed project phases. This documentation
must be recorded and kept in the project file. It must however be noted that the small
nature of the CAF Projects has deemed this type of information irrelevant but the transfer
of knowledge to other projects is still pertinent.
15. Health and Safety Documentation: This will include the signed Health and Safety
Policy Statement and designated personnel responsible for its implementation.

a copy of the actual Health and Safety Project Statement

a devised Project Health and Safety Policy Statement

Health and Safety Line Management Diagram

8
Clients Reached (Target Group)

The target group is made up of very specific entities, namely, small and medium sized enterprises
(SMEs), community based organizations (CBOs), and non-governmental organizations (NGOs)
and/or non-profit organizations (NPOs) with a special focus on cultural development. Individual
artists and cultural consultants are also targeted directly.
Up to the time of writing there were 81 applications:

Individuals = 50 (25 females: 25 males)

Corporate = 20
Non Profit Organizations = 10
Total approved projects at November 2005 = 25
Total funds approved for disbursements at October 2005 = BD$832 000

Approved projects up to November 2005

Application Corporate
Number \Individual\NPO Gender Project Summary Total Dollar Amount Allocated
One year study program. Vancouver Film School. Diploma in Writing for
CAF/NCF0001 Individual Female Film, TV & Interactive Media $ 44,000.00
Six month training program at CNEART, Cuba in African Latin Music &
CAF/NCF0002 Individual Male Drumming $ 12,151.00
Corporate Re-engineering & Establishment of the Richard Stoute Teen
CAF/NCF0003 Individual Male Talent Foundation $ 22,000.00
One year study program. MBA Cultural Management, Queen Margaret
CAF/NCF0006 Individual Female University College. $ 20,000.00
Merchandising Support of Cultural Products showcasing the work and
CAF/NCF0012 Non-Profit Organization Company image of Foundation $ 20,000.00
Workshops in Musical Theatre Leading up to production entitled
CAF/NCF0015 Individual Male "Redemption" $ 50,000.00

CAF/NCF0016 Corporate Company Workshops in Digital Film-making, scripting & directing $ 49,000.00

CAF/NCF0019 Corporate Company Production of Purist Jazz Festival $ 50,000.00

Installation of New E-commerce Company focusing on Stock Images of
CAF/NCF0020 Individual Male Caribbean People & themes $ 30,000.00

CAF/NCF0021 Individual Female Production on Documentary Film on Intra-regional Migration $ 50,000.00

CAF/NCF0027 Corporate Company Artist Development Workshop & Training for 20 Singers $ 50,000.00

CAF/NCF0031 Non-Profit Organization N/A Summer Training Workshops 2005 $ 50,000.00

CAF/NCF0032 Non-Profit Organization N/A CD & DVD Production of Xmas Concert 2005 $ 50,000.00

CAF/NCF0034 Individual Female Production of Three Novels $ 17,400.00

CAF/NCF0039 Individual Female Masters Degree in Arts Administration & Cultural Policy $ 50,000.00

CAF/NCF0042 Non-Profit Organization N/A Corporate Website $ 5,000.00

CAF/NCF0046 Individual Male Dance Exhibition $ 15,000.00

CAF/NCF0047 Corporate Company Publication of cricket book $ 25,000.00

CAF/NCF0048 Individual Male Cultural Event $ 50,000.00

CAF/NCF0049 Non-Profit Organization Male Documentary on the landship $ 50,000.00

CAF/NCF0051 Corporate Company Cool Jazz Series IV $ 20,000.00

CAF/NCF0053 Individual Male Full length film $ 50,000.00

CAF/NCF0054 Individual Male Online Database $ 7,500.00

CAF/NCF0057 Individual Male CD Project of Calypso $ 30,000.00

CAF/NCF0059 Individual Female Exhibition Tour $ 15,000.00

$ 832,051.00

9
It must also be noted that whenever possible, individuals are advised to incorporate a company as
a prerequisite for funding. This separates the individual from the risk of the project and adds
move value by opening opportunities of further funding and technical assistance that is available
to SMEs in Barbados.
This advice has not been met with too much resistance seeing that applicants are encouraged to
include their incorporation fees as a line item in their project budgets.

Outcomes

In the short to medium term, it is then assumed that CAF will finance projects that are successful
and will engineer the target group to have better administrative and project management skills
having gone through the rigors of the fund. At the next level, CAF envisages increased output of
cultural goods and services which will in turn impact on Barbados’ ability to export and thereby
increase economic activity.

After the first round of successful projects, there is already evidence of such an outcome. The
Israel Lovell Foundation received BD$20, 000 to fund a poster project. Here we have an example
of a choreography that won national award and acclaim which was photographed, graphically
enhanced and printed by a local printer. A simple injection of $20,000 thereby created
employment for a graphics artist, a photographer and a printing company. In the end, the recipient
now has 1000 posters that can be sold at the end of their performances locally and internationally
as well as over the Internet. After an international tour to Canada and the USA, this group also
saw the need to have a website and returned to the fund for further support and now has a
presence on the Internet.

10
Picture 1 (Example of poster project funded by CAF)

11
The Structure of the Cultural Action Fund

QUARTERLY EVALUATION
CAPITAL ONGOING FUND
SELECTION OF REVIEW &
INJECTION MONITORING
PROJECTS ENHANCEMENT

CAF Program Management Schema

Figure 2

The above schema clearly demonstrates the structure of the fund from an operational standpoint.
Once funds are continually injected there is an assessment of applications at the end of each
quarter. The successful projects are then monitored to ensure that procedures are followed and
ongoing status reports are required from the recipients in order to receive their funding. Up to the
time of writing it is proposed to have the program audited and evaluated on an annual basis
before changes are recommended and implemented.

From a management standpoint, the applicant first comes into contact with the Business
Development office where all support is given to assist in filling out the application form
correctly as well as collating the relevant data and attachments to the project proposal. Since most
applicants are not versed in project management, the application form itself has been designed to
force the applicant to think in project management terms and methodology. Simply put, how long
will your project last, how much will it cost, what resources are necessary for successful
implementation and completion and what is your ultimate goal.

Applicants are encouraged to fill out the form digitally so that it can be emailed and corrected and
sent back to them. Furthermore, once they’ve gone through the process, whether or not they have
been successful, they can now use the form as a template for subsequent requests for grant
funding. In this way, the CAF is contributing to improving project management skills in the
marketplace.

There are also three different kinds of forms:

1. Individual
2. Non-profit organizations
3. Corporate.

(Please see an example of the CAF application for individuals in appendix 1)

12
Project Assessment

Though it can be argued that projects cannot be fully assessed quantitatively, the CAF was
designed to be as objective as possible in its selection criteria. There is an internal committee
comprising five senior members of staff and/or technical experts who make an initial assessment
before going to the final assessment committee that interviews short-listed candidates before
sending their final recommendation to the NCF’s Board of Management. This decision-making
process may seem multi-layered but as a government agency the NCF is still accountable to
government’s rules and processes which have formed the overarching decision-making
framework of the fund. This was particularly useful since the fund did not have to invent new
rules and policies for managing the financial aspects of the program – existing protocols and
policies for government’s financial management are strictly adhered to by the program.

The assessment point system takes into account the ability to measure the program’s overall
impact on the economy at the end of a given review period. As such the following criteria were
implemented:

• Potential to develop a product or service aligned to the National Strategy for the
Cultural Industries - All Applicants(25 points)
• Is there a clearly defined national focus? (10)
• Is there a focus on the targeted areas? (5)
• Is there an element of cultural development? (5)
• Are there linkages to other sectors like tourism, manufacturing,
agriculture? (5)
• Sustainability of product or service after funding support – (25 points)
• Business applicants (25 points)
• Projected operating revenues will meet or exceed the forecast expenses
for the project in the period beyond which funding may be provided (10)
• There is a thorough business or strategic plan in place (10)
• The proposed venture has a management structure (5)
• Individual applicants
• There is an outreach program after project to apply results (15)
• There is evidence or proof of project outcomes that can be archived (10)
• Non-profit organization applicants (25 points)
• Community outreach & developmental focus (10)
• There is a thorough business or strategic plan in place (10)
• The proposed venture has an organizational/management structure (5)
• Potential impact on economy & development of Cultural Industries (25 points)
• Innovation (10)
• Creation of employment – staffing or self employment (5)
• Export potential (5)
• Managerial improvement (cost effectiveness, institutional building) (5)
• Tangibility of final cultural/artistic product or effectiveness of cultural/artistic
service (15 points)
• Is there a product or service that can be purchased and/or distributed? (5)
• Is there a transfer of knowledge taking place? (5)
• Is the product or service marketable or saleable? (5)
• Potential to reach community & grass roots levels (10 points)
• Is the applicant working with young people at schools or CBOs? (5)
• Will the final outcome have a direct benefit at the community level? (5)

13
All projects that receive a score of 75 or more points are considered for approval. It is assumed
that with a point system in place together with proper records management, the evaluators will be
able to effectively measure the program’s performance and impact at the end of at least a three
year period.

Marketing the Program

Special application kits were distributed at the launch of the fund together with an exhibitor’s
booth. Additionally, information seminars were held to sensitize the target group as to the fund’s
existence.
After the first round of applications, there was tremendous response from the target group with
demand far outstripping the total funds in the overall program at the time. However only $400,
000 was approved at the end of the first round and careful consideration was given to how
demand should be stimulated in order to ensure sustainability of the fund for a period of at least
36 months. As such press releases are only launched after projects have been approved and this is
then used as a public relations tool to encourage applicants for the next round. In other words, the
approach has been a soft sell rather that a massive marketing and PR campaign which will create
a demand that will far exceed the fund’s capacity and create unnecessary frustration amongst the
targeted applicants. See an example of the fund’s soft sell marketing technique below.

14
Picture 2

15
Implications for Program Evaluation

In the above case of the Cultural Action Fund, it has been clearly demonstrated that there is an
effort on the part of the Barbados government, however in small measure, to alter the behavior of
a particular group of constituents by engineering a program that enforces change. It is now
incumbent on the project evaluators to measure the impact of this program and how effective it
has been in bringing about change.
The quantitative point system that was designed for selecting successful projects can be used
during evaluation to answer the following questions:
1. Were all approved projects linked to the national strategy?
2. How many new companies were incorporated?
3. What are the key ratios? Males to females, corporate entities to NPOs, etc.
4. Total funding demanded vs. total funding disbursed?
5. How many projects developed into products or services worthy of export?
6. How many projects drained foreign reserves as opposed to attracting foreign
exchange?
7. What’s the multiplier effect of training projects?
8. Based on real invoices and bills paid, how much employment was created
through the fund?
9. How many local companies were employed?
10. How many foreign companies and individuals were employed?
11. How many websites were designed?
12. How many products and services are now being marketed and
commercialized over the Internet?
13. How many businesses are now sustainable as a result of funding?
14. What internal project management processes and procedures have been
improved as a result of managing the Fund?
15. Has there been significant knowledge transfer to the constituents regarding
project management principles?
16. Is the NCF better equipped to manage future funds and give technical advice
through its business development department?
17. Was there sufficient internal cross-training for NCF staff to ensure continuity
of the program?
18. Is the NCF now in a position to offer consulting services in grant fund
management to other entities in Government or throughout the Caribbean
region?

These are some of the key issues that project evaluation will try to unearth. The key lesson learnt
in this case remains the fact that the program was designed with evaluation in mind. With such an
effort, the work of the evaluators is already facilitated.

16
Conclusions

It is believed that by designing the CAF along strict project management lines in order to access
grant funding that the NCF will effectively engineer a particular behavior amongst its constituents
by encouraging them to answer very specific questions regarding the scope, timelines and costs of
their projects. Additionally, by enforcing the management of a project file, the CAF recipient will
become disciplined in a tested administrative procedure that can only benefit them in the long
run. As a result, we can only hope that the applicants will start to see the benefits of employing a
Project Management Methodology and will therefore improve these skills and/or seek further
training.

Another conscious effort that was made in designing the program was to incorporate a point
system that examines sustainability and impact on the country’s economy. This has obvious
implications for Program Evaluation both in the mid-term and at completion. Much too often, this
aspect of project management is overlooked at the design phase and it’s important to put key
measurements in place at this early stage in an effort to facilitate evaluation.

Finally, the methodology of program logic modeling was instrumental in designing the
intervention. Not only did it present a graphical image of the intrinsic logic of the program, but it
also helped the program managers to analyze the assumptions and think about their desired
outcomes before implementing the CAF. In this way, all the activities and the predetermined
engineering were given a stated rationale and purpose to justify the intervention. This only lends
support to the use of program logic modeling as a qualitative support tool for both program
design and evaluation.

As such the CAF is a model or template that can be duplicated by the NCF for future grant
programs, not only in Barbados but also throughout the developing world.

17
Acknowledgements

I wish to acknowledge the support of the Chief Executive Officer, Mr. Ian Estwick and
Administration Manager, Mr. Wayne Webster, both of the National Cultural Foundation of
Barbados. Special thanks are extended to Ms. Penny Gomez , Mr. Adrian Cummins and Ms.
Alissandra Cummins for their critique of the paper.

18
References

Books:

Hesmondhalgh, D. 2002. The Cultural Industries, London: Sage Publications

National Task Force on Cultural Industries, May 2004. Policy Paper to Inform the Propelling of
Barbados’ Creative Economy: A Cultural Industries Development Strategy. Barbados
Government

Nettleford, R. M. 2003. Caribbean Cultural Identity: The Case of Jamaica, (2nd ed.) Miami: Ian
Randle Publishers.

Rossi, P. H. et. al. 1999. Evaluation (6th ed.) California, Sage Publications.

Throsby, D. 2001. Economic and Culture, Cambridge, UK: Cambridge University Press.

W. K. Kellogg Foundation December, 2001.Logic Model Development Guide, Michigan, USA:

Kellogg Foundation.

Heilbrun J. & G. Charles M. 2001. The Economics of Art and Culture, (2nd ed.) Cambridge, UK:
Cambridge University Press

Websites:

United Nations Educational, Scientific and Cultural Organization’s (UNESCO) web portal on
Culture Trade and Globalization - http://portal.unesco.org/culture/en/ev.php-
URL_ID=18668&URL_DO=DO_TOPIC&URL_SECTION=201.html

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Appendix 1 – Individual Application Form

Form CAF/NCF 04/0200

PROJECT GRANT APPLICATION FORM (INDIVIDUAL)

For official use only Received on: / /20_ _ Reviewed by: Application N°:

Project Level (1) (2) (3) Approved: (Yes) (No) Dollar Amount Allocated: Recommended for extension: (Yes) (No)
Application Deadline  March 31? June 30 ? September 30 ? December 31?

Please type or complete clearly in black ink and mail, fax or e-mail to:
The National Cultural Foundation,
Cultural Action Fund,
West Terrace,
St. James,
Barbados.
Fax: 1 246 424 0916
Email: mail@thencf.org
If there is insufficient space on the form, please feel free to use additional sheets.
The following attachments/annexes (if applicable) must be provided to the NCF at the same time you submit your application:
 Certificate of Character
 Proof of Barbadian Citizenship (National ID or Passport)
 Three (3) references
 Evidence of your cultural product/service if applicable

I. YOUR CURRENT BUSINESS

1 Name of applicant
2 Contact names(s) and position(s)
3 Contact address

4 Telephone
5 Fax
6 E-mail
7 Website
8 Cultural/artistic activity
9 Type of business
10 Bank: Name
Address
Years with the bank
Contact name
11 Are you a member of an association? If so, give names and detail the services they give you:

12 How did you find out about the Cultural Action Fund?
Professional association: Other development project:
Consultant: Press:
NCF Office: Another firm:
Other NCF Grant beneficiary:
13 Is this your first CAF/NCF application? If not, previous CAF/NCF application number:

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14 Is this your first application for a project grant through an assistance programme? If not, give details:
Date Organisation or donor Assistance obtained

15 Have you applied/will you be applying for assistance for this cultural/artistic project from other sources?
If yes, from whom? Amount

16 Your cultural/artistic products or services

17 Your market – position, demand and stability

18 Your supply of raw materials and source

Raw materials Source

19 Your (potential) clients/customers

20 Your (potential) distribution channels

21 Your competitors in Barbados and/or Caribbean for cultural/artistic products or services

22 Your competitive advantage (what makes your cultural project idea unique?)

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II. PROSPECTS, OBJECTIVES AND STRATEGY OF YOUR CULTURAL/ARTISTIC BUSINESS
PROJECT
23 Analysis of Strengths, Weaknesses, Opportunities & Threats (SWOT)
Strengths (internal to your company):
consumer behaviour, production capacity, quality and delivery reliability, infrastructure, access to finance, cost structure,
adequacy and proficiency of human resources, management (organisation, planning, information systems)

Weaknesses (internal):
consumer behaviour, production capacity, quality and delivery reliability, infrastructure, access to finance, cost structure,
adequacy and proficiency of human resources, management (organisation, planning, information systems)

Opportunities (external):
domestic or export market, regulations, competitors, substitute products or services, supply of raw materials or services,
distribution channels, customers (buyers)

Threats (external):
domestic or export market, regulations, competitors, substitute products or services, supply of raw materials or services,
distribution channels, customers (buyers)

24 Summarise your main objectives and strategy for the future

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III. THE PROJECT OVERVIEW STATEMENT
25 Problem/Opportunity
Projects derive from ideas for a new product or service or a solution to a problem. Briefly state here which
opportunities/problems led you to develop this project idea.

26 Goal
A project must have a SINGLE goal. Please state clearly the goal of your project. If possible, give a time period for projected
completion. Think about the impact you hope this project will make in the medium to long term.

27 Objectives
To achieve the above goal, you must have a number of objectives. These objective must be SMART
Specific, Measurable, Attainable, Realistic, & Time constrained

28 Success Criteria
How will you know whether or not your project has been successful? What measurements will you put in place to determine your
success? How do you plan to measure the above objectives?

29 Assumptions, Risks, Obstacles

Please make an honest assessment of the assumptions you have made as well as the possible risks and obstacles your project is
likely to face..

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30 Who will implement your project?
Consultants: Names and responsibility

Yourself: List your skill set

31 When?
Activity Bar chart: e.g.: weeks/months
1 2 3 4 5 6 7 8 9 10 11 12

32 What will the project cost? (External costs only)

Item or phase of assignment Unit (e.g. man days) Number Unit cost Total

Total: BDS $
33 When will you need the grant? Once all your application documentation is complete and your project approved, the NCF will
disburse the funds according to the phases of your project. Please note that after the project’s mobilisation funds, all other funds will be
disbursed on completing a project phase.

Weeks from project start Payment to be made by you to your supplier Grant required from NCF

34. What tangible results do you expect from the project and when do you expect them (be specific)?

35. How do you plan to pay for the services contracted for this project? (cheque, transfer, cash…)

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Appendix 2 - CAF Project Application Guidelines

I. BACKGROUND

1.1 The National Cultural Foundation (NCF) through its office of Business Development facilitates and
coordinates the implementation of Government’s Strategy for the development of Barbados’
cultural industries. The main objective of this strategy was set out in the Cultural Industries
Development Act and the NCF was given a clear mandate to develop cultural programs that would
lead to the growth of these industries.
1.2 In response to this strategy, the NCF, with resources from the Combined Lottery Agreement
launched “The Cultural Action Fund (CAF).” Under the lottery agreement the CAF will see an
ongoing injection of funds as Barbadians continue to render the necessary support. The program
therefore seeks to transfer some of the monies from the national lotteries to support innovative
cultural and artistic projects.

II. THE PROGRAM

A. Objectives

2.1 The program’s long-term objective is to significantly expand economic activity in the cultural
industries with the aim of stimulating our country’s ability to earn foreign exchange. This will
necessitate a cadre of highly trained and skilled groups of artists who are business minded and
oriented.
2.2 The specific objectives are: (i) to facilitate a number of successful projects lasting up to a maximum
of three years; and (ii) to stimulate entrepreneurial growth in the cultural industries. The
stipulations of the project are designed to encourage grant benefactors to improve their level of
administration and project management.

III. GENERAL TERMS & CONDITIONS

3.1 The Cultural Action Fund is opened to all citizens of Barbados and applications will be considered
based on the following:
3.2 A written project proposal outlining your cultural or artistic project. Such projects may include, but
are not
limited to the following:
• Research work conducted within the area of cultural industries;
• Innovative ideas, products and services that will stimulate film production, visual arts, performing
arts, literary arts and cultural heritage;
• Training and/or professional development in the cultural industries;
• The development and use of databases and new technologies for the purpose of enhancing the
operations and management of the cultural industries sector;
• The strengthening of network activities of cultural institutions;
3.3 The presentation of proof of ownership of the concept and contents of the project through
registration, copyright and/or trademarks.
3.4 The presentation of all documents as required in the attached application form.
3.5 A signed copy of the Letter of Request for CAF/NCF project grant.

IV. FINANCING AND IMPLEMENTATION

4.1 The CAF will offer grants at three levels:

• Level 1 – Maximum $7 500
• Level 2 – Maximum $20 000
• Level 3 – Maximum $50 000

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4.2 Disbursement will be in tranches at the completion of project phases and the adequacy of reported
results.
4.3 These projects are short term in nature lasting up to twelve months. However, projects can be
extended for a period not exceeding 24 months.

V. APPLICATION GUIDELINES

5.1 Persons, agencies, cultural/artistic enterprises can apply to the fund by completing all required
documentation.

5.2 The application deadlines are March 31, June 30, September 30 and December 31 annually.

5.3 Applicants will be offered assistance in the preparation of their application and future presentations
through the NCF in the areas of project management, information technology, marketing,
promotion and design and branding.

5.4 All approved applicants will be bonded to the NCF and Barbados for a period that equals that of the
project.

5.5 All approved applicants must conform to national labour laws, standards and requirements.

5.6 All approved applicants will allow NCF staff and any NCF-appointed auditor to have access to all
areas and records of operations relating to the proposed project for a period of up to two years after
project completion.

A. ELIGIBILITY CRITERIA

5.7 Each institution participating in the CAF must meet the following eligibility criteria:

a. Has at least 12 months of experience or proven capability in its respectivecultural/artistic field.

b. Demonstrate a willingness to work in partnership or strategic alliance with other specialized
institutions and/or community groups. These may include non-governmental organizations, private
consulting firms, and/or universities experienced in delivering services or products in the cultural
industries.
c. Demonstrate an ability to create a product/service that is exportable.

d. Demonstrate a willingness or ability to incorporate technology (especially digital technology) to the

development of their cultural/artistic products and services.

B. PRESENTATION OF PROPOSALS

5.8 All the full project proposals must be presented in the established format (see the CAF Application
Form) and include the following general aspects:

a. Provide a clear and concise project overview statement.

b. Present evidence of the need and demand for the proposed cultural/artistic product/service.
c. Implement the project within a period not to exceed three (3) years.

5.9 Emphasis shall be given to those project proposals that are compatible with the government
strategies and policies with respect to the development of the cultural industries.

5.10 The National Cultural Foundation will point the applicant to another service provider or funding
agency in the event that the proposal does not meet the criteria of the CAF/NCF.

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5.11 The NCF reserves the right to visit the institutions that submitted the project proposals. During
such a visit, further information may be required to complete the selection evaluation, such as:
audited financial statements or other relevant supporting documentation.

C. RESTRICTIONS

5.12 The main purpose of the CAF is to support the development of Barbadians in the cultural
industries.
For this reason, the CAF will not provide funding to:
• Pay debts or retroactive payments
• Construct buildings or any other form of capital expenditure
• Pay permanent staff/salaries

D. SELECTION CRITERIA

5.13 The CAF/NCF Program Selection Committee will evaluate the project proposals on a scale of 100
points.
The criteria that the committee will use to select the approved project proposals are:

(i) The project’s potential to develop a cultural/artistic product or service aligned with the national
strategy for the cultural industries (25 points);

(ii) Sustainability of the cultural/artistic product or service after funding support (25 points);

(iii) The potential impact of the project on the economy and development of the
cultural industries. (25 points);
• Creation of employment
• Export potential
• Managerial improvement (cost effectiveness, institutional building)
• Innovation

(iv) The viability of the final cultural/artistic product or effectiveness of service (15 points)

(v) The potential to reach communities at all levels (10 points);

VI. SUBMISSION OF PROJECT PROPOSALS

6.1 The profiles and proposals submitted should follow the formats presented in the project grant
application form and the letter of request for a CAF/NCF Project Grant, respectively. Documents
should be sent, preferably by e-mail, or otherwise by regular mail or fax, to the address indicated
below. Questions referring to the CAF should only be sent to the e-mail address.

The National Cultural Foundation

Business Development Division - Cultural Action Fund
West Terrace, St. James, Barbados
Tele: 1 246 424 0909
Fax: 1 246 424 0916
Email: mail@thencf.org

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