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Traektori Nauki = Path of Science. 2017. Vol.

3, No 8 ISSN 2413-9009

The Evaluation of Public Policies from the Perspective

of the Agenda 21 of Culture: a Case Study

Mara Aracely Mendvil-Portillo 1, Luz Cecilia Glvez-Bon 1, Juan Pedro Ibarra-Michel 1,

Jos Guadalupe Soto-Karass 1

Universidad de Occidente
169 Gral. Gabriel Leyva Avenue, Centro, Los Mochis, Sinaloa, 81200, Mxico

DOI: 10.22178/pos.25-6 Abstract. This research shows the results of the implementation of a public
JEL Classification: Z18 cultural policy at the municipal level and has as a main objective to evaluate,
from the perspective of the agenda 21 of culture, the program "Art for social
development" by the Municipal Institute of Art and Culture developed in a
secondary-level boarding school located at the Topolobampo community, in
Received 16.07.2017 the municipality of Ahome, Mexico. A QUAN-QUAL methodology was used
Accepted 10.08.2017 with instruments like questionnaires applied to the young participants and
Published online 16.08.2017 interviews with the workshop facilitators and administrative staff. Guitar,
painting and theatre workshops were given, through which the development
of new artistic expression skills was achieved, as well as contributing to the
strengthening of social behaviors such as tolerance, patience and
Corresponding Author: interpersonal communication, among others. It was found the constant need
Juan Pedro Ibarra Michel of having permanent programs of integral training, both in the field of artistic training and socio-emotional, giving priority to groups at risk, such as
students of the boarding school that mostly come from families of scarce
resources, some of the low performance academic and aggressive behavior.
2017 The Authors. This The conclusion is that public policies are required to promote greater
article is licensed under a
articulation of education and culture in order to have a stronger impact on
Creative Commons Attribution
the social and cultural inclusion of young people.
4.0 License
Keywords: culture; public policies.

INTRODUCTION In the discursive review of the governments, the

issue of social impact is a constant that seeks to
The complexity of the analysis of the social im-
justify the relevance of a public policy, is the most
pact that programs related to culture have in so-
arduous and persistent argument when it comes
ciety goes hand in hand with the need to have
to raising cultural programs and their potential
mechanisms and instruments for the evaluation
benefits, that in very few occasions, evidence of
of cultural policies and programs relevant to the
social transformation among citizens is evident,
different fields of application: local, state and na-
but the lack of evaluation mechanisms and in-
tional levels.
struments, and particularly a culture of evalua-
The elaboration and design of public policies on tion in all actors involved in cultural policy mak-
culture face the same obstacles that the concept ers, program managers, artists, facilitators, and
of culture has, being mainly the ambiguity of the others, it does not allow to be certain of the
term and the multiple interpretations that has achievements or at least to know what it was that
been done of it that demands a theoretical meth- really happened with the participants.
odological position for the analyst of the cultural
An effort made by organized civil society is con-
phenomenon, as it is for the decision makers in
stituted by the work of United Cities and Local
the public sector, involved in the design, imple-
Governments (UCLG), crystallizing in 2004 the
mentation and evaluation of public policies.

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document "Agenda 21 of Culture"1, with the pur- responsibility in the last decade to design and
pose of guiding public policies of culture and con- operate cultural programs aimed at the various
tributing to the cultural development of human- sectors of society.
ity. The proposal establishes the relationship be- For this reason, it was considered pertinent to
tween culture and sustainable development, em- evaluate a cultural program in a locality of the
bodied in the Declaration "Culture is the fourth State of Sinaloa and of the municipality of Ahome,
pillar of sustainable development" [20]. This or- that serves as an exploratory study for the design
ganization, whose headquarters are in Barcelona, of evaluation instruments with the perspective of
later elaborated the document "Culture 21 Ac- the agenda 21, that contemplates some of the
tions" in 2015, which aims to be a self- dimensions and actions considered by this
assessment guide that establishes guidelines for agenda.
evaluating, designing and implementing cultural
policies that contribute to sustainable develop- The specific objective of the research is to evalu-
ment in the field local. ate from the perspective of agenda 21, the cul-
tural program "Art for social development" im-
Recently, the state government of Sinaloa has plemented by the Municipal Institute of Art and
been incorporated in the 2015-2016 program, Culture (IMAC) belonging to the municipality of
promoted by UCLG, "Cultura 21 Acciones", which Ahome in the secondary school No 9 of the To-
provides guidance to cities interested in evaluat- polobampo community. Likewise, this study re-
ing, designing and implementing cultural policies viewed national and international benchmarks in
that contribute to sustainable development. It is the evaluation of cultural policies, plans and pro-
in this context that it was considered pertinent to grams.
retake some "commitments" or axes of analysis
that arises the agenda 21 of culture: cultural It was considered important to evaluate public
rights, culture and education and culture, equity policies, through the monitoring of government
and social inclusion. actions at the local level, and specifically at the
syndicate level, to emphasize the importance of
In the State of Sinaloa, the planning and imple- the analysis as a permanent tool that contributes
mentation of cultural policies and programs fall to improving the formulation of public policies,
mainly in the Sinaloa Institute of Culture (ISIC2). strengthen local cultural information systems
With more than 40 years of operation, this unit and generate knowledge in the field of cultural
has recognized the lack of information systems management and cultural policies.
and evaluation instruments for its cultural poli-
cies and programs that allow the beneficiaries to
know the results, as well as the performance of METHODOLOGY
government management and agencies and Ac-
tors. Efforts in this regard have mainly been to This research was addressed with a mixed meth-
count the number of attendees to cultural events. odological approach, that is, from a qualitative
and quantitative perspective.
At the level of the municipalities of the state of
Sinaloa, the problem is similar, information on As a unit of analysis, a cultural program devel-
the results of cultural programs is minimal or oped from February to May of 2016 was ana-
null and specifically in the municipality of lyzed at the Topolobampo branch of the munici-
Ahome, where this research was developed, pality of Ahome in order to know the results and
there is little systematized information on the the specific development of its implementation
planning, development and evaluation of the cul- from the perspective of different agents or par-
tural programs operated from the local govern- ticipants such as the cultural managers them-
ment. The Municipal Institute of Art and Culture selves, project beneficiaries/participants and
(IMAC) is the municipal body that has had the workshop instructors.
The cultural program evaluated in this research,
was designed by the Municipal Institute of Art
1 Document approved on May 8, 2004 at the IV Forum of and Culture, is called "Art for Social Develop-
local authorities for the social inclusion of Porto Alegre
ment"; was developed in Technical Secondary
within the framework of the Universal Forum of Cultures -
Barcelona 2004 (edited in 2008). School No 9 of the Port of Topolobampo, in the
2 Instituto Sinaloense de Cultura (in Spanish).
municipality of Ahome.

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This program included three artistic workshops: A. Vargas Velasquez [21] mentions that a public
theatre, painting and guitar, which were given to policy is not an isolated decision but a set of posi-
young inmates of the educational institution that tions that involve one or more state institutions.
mostly come from rural communities of northern But it also means the materialization of decisions
Sinaloa. taken in terms of actions that produce results on
the problematic situation and the actors involved
A total of 48 questionnaires were applied to all
with it. Public policy is not static, it is modified
students/beneficiaries of the cultural program
according to the incidence of the actors with re-
and continuous visits were made to the secon-
spect to it.
dary school to observe the local conditions in
terms of infrastructure, proportion of work ma- On the other hand, H. Lasswell [7] proposes to
terials, as well as the behavior of participants and consider public policy as a scientific discipline
instructors during the development of the work- and an applied social science [6; 10]. Th. Dye
shops. states that a policy "is all that government actors
decide to do or not do" (cited by [10, p. 92]).
Among the sources of information were the revi-
sion of the Municipal Development Plan of The French researchers Y. Meny & J.-C. Thoenig
Ahome, the annual reports of the municipal gov- [10] argue that the study of public policies is
ernment, the conduction of 6 semi-structured nothing else but the study of the action of public
interviews that included the person responsible authorities in society. A public policy is the work
for the implementation of the program in the of the authorities of governmental public legiti-
IMAC, the three instructors of the Cultural work- macy. This, of course, encompasses several as-
shops and two members of the administrative pects, ranging from definition and selection to
staff of Topolobampo secondary school where decision-making, administration and evaluation.
the cultural program was developed. That is to say, the aspects and non-committed
acts of a public authority in relation to a problem
or in a relevant sector of its competence, where it
The public policies and the cultural policies is presented in the form of a set of practices and
One of the most important tasks of governments rules emanating from one or more public actors.
is the design, management, implementation and Finally, the authors conclude that a public policy
evaluation of public policies. However, most must be able to be presented as a program of
studies carried out in public policies have been governmental action in a sector of the society or
focused on the phases of policy and program in a geographic space, of which it is attributed the
formulation, leaving in most cases one of the following characteristics: content, program,
phases of great importance, such as the evalua- normative orientation, factor of coercion and so-
tion phase. As mentioned by C. Salazar Vargas cial competence.
[17], evaluation is indispensable for the analysis Public policy can also be conceived as "the set of
of public policies, the evaluation tries to explain activities of government institutions, which act
why the facts were given in this or that sense. directly or through agents, are directed at influ-
Among the main experts is P. Muller [11], who encing the lives of citizens" [18].
considers public policy as a process of social me- Another fundamental author in the study of pub-
diation, insofar as the purpose of each public pol- lic policies, points out [13, p. 37]:
icy is to take care of the mismatches that may oc-
It can be said that 'policies' deal with those spheres
cur between a sector and other sectors, or even
considered as 'public'. The idea of public policies
between a sector and global society.
presupposes the existence of a sphere or sphere of
In contrast, R. Velsquez Gavilanes [22] considers life that is not private or purely individual, but col-
that a public policy is the process integrating de- lective. The public understands that dimension of
cisions, actions, inactions, agreements and in- human activity that is believed to require govern-
struments, advanced by public authorities with mental or social regulation or intervention, or at
the eventual participation of individuals, and least the adoption of common measures.
aimed at solving or preventing a defined situa-
Regarding cultural policies, it is undoubtedly
tion as problematic. Public policy is part of an en-
necessary to address cultural rights first; since,
vironment from which it is nourished and which
compared to economic and social rights, much
it intends to modify or maintain.
remains to be done about them. According to

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M. Aguilera [2], cultural rights are the least de- of sustainable development (defined as that
veloped with respect to their scope, legal content which satisfies the needs of the present without
and the possibility of having them respected. compromising the needs of future generations),
which is currently used in local, national and
These rights are treated as the "poor relatives" of
global strategies as a model for analysis and pub-
human rights. It is difficult to find a Constitution
lic action oriented towards sustainable develop-
in the world that contains a chapter that deals
exhaustively with cultural rights, meaning the
inclusion of artistic freedom, scientific and cul- Responding to this relatively recent phenomenon
tural communication, copyright, the right of ac- of the centrality of culture, there is a trend that
cess to culture, the right to identity and cultural stems from the work of J. Hawkes "The Fourth
difference, the right to the preservation of cul- Pillar of Sustainability. Culture's Essential Role in
tural heritage, the right to education, religion and Public Planning" [5] which advocates that culture
expression [2]. square "the triangle of sustainable development,
thus becoming the fourth pillar.
Cultural rights should be considered as those
fundamental rights that guarantee the free, equal Agenda 21 of Culture, continues this idea in an
and fraternal development of human beings in international document that systematically ad-
their different contexts of life, using this unique dresses the importance of the relationship of cul-
capacity that we have, among living beings, to be ture, citizenship and sustainability. It is a docu-
able to symbolize and create senses of life we can ment that expresses a series of commitments
communicate to others [14]. agreed upon and prioritized by cities and local
governments, which acts as a "declaration of the
There is a need to promote and strengthen cul-
cultural rights of citizens at the local level" [20,
tural rights, to demand that they be taken seri-
p. 41].
ously and that they be reflected in a specific pol-
icy on the subject. According to J. Symonides [19], Also, Agenda 21 for culture was the first docu-
cultural rights are a neglected category of human ment of a global nature that sought to establish
rights and therefore this can be reflected in a lack bases for a commitment of cities and local gov-
of consolidated cultural policies. Hence, many ernments for cultural development, in which
organizations, such as UNESCO, have been orga- representatives of cities and local governments
nizing to give them the corresponding impetus, from around the world participated.
such as Agenda 21 to name a few. In this agenda, principles, commitments and rec-
Cultural policies were defined at a meeting of ommendations were established that collaborate
UNESCO in 1967, such as practices and knowl- with the cultural development of local govern-
edge of administrative or financial management, ments, with a total of 67 articles that contemplate
intervention or non-intervention, which serve as the five dimensions: culture and human rights;
a basis for state action to meet the cultural needs culture and governance; culture, sustainability
of the community [8]. and territory; culture and social inclusion; and
culture and economy.
For N. Garca Canclini [4], cultural policies are the
set of interventions carried out by various agents,
such as the state, non-governmental organiza-
Assessment of cultural policies
tions or community groups, with the aim of ori-
enting symbolic development and responding to The evaluation of public policies is undoubtedly
the cultural needs of the population. Culture is in recent years a central concern of governments,
considered the fourth pillar of sustainable devel- policy makers. Since, through this, it allows them
opment and is increasingly becoming the center to formulate policies with rationalization and co-
of local politics, gaining relative weight and visi- herences that give real solutions to the social
bility through economic, social, urban or intrinsi- problems that must face.
cally cultural factors (identity, memory, creativ- An important trend in the evaluation is the for-
ity, critical knowledge, etc.), all linked to the con- mative modality, oriented to three questions [16,
cept of development. p. 163]:
In the second half of the 1980, the so-called "tri- 1) the extent to which the program is reaching
angle" of sustainable development, described in the target population,
the Brundtland Report [12] and the basic pillars

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2) the extent to which the presentation of ser- And as a third ex post exposure, also known as
vices is consistent with the program design the terminal assessment, or the impact (consid-
specifications, and ering that the impact assessment establishes the
extent to which objectives were achieved and
3) what resources have been spent or are being
what their side effects are), focus on whether the
spent to carry out the program.
expected results and the effects, both sought and
Y. Meny & J.-C. Thoenig [10] point out that the collateral, attributed to the actions or instru-
evaluation consists of taking sides and giving up mented projects were obtained.
the evaluation is to leave aside the applicability
The Agenda 21 of Culture, in its article 25, points
of the social sciences, that is why it is necessary
out the need to "promote the implementation of
to front facing the problems, for this is it is neces-
forms of cultural impact assessment to consider,
sary to have greater rigor in understanding the
with a prescriptive nature, public or private ini-
effects of public action, which implies three op-
tiatives that imply significant changes in the cul-
tions for a given public policy. A first option is the
tural life of the cities" [20, p. 10].
reference values, these values can be objective
expressed by a public policy, which will be se- In the document Culture: 21 actions. Self-
lected by the analyst and, in the case of the de- evaluation guide, approved in the framework of
scriptive attitude is not considered any value ex- the Bilbao Culture Summit (March 2015), estab-
plicitly. As a second option are the impacts or ob- lishes nine lines of action that are intended to
servable effects on the ground, these impacts can serve as a basis for the level of development
be seen as transformations linked to government achieved by local governments regarding their
actions. Because all public policy has a theory of cultural actions and programs:
change, but also shows that a policy can be pre- - Patrimony, Diversity and Creativity;
ventive, that is, it can prevent transformations
voluntarily or authoritarian, we can also say that - Culture and Education;
the impacts can mark the physical environment - Cultural Rights;
and finally, it is important to point out that the
effects refer to the opinions and perceptions of - Culture and Environment;
the people, to their way of believing and thinking, - Culture and Economy;
more than anything, to the satisfaction of an in-
tervention. - Culture, Equity and Social Inclusion;

Thus, we can see that the evaluation function, - Culture, Urban Planning and Public Space;
carried out by citizens or analysts, constitutes the - Culture, Information and Knowledge;
center of political debate in a society. Both
- Governance of Culture.
J. Meja [9] and the Spanish Evaluation Society [1]
agree on three phases of policy evaluation: For the purposes of this research the focus is on
three of the axis: the first of these, cultural rights,
The first is the ex ante or prior evaluation, which
are aimed to really be exercised or put into ac-
is carried out prior to the political project or pro-
tion, requires cultural policies that give special
gram and is intended to provide the appropriate
attention to the most vulnerable people and
criteria for a qualitative decision to implement a
groups. The axis of culture and education, em-
policy, project or program; this type of evaluation
phasized that municipal governments must ap-
is also known as feasibility, when it comes to a
prove local strategies that link education policy
social policy should be considered its internal
with cultural policy and, finally, the axis of equity
consistency and feasibility and not only economic
and social inclusion, refers to the importance of
looking for municipal strategies of the social
As a second, we have process evaluation, also sphere such as health, employment, welfare and
called continuous evaluation, which is carried out social inclusion explicitly include cultural aspects
during the implementation of the policy and as tools to combat all forms of discrimination. It
seeks to detect the difficulties presented in pro- is sought that the cultural institutions that re-
gramming, administration, control, etc., in order ceive public support carry out programs related
to make the corrections in a timely way and re- to disadvantaged groups such as poverty, exclu-
duce the costs of inefficiency. sion, among others.

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In 2009, the Spanish Federation of Municipalities Topolobampo there are 6,032 people, of which
and Provinces (FEMP3) developed a system of 3,045 are men and 2,987 are women.
indicators to evaluate their cultural policies in In this locality, there are two secondary schools,
the following areas: Technical High School No 9, which is full shift and
- Culture as a factor of development Economic, Mar de Cortez High School, which is an afternoon
Social and Territorial; shift. Technical High School No 9 was founded in
the year 1972 and in this one it is offer the tech-
- Transversality of culture;
nical specialties of fishing, refrigeration, process-
- Access to culture; ing and navigation. From its beginnings, the ob-
- Culture and citizen participation; jective of this institution was the one to support
to the families of low resources, offering them the
- Role of initiatives related to memory and inno- service of masculine boarding. In the past school
vation in the construction of local identity. year 2015-2016, the school's enrolment was 280
These themes make up a system of interdepend- students, of which 60 are inmate students, who
encies and polysemy that makes their isolated participated mostly in the cultural program.
and individual treatment difficult and even artifi-
Regarding to the theme of culture and citizen
participation, the FEMP establishes three formu-
Background and design of the cultural program
las of participation:
1) Use / assistance: refers to the behavior of use The cultural program "art for social develop-
/ practice and consumption / assistance that are ment" in the municipality of Ahome is contem-
given with respect to the local cultural offer; plated as one of the actions of the Municipal De-
velopment Plan (20142016). It was done con-
2) Proposal: refers to how the local cultural offer sidering the importance of establishing programs
is planned and configured; in the most vulnerable communities of the mu-
3) Management: refers to how the local cultural nicipality. The Direction of the Municipal Insti-
offer is implemented, managed or produced. tute of Art and Culture (IMAC) designed a pro-
gram focused on a space with young people on
And three types of "participant" agents: risk situations, for this, technical secondary No 9
1) Individuals: unorganized individual citizens; was chosen, located in the port of Topolobampo,
municipality of Ahome.
2) Groups: associations, "non-formal" groups and
voluntary structures, all linked to culture, in a According to the Principals assistant of the sec-
broad sense; ondary school the program was planned to carry
out the cultural project with the young inmates
3) Entities: public institutions (or with a signifi-
because they consider that they are a group at
cant public participation) or private (commercial
risk with problems of family disintegration, un-
entities or independent professionals) that inter-
derachievement, low income families, and some
vene in the local cultural field.
students with behavioral problems in their
homes and previous schools. The program con-
Context of the Secondary School No 9 of sisted in three free art workshops: theatre, music
Topolobampo and painting, which were held from Monday to
Thursday from 5:00 p. m. to 6:30 p. m. from
The port of Topolobampo, where the educational March 15 to May 30, 2016.
institution is located, it is part of the eight com-
mons of the municipality of Ahome and accord- It is important to mention the processes that
ing to the catalogue of localities of the Social De- were implemented for the hiring of teachers
velopment Office from the federal government, in since there are elements that directly or indi-
rectly affect the fulfillment or non-fulfillment of
certain goals.
The planning of the program. According to one of
3Federacin Espaola de Municipalidades y Provincias (in the managers of the program, the biggest diffi-

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culty that the program had was the little budget ment, requesting the instructor to develop part of
to hire the instructors of the workshops and buy their activities in the secondary school, since they
the necessary materials. On the one hand, the only had a budget for two workshops.
tabulation of some teachers who give art work-
The availability of instructors. The inconveniences
shops in the municipality of Ahome, in some
of the availability of some artists were also curi-
cases is inaccessible to the budget of municipal
ously a factor that played against the hiring of the
government programs, since some teachers are
teachers who would give the workshop, most
quoted in institutions where they guarantee eco-
were developing activities in public or private
nomic perceptions that the municipality cant
institutions and some could only at certain times,
contrary to the Idea that could prevail in the
In other cases, they are artists who independ- imaginary collective artists are more occupied
ently obtain significant dividends to which the when they are occupied.
municipal government on certain occasions, if
The experience of the instructors. Because of the
not the majority, cannot fulfil.
above, it is difficult for the council to demand cer-
It is important to mention that in the budget tain conditions when there are no elements to
heading for this program, the municipal govern- reconcile the interests of the artists with those of
ment emphasized that it had to include an in- the program itself, some of the teachers could
structor (guitar workshop) of another cultural find some experience in their field, but in others
program sponsored by tripartite resources (from it was evident that it lacked an artistic pedagogy
the Federal Office of Culture, the Sinaloa Institute suitable for the goals that the city council itself
of Culture and the Municipality of Ahome), within had in mind (Table 1).
the framework of programs approved by the
Citizen Council for Municipal Cultural Develop-

Table 1 Biographical data of workshop facilitators

Workshop Gender Age Training Experience as an instructor
Guitar Masculine 35 Bachelor in music, specialty in classical music 7 years as a guitar instructor
High school and a course in painting in the
Painting Feminine 18 No experience
vocational school of art
5 Years as an actor and
Theatre Masculine 40 Self-learning actor in independent groups
theatre director
Source: Own elaboration based on interviews

Material Resources for the workshops. The young First, to know the social and economic context of
participants in the workshops were given the the students was considered essential for this
necessary materials such as guitars and painting research and the socio-demographic data ob-
materials: paper shells, water paints and drawing tained, show that the general socioeconomic
pencils. In the case of the guitar workshop, the level of these students is medium to low and the
instructor took the guitars (purchased with the educational level of the parents is located be-
program budget mentioned above) and the gui- tween secondary and high school, a factor that
tar instructor was not provided with material. has probably influenced the type of cultural con-
sumption of students that will be shown later.
Diagnosis on the level of cultural consumption of The second category of analysis was "use of lei-
participants in the cultural program sure time", where it was observed that young
people use their free time for various activities,
The results obtained from the questionnaires ap-
plied at the beginning of the cultural program among which exercise, internet use and TV. Be-
show that young inmates have limited contact low the results for the total of 48 students is
with art and culture outside of what is shown to shown (Figure 1).
them in Secondary School.

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Figure 1 Leisure time use

The third category of analysis focused on "cul- As for the cultural sites visited, the one that had
tural consumption", which was divided into four the highest incidence was the Natural Park and
areas: cultural sites visited, attendance at festivi- the least visited is the House of Culture, even
ties, attendance at cultural and artistic work- some of the young people surveyed did not know
shops, and appreciation of shows on public what the item "House of Culture" was referring
roads. to. The full graph is shown below (Figure 2).

Figure 2 Cultural consumption

Regarding attendance at festivities, the fairs were Carnivals reach 52% in the assistance option on
the ones that received the highest percentage of more than three occasions, while religious festi-
attendance, since 39 of the 48 students surveyed vals and artistic festivals present similar results
mentioned that they have attended fairs on more in the different options, having the first 75% at-
than three occasions, also, civic festivities also tendance at least once and the second 73% in the
have a significant positive percentage, reaching same field.
96 % attendance at least once (Figure 3).

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Figure 3 Attendance to festivities

The section on "Participation in artistic and cul- tive percentage of participation of 58 % and
tural workshops" shows that most of the young 62.5 % respectively. The workshops in which
interns have never attended an art workshop, most of the young people have not participated
since only the drawing and music workshops had or have attended little are photography, litera-
a greater impact on the participation of young ture, sculpture and theatre (Figure 4).
people, are the only items that obtained a posi-

Figure 4 Workshop participation

In the section on "Appreciation of public per- tacles more than three times. The public specta-
formances" the most attended kind of show is cle less seen according to the results of the sur-
music, since 23 of the 48 students surveyed indi- veys is related to sculpture (Figure 5).
cated that they have been to see this type of spec-

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Figure 5 Appreciation of public performances

teristic are the qualities "to know how to explain"

According to the information above, it can be de-
and "who knows a lot of guitar"; The painting
duced that it is necessary to socialize, and to dis-
students pointed out that what they expect from
seminate in a broader and sustained manner all
the workshop teacher is that "clear up all
that in the matter of culture has the municipality
doubts", followed by the "be patient" option; and
of Ahome. In addition, the diagnosis reflects the
the theater students indicated that they expect
urgent need for cultural policies and programs
"to be able to explain". From what is perceived,
that pay special attention to the most vulnerable
most of the interns have negative references to
people and groups, considering the tangible and
the performance of some professors who do not
intangible aspects of the promotion of art and
tempt them or who do not know how to explain,
culture. Likewise, the municipal government
not of the cultural and artistic field, since they
could articulate educational and cultural pro-
have not had previous experiences, but rather of
grams that value in an efficient and effective way
the academic field.
the cultural resources and thus be able to con-
tribute to a greater cultural consumption in the Regarding the question "what do you expect
population. from your classmates?", The students surveyed
at the guitar workshop mentioned that the most
important thing is for their peers to take care of
Development of the cultural program from the the workshop materials; the painting students
perspective of young participants and facilitators agreed that the three most important options are
Initial Expectations. There was an inquiry about "respect", "pay attention" and "good behavior in
the expectations they had at the beginning of the class"; While theatre students emphasized re-
cultural program. Most participants noted that spect as the most important option.
the workshop they chose was the one that most Guitar workshop development. For the participants
attracted their attention. They expressed that " of the guitar workshop was their first experience
we expect to learn a lot about it, as the schedule with this instrument, who expressed their desire
seemed 100% adequate to develop in the eve- to be able to rehearse more continuously and
ning shift after finishing their high school classes. with a greater number of hours, however, the
They were asked about expectations as to the workshop lasted a short time (4 months), the
workshop facilitator, responses varied. Most of lack of possibilities for the facilitator to attend
the guitar pupils answered that they expected was a factor that the students regretted, a situa-
the teacher to be patient, followed by this charac- tion that was not considered by the IMAC and
which is, obviously, a serious failure because it

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generates a counterproductive emotive effect, Where there was a coincidence was in the type of
the young people lamented that the teacher did music they wanted to be taught, since the teacher
not attend all the programmed classes for having indicated that although "the aim of the guitar
other commitments, even though the facilitator workshop is to teach classical music, there will
expressed great interest in supporting the stu- also be time for students to learn some pieces of
dents, his personal and work agenda was an ele- music of their preference". The obvious thing is
ment that worked against the project of the that the objective was not in accordance with the
workshop. needs of the students. The teacher is a career
musician, but the conditions for teaching classical
The intervention of the facilitator had an impor- music in a three-hour workshop a week seems
tant emotional impact in the youngsters of the difficult to achieve. As for the students surveyed,
school, if it is considered as a success to facilitate they mentioned that what they would most like
the encounter with a musical instrument in an to learn is classical music and ballads, with a 30%
environment designed for it and with a person mention each, followed by the regional music op-
willing to transmit knowledge in relation to that tion with a mention percentage of 20%.
instrument; this seemingly small experience
could have further effects that a workshop hardly One of the objectives mentioned by the facilitator
will be able to gauge or evaluate in its right of the workshop is to form a guitar orchestra and
measure, somehow the effects of art are tempo- present a recital at the end of the workshop, this
rally conditioned as a unique experience are in- is consistent with the expectation of the young
cubated in the people and will become significant inmates, as they mentioned that they hoped to
learn songs, they were also interested in learning
in their integral formation, the possibility of be-
to read musical notes, an aspect that is addressed
ing attended from the elementary perspective of
in the subject of solfeggio, which was the first to
art that does not qualify or become an experience
be given to the boys.
of a coercive nature will give the youth an idea of
art very linked to freedom, a condition not given Development of the painting workshop. The painting
by other experiences of a formative nature. workshop was the most constant, although the
facilitator had little experience she was able to
The guitars were provided by the facilitator and
work with young people in a positive way. Ac-
they remained at the school while the workshop
cording to the testimony of the instructor the dis-
was held, so those who wished could practice
cipline was a difficult aspect to control, especially
outside the workshop hours during the after-
at the beginning of the workshop; she clarified to
noons they had available.
the students that this was the only workshop that
The commitment to the development of a skill was developed four days a week, therefore she
linked to learning and master an instrument such managed to give greater continuity to develop-
as guitar is eminently personalized, so the strat- ment of the skills of the young participants. The
egy of designing a program in which students instructor also attended in hours and days off
could continue practicing outside the workshop schedule to meet needs or requests of young
classes will surely have its repercussions in the people.
future, since there were enough young people One of the constants of the workshops was the
who applied to experiment and work with the polarity that existed between the instructors,
guitar. some extremely dedicated to the dynamics and
The facilitator, when interviewed, stated that his others at the opposite end without enough time
goal was to form a group and set up a small gui- to accompany them, besides this polarity mani-
tar recital, an objective that was not fulfilled since fested in the time that the teachers had, giving
the students had no previous knowledge of the the ages of each of them, academic training and
instrument and the guitars were insufficient for work experience, which opens a space to develop
all the participants. some working hypotheses that could focus on
these differences and what are the effects in the
It was observed that the objectives and goals to development of cultural practices.
be achieved by this program were not met with
some of the expected products, however, the stu- One aspect to emphasize in this sense, is the one
dents expressed their interest to continue study- related to the age and the work experience or the
ing the instrument. documentation of some facilitators, specifically
the teacher of the painting workshop, a young

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woman of 18 years with little experience in the cated that they would like to have other activities
teaching, this disadvantage also becomes the focused on sports.
element of analysis in the later development of
Within the practices they carried out, the facilita-
workshops. To overcome this disadvantage, she tors established affective links with the partici-
gave the workshop much dedication that was an pants, related to one of the thematic axis about
important factor in generating empathy with the human rights, the possibility of coexistence and
students of the school and in obtaining better re- working on issues related to participatory asser-
sults. tive communication. This was mostly appreci-
A painting workshop that the teacher comple- ated in the paint shop.
mented with patience, tolerance, active listening Undoubtedly, culture cannot be subject to the
and solidarity with the workshop, the conditions production of subjectivities about its value and
that can obviously be considered as a plus for its importance in the socio-economic and politi-
her. She managed to teach some techniques that cal machinery. The purpose of cultural discourse
allowed the students to finished some good must be supported in the systematization of its
paintings, so this is a prove that, if the instructor planning and evaluation processes that commu-
can strength the self-confidence in the young, the nicate with certainty its achievements in the
achievements can also exceed their expectations. short, medium and long term.
The young people stated at the end of the work-
shop they were excited about having done three
works of painting mostly on themes related to CONCLUSIONS
the port landscape and about characters (comic The cultural program "Art for the social devel-
heroes) of their preference. They acknowledged opment" developed in the Secondary School
that the teacher gave them the facilities to choose No 9, was included, although of incipient form, in
the subject. the axis of action scooped by the Agenda 21 of
Development of the theatre workshop. The theatre Culture, from the perspective of the social inclu-
workshop had few participants, ranging from 4 sion and the socialization of the cultural rights of
to 6 students. In this workshop, it was much young people. While it is true that elements that
more difficult to get young people excited, the have not been evaluated for their transitive di-
instructor did not attend in some occasions, mension, the inherent characteristic of the trans-
which was discouraging the participation, it was formation processes, it can be deduced, accord-
not possible to mount any final work with the ing to testimonies issued by the participants to
young people. the workshops, that there is an optimistic indica-
tion to ensure that in the short time the young
Even though the theatre workshop did not cul- people who enter to one of the workshops, rec-
minate in a final work, it is necessary to consider ognize the fact that they were taken into account
relevant aspects of it such as the young people by the municipality's program and, as it was ex-
who participated in this formative experience as pressed in their comments, the satisfaction of so-
actors that became involved in a creation process cial inclusion and the feeling of belonging.
that was much more complex than other disci-
plines, since they developed the capacity to dia- It was detected that some of the goals were not
logue around a text that was redesigned accord- met, such as forming a group of strings to show
ing to their own experiences. And although it is the learning obtained in the guitar and theatre
true that the work did not end on stage, there workshop, since only the drawings and paintings
were ephemeral staging on each occasion that of the painting workshop were exhibited.
they rehearsed in the hall. Also, it was observed the need for greater sup-
Contribution of the workshops. In short, the stu- port by the government through the Office of
dents considered important the development of Public Education and Culture of the State of Si-
new artistic expression skills, activities that al- naloa towards the secondary school and the
lowed them to occupy their time in a fun way and boarding school as it is a school with infrastruc-
in turn allowed them to de-stress from all the ture problems and lack of staff to support stu-
daily work in school; 100% of the students ex- dents in the afternoons.
pressed their interest that the workshops will Likewise, other programs are required to pre-
continue the next cultural cycle and 50% indi- vent antisocial behavior in young people, since

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the main problem they have among them is ex- still in the process of becoming a vision that es-
cessive violence among peers, they are bullying tablish a systematic cultural development based
as it is a game among them. Since they have new on the Agenda 21, which prioritize in its cultural
activities in which to invest their free time, the proposal, the factor of transversality of culture,
violence diminished, hence the importance of access to culture, citizen participation, innovation
greater cultural, sporting and artistic activities, in the construction of local identity and culture as
among others. a factor of economic, social development and ter-
And even if the distinctive feature of culture is
linked to the emotional and spiritual transforma- The contemporary era requires a greater empha-
tion of the subjects involved in cultural proc- sis on the need for cross-cutting approaches in
esses, it will be an exercise in the creativity of the development of cultural programs and ac-
public policy to find indicators that point out the tions that allow the development of a public pol-
advantages that these transformations in sub- icy with connectivity characteristics towards sus-
jects and in the community in general mean for tainable development. In addition, they require
the development of a community that persists in determining the approach that generates cultural
the search for guarantees of peaceful coexistence works, vision of pluralistic perspective, that at-
in a local development environment. tend the technological revolution and the culture.
The social tool provided by the agenda 21 of cul- In an odd world where the distorted industry of
ture from an integrative approach, gives guide- violence imposes the practices of social coexis-
lines to obtain doses of credibility that base the tence, it is imperative to provide cultural activi-
potential of the cultural process on social trans- ties with tools that allow it to consolidate pro-
formation. grams and actions at the local level that pro-
motes the pacific coexistence and make better
Cultural politics and cultural programs in Ahome
human beings in every aspect.
have at best a vision of culture from the aesthetic
point of view that limits their scope and which is

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Section Sociology 2014