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|Engabu Za Tooro - Tooro Youth Platform for Action|
Tooro Youth Platform for Action [en]
P.O. Box 886
Tel.: +256 772469751
Fecha de creación: 1999
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
Preserve development and promote cultura heritage as a resource for social economic development.
Establish and mantain infrastructure and facilities for preservation and development of cultural heritage and youth talents and skills development.
Develop talents and skills of the youth for self - reliance.
The Memorandum and articles of association provide eight general objectives. Each objective can be operationalised by a big programme. This was intended to give unlimited scope and alternative programme areas but impossible to be all implemented. The organisation eventually developed a round five of the eight objectives all curved by the theme CULTURE AND DEVELOPMENT.
Empower youth to exploit their talents, skills development and promote creativity and self reliance. Culture become the instrument of the empowerment of the youth to build confidence and creativity for self-reliance. Skills and talents are developed in cultural and indigenous expression, like music, dance, drama and folklore. Youths and women entrepreneurial skills were developed in safeguarding, preservation and promotion of indigenous knowledge and entreprises.
To promote organisational discipline and effective leadership. Cultural values and indigenous knowledge was re-claimed to promote leadership and society organisation. Thus positive traditions, customs and philosophy in proverbs and sayings are used to promote good leadership practices.
To enhance partnership and networking with development organisations and progressive intelligentsia.
The target for partnership and networking are cultural clubs and associations in the target society who are also targets for membership and beneficiaries to the programme. At external level, the target for partnership are organizations that support culture or cultural approach to development, protection and promotion of indigenous or traditional knowledge. Hence the organisations with which we have networking and partnership relationship include
-Cross Cultural Foundation of Uganda which documents and publishes our innovative cultural approaches.
-Common Wealth Foundation department of culture and diversity which gives grants to some of our cultural projects.
-Arterial Network which networks us as one of the cultural organizations in Africa
-UNESCO which funds capacity building for our Koogere Community Museum through Cross Cultural
Foundation of Uganda.
-WIPO which accredited us to participate in the sessions of intergovernmental committee on Intellectual Property and genetic resources, Traditional Knowledge and Folklore.
-Prince Claus Fund for Culture and development which funds some of our projects.
-HIVOS which funded some of the projects.
-International federation of Arts councils and cultures Agencies (IFACCA) which invites us to participate in the biannual world summits on arts and culture
-National Indigenous knowledge systems office NIKSO
- South Africa with which we have learning exchange relationship to enable us build capacity for traditional knowledge) reserach and documentation as a means of protection of indigenous knowledge.
-Traditional Knowledge Digital Library TKDL - India with which we have learning exchange relationship to enable us build capacity for traditional knowledge reserach) documentation and digital database development as a means of traditional knowledge protection.
-Engabu Za Tooro is finalising arrangements to either partnership with the Ministry of Gender) Labour and Social Development - Government of Uganda through a memorandum of understanding. This is the ministry incharge of culture and heritage.
To promote the vitality of culture as a basis of individuals confidence and self realisation. This objective gave raise to the overall theme of the organisation as a culture and development which is operationalised into an overall cultural approach to development.
It should be however noted that the organisation is in need of rephase the objectives in the memorandum and articles of association to be directed to this theme.
Engabu Za Tooro researches, documents and reproduces the traditional folklore and promote it to modern stage through community perfomances, festivals and competitions.
Engabu Za Tooro identifies critical indigenous knowledge in the in the traditions revitalises it and reconstructs it into modern social development using music, publications and media.
Engabu Za Tooro develops cultural enterprises and services and professionalises service providers through training and market development.
Engabu Za Tooro collects and preserves traditional materials into community museum.
Engabu Za Tooro mobilises, trains and coordinates cultural consultants and practioners who constitutes its membership, personnel and programme beneficiaries. Engabu Za Tooro currently benefits from UNESCO funded capacity building country programme for community museum operators. It also benefits from international training workshops and exposure as a result of its accreditation to World Intellectual Property organisation (WIPO) intergovernmental committee on Intellectual Property and Genetic Resources, Traditional knowledge and folklore (accreditation certificate attached).
Engabu Za Tooro currently has two major programme areas
1. Youth Talent Development
This programme mobilises and trains the youth to develop their talents and skills in their indigenous cultural expression in perfoming art and folklore so the programme researches, documents, publishes and promotes peoples cultural heritage in form of folklore and music.
The programme re-invests the people's indigenous wisdom in proverbs, sayings and oral traditions, promote and intergrate it in the mainstream development thought and practice. This old wisdom is promoted by research and re-producing it in music, dance which is popularised through festivals and competitions.
Art pieces produced around the old traditions of indigenous communities has won national and international music and video awards. The Cultural Troupe which packages this traditional wisdom perfoms at national and international venues and events. In September and October 2010, this troupe will lead
cultural education and entertainment in several convention/conferences in several cities of USA (see attached invitation letters).
2. Culture in Development Programme
This programme researches, documents and promotes indigenous knowledge in production. Thus it promotes cultural enterprises and services and uses traditional knowledge in peoples traditions to inspire and stimulate economic activity. Specific activities involve research, training and market development of indigenous enterprises and collection and preservation od cultural materiall in community museum.
Koogere women empowerment project which uses the old tradition of a heroine to stimulate grasroot women participation has been recorgnised as a model case study in re-constructing people's traditions in today's development practice.
The organisation currently is using experience of participating in the WIPO's sessions of Intergovernmental committee on intellectual property and genetic resources) traditional knowledge and folklore to develop a programme of protection of traditional knowledge through research and documentation. The organisation is networking with traditional knowledge digital library of India and national indigenous knowledge systems office South Africa to develop the programme of protection of indigenous knowledge.
Yes, we are also registered with the NGO board. The certificate is attached. These certificates are renewed periodically and in most cases processes of renewal are delayed. The organisation is also finalising a process of entering a amemorandum of understanding for partnership with government through the Uganda ministry in charge of culture i.e ministry of gender, labour and social development
The organisation run training sessions called cultural school where cultural practitioners come together to share experience, skills, build knowledge through documentation, coordination and networking.
The organisation links and facilitates cultural groups to exhibition festival and training oppotunities.
The organisation holds an annual cultural festival called "Koogere Week" where heritage practitioners come together to compete, debate, exhibit, demonstrate and celebrate.
|Gulu Theatre Artists - GUTA - GUTA|
P.O. Box 756
Tel.: (+256) 772 965 461
Fecha de creación: 1997
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
To establish cultural Resource Centre for entertainment, information centre and trainning groud that would enable the new generations adapt the authentic skills and values of a particular Acholi cultural heritage.
To acquire all sorts of traditional costumes and props relevant to express the importance of culture maintenance. the intention is to safeguard the twenty two (22) Acholi traditional dances that have values to that society and forge unity. All these dances are performed to express the important of a particular ritual/ceremony accordingly. Namely; (Bwola, Otole, Larakaraka, Apiti, Ajere, Dingi-dingi, Acut, Okwil, Lamuya, Lacuku-cuku, Okojo, Aguma, Akel, Lyel, Rut, Jok, Nanga, Konge, Obet, Oling, Oyiny and kwero-merok
dance). And one of the documentaion processes would be producing synopsis for all these cultural dances to serve as a measuring yard in safeguarding the tangible and intangible cultural heritages involved.
To promote co-operation among the youth spiritually, morally and physically through cultural sharing.ln this process, the youngone shall copy and learn the cultural values from the elderly people and the chain continues. In the long run, the desirable cultural trait would have been instilled into these young generations through which they can use them in other cultural exchange.
To establish simple museum for Acholi culture in the long run where all historical events, costumes/props, relics and other important Acholi instruments and craftmanship are kept.
To built better office with all the office equipments, acqusition of the relevant gazates for effective documentations, store and training ground in the long run.
To promote culture of peace through non -violence means in the youth.and this would only be possible by the use of;
(i) Folk-tales which have virtues such as commonial unity, hard work, conformity, honesty, love for the clan and many others.
(ii) Drama that handle the peaceful resolution to land disputes, educate the audiance/community the importance of safe water supply and good sanitation, environmental protection and its related desieases, rights of all citizens in regardless of sex, addressing gender based violence and any outstanding problems which demands intervention for possitive transformation.
(iii) Dances and folk songs with the emphasis of the importance of being together and in harmony.
1. Under the directorship of seven (07)competence directors and one hundrend fifty (150) active participants, GUTA is able to carry out Community sensitization through enter- educare
2. Safeguarding the intangible cultural heritages that are almost dying off through Oraginsing cultural gala. This is one of the activities aim at restoring the beautiful culture of Acholi which were destroyed due to the long war in the northern part of Uganda. our main points of interest capture the following classes that were educative, entertaining and affordable to the community of the Acholi;
1. restoring knowledge about traditional dishes which includes preparation processes, food values, storage techniques of such traditional dishes and other importance of such dishes toward our health.
2. Folk-tales narrative which includes narrative skills, audiance participation, didactic and moralistic nature, entertainment and the musical accompaniment.
3. Traditional folk songs and original composition based on the specific theme.
4. Solo performance (vocal I instrumental for individual expression of opinion.
5.Participating in civic education targeting the various roles played by an individual genders to create harmony in the society.
6.Through music dance and drama, participate in fighting water born related health diseases and other contigious diseases and addressing the importance of good sanitation.
7. Participation in the reseltlement of the community from the camp to their original home land and harminizing the immediate problem of land disputes.
8..Addressing the problem of gender based violence through music dance and drama where the audiance attending the shows get involved automatically.
9. Sensitization on universal education and its importance using the local language for the entire community consumption.
10. Engagement in traditional folk dances purely to revitalise our culture.
BOARD OF DIRECTORS.
Name - Proffesion - Expertise - Acquisition
1.Yeko George H. - Teacher Secondary and - Literature in English - learning instn. - Instructor(folk-tales) -Oraturel dances - Royal family, MDD - UDTA/Indere
2. Okello Quinto - Teacher (SNE) - Cultural practioner - Royal family, MDD consultant - UDTA/Indere, Creativity in composition - Royal family, Scripts writting - Learning instn.
3. Okot Janani N. - National examiner - MDD - Learning instn., Cultural practioner - He is an elder, Instructor - Folk-tales narratives - Inherited.
4. LakerJolly O. - Social worker/ educationist - Culture promoters - Inherited.
5. Langol Rino - Teacher (secondary) - Cultural lovers - Inherited.
6. Lakony Joe - Social worker - Culture promoters - working with NGO.
7. Ochora Ochitti - Social worker/educationist - National adjudicator - Learning instn.
Mr. Lakony Joe is a Ugandan by nationality, 31 years old by now, a social worker by profession, a project officer with War Child Holland and his area of jurisdiction is in Gulu, Amuru and Nwoya districts.
Lakony previously worked with Gulu Support the children organization (GUSCO) and the work dates back from 2003 when he started with GUSCO.
In as far as his cultural background is concerned; he had worked with formerly abducted children to teach them traditional songs, dances, and practices. He had been working tirelessly to coordinate cultural ceremonies for cultural healing for the returnees. He had been at forefront for organizing cultural galas within the communities where he works.
Also in their activities they help conduct intergenerational activities where children and parents come together show case different activities. Lakony is one of the initiators of Wang-oo program as informal educational activity and avenue to teach culture to the children around fire place.
Culture is part and parcel of all the activities they do and normally they consult the traditional leaders in their work.
Mzee Janani is now 72 years old, a national examiner, graduated in tutoring, specialized in music dance and drama (MDD) and more importantly he is one of the characters in the war dance contributing toward Primary teacher’s College (PTC) and National Teacher’s College (NTC) music choir.
George is now 47 years old, a Ugandan by nationality, a secondary teacher by profession and heading music dance and drama department in his School.
-He is the regional co-ordinator for Uganda Development Theatre Association (UDTA) from 2003 to date.
-He is the district chairperson- UDTA for Kitgum and Lamwo districts since 1998 to date
-He is a drama scripts writer and actor.
SEMINAR/WORKSHOP OR ANY DEVELOPMENTAL ACTIVITY ATTENDED
Civic education - From C.A to referendum - Civic educator.
Business planning - Organized by Gusby Trust MUK - Member.
Business management - Organized by N.U.M.A - Member.
HIV /AIDS/STDs Awareness - Organized by Lacor AIDs project - Participant.
Uganda German youth camp - Organized by PCY-GTZ - Participant.
Disabilities census workshop - Organized by AVSI - Enumerator.
UDTA planning workshop - Organized by UDTA - National executive.
Composed drama on civic education - Organized by NDI - Director of Gulu Theatre Artists
Land disputes resolution through MDD - Contracted by NRC - Director of Gulu Theatre Artists
Composed drama on domestic violence - Requested by ARC - Director of Gulu Theatre Artists
Composed drama about back to school - Invisible children - Patron MDD department.
Developed syllabus for MDD secondary - Invisible children - Patron MDD department.
Composed drama on right of citizen - Women in democracy (FOWODE) - Drama consultant.
Produced drama on water & sanitation - District water office & health dept. - Drama consultant/ director.
Participated in cultural revival festival - War child Holland - MDD consultant.
1. Cultural activities since I am promoting, preserving and appreciating my cultural values.
2. Developmental activities as I am working toward community positive transformation and restoring hope to the disadvantaged generations.
3. Music dance and drama as I am the chairperson of all the cultural groups under Uganda development Theatre Association in Acholi sub-zone and using MDD as one ofthe most effective communication tools for sensitization.
4. Touring as I have been monitoring all the cultural groups within the region and taking them for national festival.
5. Peace as I am absolutely involved in the peace building process through theatrical activities.
I Mr. Okello Quinto hereby declare that the information given above is true, correct and complete.
-National chairperson UDTA/Director Ndere centre. contact; 0772-200104
-Country director for invisible children Uganda. (Contact- office line) 0471432583
- District water office, district health office, district engineering office- Gulu district.
- Norwegian refugee council (NRC- ICLA- Wang-oo department Gulu main office
Working in partnership with Uganda Development Theatre Association since 1997 and very many local groups were developed in northern part of ugnada which are affiliated to UOTA. to perform arts that addressed the societical problems and provide the workable solutions to those problems.
(Those activities listed from number 1 to 10 in sub-section 6.c above are the driving tools for the community participation in the safeguarding measures).
|The Cross-Cultural Foundation of Uganda - CCFU|
Makerere Hill Road, Block 9 - Plot 283
P. O. Box 25517
Tel.: +256 393 294 675; +256 781 424 999
Fecha de creación: 2006
- social practices, rituals and festive
- identification, documentation,
research (including inventory-making)
In the local Ugandan context where culture is often dismissed as music, dance and drama and of no other relevance to development, the Cross-cultural Foundation of Uganda has deliberately chosen to focus on positive aspects of culture. CCFU is premised on the belief that positive aspects of culture can be harnessed to bring about social and economic transformation. Our mission is, therefore, to promote the recognition of culture as vital for human development that responds to our national identity and diversity.
The Foundation has employed three key objectives to achieve this mission:
1. To stimulate the generation, documentation, analysis and use of culture, with a focus on its contribution to sustainable development and a positive perception of culture.
CCFU identifies, researches and documents experiences that illustrate the value of culture in development work. These cases investigate the significance of cultural resources (such as values, principles, practices, systems, knowledge and skills of cultural resource persons) and their contribution to sustainable development. The Foundation also carries out training and reflection events to stimulate an appreciation of culture by development partners interested in integrating culture in their thinking and practice.
2. To support efforts to address issues of tolerance and managing difference amidst cultural diversity to foster harmonious co-existence.
CCFU promotes pluralism and respect, perceiving each culture as being of equal value and importance and therefore deserving in equal opportunity and consideration in the political, social and economic spheres.
3. To protect, promote and development our tangible and intangible cultural heritage for present and future generations.
Cultural heritage is of intrinsic value to a people's identity. It consists of practices, rituals and other forms of expression, systems and structures that are informed by a people’s worldview based on cultural values, principles and beliefs.
Thus, the thrust of CCFU’s work is to promote, protect and develop intangible cultural heritage and to trigger discourse on its relevance in present day development.
In November 2010 CCFU launched 4 case studies compiled into one publications: ‘Culture in governance: does it work?’ with an accompanying DVD. These cases examine the interface between traditional and state governance systems, and highlighting the role of cultural leaders (clans, council of elders) in local governance. The first case focuses on “Protecting rights to land, our most precious resource” by codifying and documenting traditional land tenure principles and practices. The second case focused on “Traditional and modern conflict resolution mechanism” while the third case captured the experiences of a council of elders or “Isaazi” speaking out against corruption, and finally, the fourth case study examined the role of the Alur Chiefdom in managing conflicts in fishing communities. These cases all illustrate the significance of intangible heritage in relation to contemporary development challenges. These cases bring the number of published works by the Foundation to 22, with the others focusing on Language, Gender, HIV/AIDS, Social Protection, Widows’ and Orphans’ rights, among others).
Under our Promotion of Cultural Heritage programme, CCFU, with support from UNESCO Regional office (Nairobi) has supported 21 community museums and cultural centres throughout the country by mapping the existing initiatives and their needs. Over the past three years, individual community museums have been facilitated to develop and implement plans to improve their museums and received support in the form of technical advice, publicizing and marketing the community museums through the production of publicity materials, showcasing these museums at a national exhibition, and establishing linkages with policy makers, tour agencies, the media, and other stakeholders. These museums exhibit both tangible and intangible heritage through their collections that range from artefacts, tools, literature, to craftsmanship in bark clothe making, traditional salt processing, iron-smith, and art, among others.
The Cross-cultural Foundation of Uganda acts as a catalyst to promote an understanding of development, as seen through “cultural lenses” and deliberately chooses to maintain a small staff complement.
1. Ms. Emily Drani, the Executive Director of the Cross-Cultural Foundation of Uganda, (an MPhil. candidate in Development studies, majoring in Cultural Anthropology at the University of Development Studies, Ghana) and holds a Bachelor of Arts degree in Human & Social Sciences (majoring in Public Administration with Communication Facilitation), University of South Africa. Emily has over 12 years professional experience in development work with specific emphasis on public administration, research and cross cultural communication and studies. Her experience includes development programme design and planning, coordination, resource mobilization, and networking at national, regional and international levels. Her work involves overall programme supervision, strategic planning, research, training, documentation, communication, monitoring and evaluation.
2. John De Coninck holds a PhD from Sussex University in UK. He works as a researcher and policy advisor at CCFU. He has over 30 years professional experience, much of it acquired in Uganda. John has been involved in the development and implementation of a number of initiatives involving Civil Society Organizations in policy development, strategy reviews, participatory planning, monitoring and evaluation, and research on wider civil society issues. He has also been actively involved in a number of research initiatives on poverty reduction policy. His work involves organizational development support, policy formulation and advice, editing, providing methodological support in research and training.
3. Ssekamatte David, currently working as the Cultural heritage Manager at CCFU, holds a Bachelor’s degree in Development Studies and is currently pursuing a Master’s degree of Arts in Social Sector Planning and Management of Makerere University. He has competence in cultural promotion having been a music and language teacher in Ugandan schools as well as designing cultural festivals and competitions. David has expertise in results based management, monitoring and evaluation, program design and management, training of community groups, programmatic and financial reporting and management, HIV/AIDS programming and Counselling, Program Evaluation and team building.
4 . Mr. Fredrick Nsibambi (MA. Economics & Administration of Cultural Heritage Catania University, Italy; Dip. Museums & Heritage Studies-University of Cape Town, South Africa; B.A. Tourism, Makerere University). Mr. Nsibambi has been providing technical support to cultural heritage projects at CCFU. Fredrick work with the Foundation includes i) Support to Community Museums ii) Coordinating a Coalition for heritage Conservation and Development. He acquired his experience from previous work with a traditional institution in preservation of Kasubi Tombs, a UNESCO heritage site.
The Foundation is not a membership organisation but over the past couple of years, CCFU has coordinated a Support Group with approximately 200 members from civil society, government, the media and academia interested in promoting cultural heritage.
Under our Culture in development work, which involves research and documentation, CCFU works closely with partner organisations that are operational in different districts of Uganda. Through a consultative and participatory engagement, discussions on the aspect of intangible heritage to research and document is discussed, and a memorandum of understanding is signed outlining scope of work, roles, responsibility, timeframe, dissemination and ownership of communication outputs. CCFU plays a facilitating role, while the partners determine what information should be documented, which key informants should be interviewed and captured in filming, in case of visual recording. On completion of draft documents, the partner organisations validate information generated in print and film before final communication outputs are produced.
The Community Museums were engaged through a similar progress in determining what aspect of their museums they would like to improve and publicize. The initiators had a choice to participate in the specific programme activities for instance some initiators chose not to print individual brochures but opted for sign posting. In establishing linkages and forging strategic partnerships with potential funders and supporters, the initiators of community museums retain full autonomy, ownership and benefits of their museums.
In both cases, the selected partners received a small grant included in the memorandum of understanding, which includes a clause to address dissatisfaction by either partner. Organisations involved in research and documentation were responsible for field research, community consultations and development of draft reports based on their findings, while the community museum initiators had the liberty to develop and implement plans to improve their museums.