Project Completion Report - PSF Librarypsflibrary.org/catalog/repository/3919_CC_PCR.pdf · TPK Tim...

CREATIVE COMMUNITIES 2Project Completion Report

Ingvild Solvang

May 2015Jakarta Indonesia

Ayo Kumpul, Ayo Usul!

komunitaskreatif

With Support From:Implemented by:

CREATIVE COMMUNITIES 2Project Completion Report

Ingvild Solvang

May 2015

Jakarta Indonesia

With Support From:Implemented by:

Ayo Kumpul, Ayo Usul!

komunitaskreatif

Creative Communities 2 Project Completion Report

iiiAcknowledgements

“With the activities of Creative Communities in Rianggede, our eyes have been opened and we understand better the aspirations of our community. The Creative Community Group members have changed. Before they didn’t voice their

concerns, now they are brave enough to express what they want.”

Mr. Dewa Putu Arya, Head of Village, Rianggede


iv Acknowledgements

ACKNOWLEDGEMENTS

This project evaluation has been a collaborative effort.

Special thanks to Amna Kusumo, Endro Sulistyanto, Meuthia Susanti, Egbert Wits, Joned Suryatmoko, Ade Tanesia, Field Coordinators and Facilitators from the Kelola Foundation. Community Empowerment Cadres (KPKs), Creative Communities and sub-grantees from CC2 Phase 1 Extension villages. Sim Kok Eng Amy, Natasha Hayward, Gregorius Kelik, Ian Pollock, Jackie Pomeroy, Caroline Sage, and Annie Sloman from the PNPM Support Facility (PSF); and to MIGUNANI for carrying out the Perception Survey of CC2 Phase 1 Extension Evaluation; to Dyah Widuri S., Agung Haryanto , Ami Priwardhani, Aant subhansyah and Sri Kuncoro for researching and documenting case studies.

This evaluation process and report was managed and written by Kelola Monitoring, Evaluation and Learning (MEL) Specialist, Ingvild Solvang with support from MEL Officer, Joeni Hartanto.


vList of Contents

CONTENTS

Acknowledgements ......................................................................................................................................................................................... iv

Contents ............................................................................................................................................................................................................... v

Acronyms And Abbreviations ....................................................................................................................................................................... vi

List of Tables and Figures ................................................................................................................................................................................ vii

Executive Summary .......................................................................................................................................................................................... ix

Background ......................................................................................................................................................................................................... 1

About Creative Communities 2 .................................................................................................................................................................... 3

CC2 Activities ....................................................................................................................................................................................................... 6

Outcomes .............................................................................................................................................................................................................. 17

Conclusion ............................................................................................................................................................................................................ 45

Key Recommendations .................................................................................................................................................................................... 48

CC2 Phase 1 Extension Key Performance Indicators ............................................................................................................................. 50

CC2 Phase 1 Key Performance Indicators .................................................................................................................................................. 51

References ............................................................................................................................................................................................................. 52

List of Annexes .................................................................................................................................................................................................... 53

Annexes

Available for download:

http://psflibrary.org/collection/detail.php?id=7105


vi Acronyms and Abbreviations

ACRONYMS AND ABBREVIATIONS

BETF Bank Executed Trust FundBPMPD Badan Pemberdayaan Masyarakat dan Pemerintahan Desa (Board of Community

Empowerment and Village Governance) CC2 Creative Communities 2CCG Creative Community GroupCDD Community Driven DevelopmentCEP Creative Empowerment Process DFAT Department of Foreign Affairs and Trade (refers to Australia DFAT in this document)Dusun Sub-Village FGD Focus Group Discussion FK Fasilitator Kecamatan (PNPM Sub-district Facilitator) JMC Joint Management Committee (for the PNPM Support Facility)KPI Key Performance IndicatorKPK Kader Pemberdayaan Kreatif (CC2 Village Level Creative Empowerment Cadre)KPMD Kader Pemberdayaan Masyarakat Desa (PNPM Village Empowerment Cadre)MC Managing ContractorMEL Monitoring, Evaluation and LearningMusrembangdes Musyawarah Perencanaan Pembangunan Desa (Village Development Planning

Meeting)PDO Project Development ObjectivePMD Pemberdayaan Masyarakat dan Desa (Ministry of Home Affairs Directorate General

of Village and Community Empowerment)PNPM Generasi Sehat dan Cerdas PNPM Healthy and Smart Generation PNPM Mandiri Program Nasional Pemberdayan Masyarakat (The National Program for Community

Empowerment)PSF PNPM Support Facility PV Participatory VideoRETF Recipient Executed Trust FundTfD Theater for Development ToT Training of Trainers TPK Tim Pengelola Kegiatan (PNPM Activity Implementation Team) UU Desa Village LawWB World Bank


viiList of Tables and Figures

LIST OF TABLES AND FIGURES

TABLE 1 - DEFINITION OF DIRECT AND INDIRECT BENEFICIARIES 5

TABLE 2 - CEP ACTIVITIES DURING PHASE 1 8

TABLE 3 - CEP ACTIVITIES DURING PHASE 1 EXTENSION 8

TABLE 4 - OVERVIEW OF ALL CC2 CEP ACTIVITIES 9

TABLE 5 - SUB-GRANTS DURING CC2 PHASE 1 10

TABLE 6 - SUB-GRANTS DURING CC2 PHASE 1 EXTENSION 12

TABLE 7 - CC2 INPUTS AND OUTPUTS OVERVIEW 16

TABLE 8 - CC2 PHASE 1 KEY PERFORMANCE INDICATORS (AS PER CC2 PROPOSAL APPROVED BY THE JMC) 20

TABLE 9 - TOTAL PEOPLE ATTENDING CC2 PHASE 1 EXTENSION CEP ACTIVITIES AT LEAST ONCE 22

TABLE 10 - CC2 PHASE 1 EXTENSION CREATIVE COMMUNITY "CORE" MEMBERS 23

TABLE 11 - DISTRIBUTION BY WEALTH, CREATIVE COMMUNITY GROUP MEMBERS, CC2 PHASE 1 EXTENSION 24

TABLE 12 - CORE MEMBERS OF CCGS THAT DID NOT PARTICIPATE IN PNPM ACTIVITIES DURING SIX MONTHS PRIOR TO ACTIVITIES 25

TABLE 13 - DIRECT PARTICIPANTS IN CC2 PHASE 1 EXTENSION SUB-GRANTS ACTIVITIES 43

FIGURE 1 - CRITERIA FOR SELECTION OF CC2 LOCATIONS 6

FIGURE 1a - CC2 PHASE 1 EXTENSION CEP BENEFICIARIES’ PERCEPTIONS ABOUT WHAT THEY WOULD DO WHEN THERE WAS A PROBLEM OR COMPLAINT IN THE VILLAGE BEFORE AND AFTER CC2 xFIGURE 2 - THE CREATIVE EMPOWERMENT PROCESS (CEP) 7

FIGURE 2a - CC2 PHASE 1 EXTENSION CEP BENEFICIARIES’ PERCEPTIONS ABOUT WHAT THEY GAIN FROM PARTICIPATING IN CREATIVE COMMUNITIES (IN RESPONSE TO OPEN ENDED QUESTIONS ALLOWING MULTIPLE ANSWERS, IN PERCENTAGE) xiFIGURE 3 - CC2 THEORY OF CHANGE 20

FIGURE 4 - PERCEPTION OF INDIVIDUAL BENEFITS GAINED FROM BEING MEMBERS OF CCGS

(IN PERCENTAGE) 28

FIGURE 5 - PROBLEM TREE ANALYSIS FROM BERANGBANG VILLAGE, BALI 31

FIGURE 6 - CCG CORE MEMBERS' PERCEPTIONS ABOUT WHETHER THEIR KNOWLEDGE ON PNPM AND OTHER VILLAGE PLANNING AND DEVELOPMENT PROCESSES INCREASED 33

FIGURE 7 - CCG CORE MEMBERS' PERCEPTIONS ABOUT WHAT THEY WOULD DO WHEN THERE WAS A PROBLEM OR COMPLAINT IN THE VILLAGE BEFORE AND AFTER CC2 34FIGURE 8 - CCG CORE MEMBERS' PERCEPTIONS ABOUT THEIR MOTIVATION TO PARTICIPATE IN VILLAGE MEETINGS

COMPARED WITH SIX MONTHS EARLIER 35

FIGURE 9 - CCG CORE MEMBERS' PERCEPTIONS ABOUT WHAT CCGS CAN BE USED FOR IN THE COMMUNITY (PERCENTAGE) 35

FIGURE 10 - MODEL OF PNPM - CC2 COORDINATION 37


viii Acknowledgements

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ixExecutive Summary

EXECUTIVE SUMMARY

The Creative Community 2 (CC2) project was implemented from April 2013 – March 2015 by the Kelola Foundation with support from the PNPM Support Facility (PSF). Project Development Objective (PDO) was “to improve the ability of villagers, especially the poor and marginalized people, to participate actively in PNPM processes using cultural expressions in project locations. The project was designed to support The National Program for Community Empowerment (PNPM) in addressing challenges in achieving broad based participation for community planning.

The project was implemented in two stages: Phase 1 (April 2013 – September 2014 1) and Phase 1 Extension (October 2014 – March 2015). The project was implemented through two main modalities: firstly the Creative Empowerment Process (CEP) where Creative Community Groups (CCG) were formed and trained in using Theater for Development (TfD) or Participatory Video methodologies to explore their situation and express their ideas and concerns; secondly sub-grants were provided to local individuals and organizations to support the use of cultural expressions to stimulate community participation in village planning. Overall, the project focused on creating informal forums and developing engaging facilitation techniques to enable the participation of community members typically not involved in formal development processes.

In total, the CC2 project worked in 44 villages, 30 sub-districts and 20 districts in six provinces.

Villages Sub-Districts Districts Provinces

Phase 1 11 6 3 3

Phase 1 Extension 33 24 17 3

Total 44 30 20 6

Phase 1 developed and tested the design for introducing creative approaches to support participation in PNPM. The Creative Empowerment Process was implemented in a total of four villages in West Nusa Tenggara, South Sulawesi and West Kalimantan Provinces. A total of 206 (123 women, 83 men) community members directly benefitted from the theater and video activities, which culminated in 17 public events and cultural dialogues held jointly with PNPM Rural and PNPM Generasi. An estimated 2,700 community members were indirectly involved as members of the audience. In addition, eight sub-grants projects were implemented in 10 other villages in the same districts. Lessons from Phase 1 showed that when creative approaches were used in integration with PNPM and formal development processes, there was a significant increase in attendance of the marginal, poor, women and youth. Village level PNPM workers and community members were enthusiastic about the approaches, and the opportunities created for community members to express their concerns and ideas and interact directly with PNPM workers and village governments.

By June 2014, a new village law was promulgated, which will dramatically increase the role, responsibilities and resources of the village community. Consequently, PNPM began a transition towards the new law and to meet the demands of the changing policy environment. At the same time, PSF began its own transition towards a hand over of several programs, including CC2 to a Managing Contractor (MC) under the Australian DFAT. This led to a restructuring of CC2 at the end of Phase 1, which reduced the number of locations from 50 to 24, and brought forward the closing date of the project to 31 March 2015 instead of 30 June 2015 as originally stated in the approved World Bank Creative Communities II Project Paper.

The CC2 Phase 1 Extension was implemented effectively between October 2014 and March 2015. CEP activities were implemented in 24 villages in East Nusa Tenggara (NTT), Bali and West Java Provinces. 1055 community members (546 female, 476 male) were members of video or theater CCGs. The CCGs were supported by 24 facilitators (with experience in video and theater making) and 24 village level creative empowerment cadres (KPK) who were trained in community facilitation using creative approaches. 72 theater and video events were held attracting an estimated 9,600 members of the audience, including PNPM workers and village leaders. In addition, 6 sub-grants were provided to local organizations and individuals with the aim of supporting the socialization of the new Village Law or supporting PNPM Generasi to raise awareness on health and nutrition related issues in a total of ten villages.

1 Between July – September 2014, the project went through a restructuring process in view of the transition of PSF. During this period of time, the focus of the project was on modifying the implementation plan to reduce the scope and period for the replication of activities.


x Executive Summary

Lessons from CC2 Phase 1 were documented in an external evaluation (June 2014) and in the CC2 Phase 1 Progress Report (September 2014). An evaluation of the CC2 Phase 1 Extension was carried out in February – March 2015 using mixed methodologies including a perception survey in 24 CEP villages, documentation of case studies in CEP and sub-grants villages and facilitators’ reflection workshops.

Key Lessons Leaned from CC2

• Creative approaches are highly effective in engaging the marginal, poor, women and youth. More than half of direct participants in CEP activities were female. Most of the facilitators and KPKs were male. A male dominance could be an obstacle to women’s participation, however the high number of female participants regardless, indicates that the approach is well suited to enable women to participate. During the Extension, 43% of participants were classified as poor, 2 72% were marginalized3 and 36% youth under 17. The latter group was not intended as a target group in CC2 Phase 1. The experience of Phase 1 noted, however, that youth were often not included in village planning processes but they gravitated towards the opportunity to learn new technology and have new experiences. Youth were therefore included as one of the target groups in the Extension.

• 70% of beneficiaries in CEP Extension reported to be more motivated to participate in formal meetings in the villages after the project. The beneficiaries perceived themselves to have become more active in the community after participating in the project. Figure 1 shows what the beneficiaries perceive they would do before and after the project when they heard about complaints and problems in the community. 53% reported they did nothing before the project, while 6% reported they do nothing after the project.

Figure 1a: CC2 Phase 1 Extension CEP beneficiaries’ perceptions about what they would do when there was a problem or complaint in the village before and after CC2

• Creative approaches were also effective in increasing the agency of CCG members, defined by the project as an increase in self-esteem, ability to express themselves, strengthened networks and a stage for expression and understanding of participation as a right. Figure 2 shows beneficiaries’ perceptions about the individual benefits of participating in the project.

2 Poor defined as belonging to the 40% lowest household income

3 Defined as non-participants in formal PNPM or village planning meetings in the 6 months prior to CC2 activities


xiExecutive Summary

Figure 2a: CC2 phase 1 extension CEP beneficiaries’ perceptions about what they gain from participating in Creative Communities (in response to open ended questions allowing multiple answers, in percentage)

More self con�ident, 52.48

Learned new skills/knowledge, 3

8.2

Understand situation in

village better, 31.43

Learn new ways of expressing

complaints, 34.59

More aware of my rights to

participate in village

development, 12.63

Gained place and friends to disuss with and express opinions, 19.55

Can access important people

such as KPK, KPMD, village

gvmnt, 8.12

More activities in the village, 18.5

Added organizational

experience, 20.15

Get to know other communities in

other villages, 7.82

There were no significant differences in how the poor and non-poor perceived these benefits, indicating that the approaches are also effective in empowering the poor.

• The use of cultural expressions and creative approaches in formal community planning processes generates community interest and breaks down formal power structures that stand as barriers to the participation of the marginalized. CC2 Phase 1 showed examples of how attendance at PNPM events increased as a direct result of the project. By offering a service to village government in attracting community members to formal meetings, creative communities could generate support for creative communities and increase leverage and opportunities for the marginal to voice their concerns.

• Barriers to the projects ability to directly support PNPM by directly impacting attendance and influencing facilitation skills of PNPM workers included PNPM’s capacity to engage directly with CC2 given the PNPM facilitators’ workloads, and the lack of formal instructions from the central government (Ministry of Home Affairs) to village level PNPM workers to engage with CC2. CC2 also did not succeed in mainstreaming creative approaches into PNPM SOPs aside from allowing the use of culture mediums in socializing PNPM in the revised PNPM Rural Technical and Operational Guidelines (PTO). Similar challenges may be anticipated when using creative communities in the future to support the implementation of the new village law.

• During CC2 Phase 1, the use of cultural activities in integration with formal PNPM meetings had a significant positive impact on increasing the attendance of community members who typically would not attend. Due to the PNPM transition such integration could not be replicated in the Extension. There is nevertheless evidence that the CEP process and sub-grants overall created new opportunities for community members to get together and discuss their ideas and concerns, and meet with village leaders and stakeholders to express their opinions. There is also anecdotal evidence that the CCG groups were able to directly influence decision making in some villages through their use of theater and video.

• For creative communities to have an impact on active participation on villagers in development processes joint planning between the project and village level stakeholders is necessary to create the integration required between the project and formal development processes. The lesson from CC2 is that sufficient time needs to be allocated to such joint planning. Where integration with formal village planning processes occurs, creative approaches are highly effective in increasing attendance at formal meetings, motivating people to participate, and in bringing the voices of the marginal and poor into decision-making processes.


xii Executive Summary

• Creative approaches can be used to impact different levels of participation from attendance to knowledge about how to participate, motivation to participate, access to arenas of decision-making and control in the decision-making process. For a project that aims to increase communities’ ability to participate, it is important to define and operationalize the objectives of the project clearly, and select appropriate indicators to reflect the PDO. The CC2 PDO includes “active participation”. However, “increased attendance at PNPM meetings” as a KPI proved ineffective in measuring the real impact of the project on community empowerment given the gap between attendance and actual participation. The M&E plan for the Extension added indicators for empowerment to bridge this gap. In terms of influencing attendance, the evaluation shows that attendance at village level meetings was often closed and structured rather than open, and hence could not be easily influenced. The baseline highlighted a larger opportunity to impact attendance at sub-village level (i.e. dusun or RT/RW levels) or on improving quality of representation rather than mass attendance. Timely assessments and baselines can provide the information about the barriers and opportunities for active participation of the community needed to design effective project strategies.

• Development initiatives often aim to change dynamics of decision-making in a community by enabling more people to participate. Particular groups in the community may see this as a threat to their own access to resources. As such, development initiatives are political and often contentious. 4 When implementing the CEP, CCGs may become a stakeholder positioned along the fault-lines of pre-existing tensions and conflicts in the communities. This was documented in case studies from e.g. Barang and Ngabheo Villages during the Extension. The CEP will likely be most effective in achieving influence over decision-making in villages that have leaders who are committed to broad and active participation. Management of the risk of potential backlashes against project participants with the involvement of village leaders is needed to ensure that no harm is done.

• When Creative Community Group (CCG) members have ownership of the mission and vision of the group, it is more likely that the group will without support after the project ends. Assessments at the outsight helps to identify key groups and individuals in the community that are likely to have a vision and mission for community engagement and/or creative skills. The evaluation of CC2 shows that in communities like Panji (Bali) and Malaka (Lombok) where the communities have a strong motivation driven by key members, they also have the ability to find resources needed to continue their activities independently. CC2 also adopted strategies to support CCGs in making future strategies and plans and the sharing between creative communities of different villages.

• The Evaluation of the CC2 Phase 1 Extension CEP showed that the lack of strategic engagement with formal development processes that could have increased the CCGs’ success in influencing policy and decision-making. Participatory social analysis generated issues and themes for video and theater, however too much focus on the media also influences the agenda, e.g. where issues not suited for video were left out or focus was issues causing family tragedy as that makes good theater. A more open ended approach to advocacy with less focus on pre-determined media and project driven video screenings and theater performances, would have allowed for a mapping of priorities and development of strategies for how to deal with the most important issues effectively. Linking these strategies directly to formal processes of village planning and decision-making would likely have increased their effectiveness in achieving higher levels of active participation.

• The strengthening of the main Grant Recipient’s (i.e. Kelola) capacity for M&E led to a systematic analysis of the barriers to community participation linked to the articulation of the project’s theory of change and the design of logical frameworks and M&E plans that improved the management of project results during the Extension, and enabled the measuring and documentation of project impact. Such evidence based documentation allowed the project management to build a case for the effectiveness of creative approaches for future development initiatives, such as the implementation of the new village law.

• The CEP model implemented in CC2 is intensive and requires resources. Better integration with formal development processes will make the intervention more efficient, and will provide CCG members with insight into the workings of formal planning processes, and an experience in accessing and influencing decision-making that is likely to motivate more active participation in the future.

4 Barron, P., Diprose, R. and M. Woolcock. 2011. Contesting development: participatory projects and local conflict dynamics in Indonesia. Yale Agrarian Studies Series. Yale University Press, Ithaca.


xiiiExecutive Summary

• Sub-granting is an effective modality to mobilize communities and socialize messages. Sub-grantees use of cultural events and activities created broad participation and opportunities to socialize messages about PNPM processes, health and the new village law. E.g. during the Phase 1 Extension, Lite Institute in Bali, engaged hundreds of local cultural workers (e.g. dancers, musicians and craftspeople) in a village festival that pulled a large audience to a socialization of the new village law. The most effective sub-grantees also succeeded in creating opportunities for communities to interact directly with PNPM workers or representatives of village government to address issues of concern. E.g. during Phase 1 Extension, Jatiwangi Art Factory (West Java) facilitated community members in making community television that allowed them to meet directly with PNPM Generasi and village leaders. The television production also brought the dialogue into people’s homes, which created new forms of dialogue about community health issues. 5

• The Sub-grant model is best implemented based on an understanding of partners’ capacity to deliver quality programs to the communities. Lessons from CC2 show that grassroots organizations, especially in remote areas, could benefit from capacity building, not only on administration, finance and report writing, but also community facilitation and technical skills. Implementation timeframes should allow for such capacity building activities with sub-grantees. Future capacity building of sub-grantees could be integrated with the CEP training to make effective use of training modules and materials developed for effective community facilitation.

Key recommendations for Future Creative Communities Projects

Result-based Management

1. Ensure that results-based management and M&E and learning frameworks are built into the project, for example, by using appropriate logical frameworks and indicators and incorporate a MEL plan into day-to-day management and implementation of the project. When working through an implementing partner, ensure the partner has effective project cycle and result-based management capacity.

Design

2. In the design phase, conduct an analysis of entry points and barriers to the project’s ability to influence formal development processes, both in terms of attempting to mainstream “creative approaches” within government at the national level, or for project participants to gain access to and influence over local development planning processes.

3. Articulate strategies for using Creative Communities activities for the communication of key messages as a service to authorities, and for community mobilization to build positive relations and leverage between its participants and village leaders.

4. Take a wider approach to the use of media (e.g. theater and video) in empowerment to stimulate active participation that leads to influence over decision-making processes. Key issues generated through a social analysis require strategy for how to best create a wanted change that benefits the marginalized. Too much focus on the media may lead to the question: What should we make theater/videos about? Rather than: what are our key challenges, and how to change them? The latter being the most relevant to active participation. Future projects should let the issues guide the making of effective strategies for wanted change.

5. Continue sub-grants as a modality to support local NGOs, CBOs and individuals. using creative approaches to stimulate broad participation. Allocate sufficient time and resources that allow for capacity assessments and the capacity building of sub-grantees to ensure that they are able to delivery high quality activities and results. The provider of sub-grants (in this case Kelola) needs to have “Partnership and Capacity Building Specialists” in their sub-grants management structure. Capacity building of sub-grants partners may integrate with CEP capacity building for community facilitators for increased efficiency.

5 Creative Communities 2 Evaluation Report on CC2 Phase 1 Extension Sub-grants (Annex 3)


xiv Executive Summary

Implementation

6. In the inception phase, conduct a timely baseline study to identify who are marginal and poor and barriers to and opportunities for participation to inform implementation strategies and facilitators’ manuals, and conduct village level assessments to identify people and groups that share a vision of community development, and community leaders committed to broad participation.

7. Start implementation with joint strategy and planning, including joint risk analysis, with authorities at all levels, including village level, to identify potential for integration of the project with specific formal development processes.


1Background

BACKGROUND

Creative Communities 2 (CC2) was implemented by the Kelola Foundation with support from the National Program for Community Empowerment (PNPM) Support Facility (PSF 6) from April 2013 7 to March 2015 with the aim to pilot ways to utilize creative expressions and community-based approaches to enable communities, especially the poor and marginalized, to actively participate in the National Program for Community Empowerment (PNPM) and other village planning and development processes.

The project was designed to support PNPM Mandiri, an umbrella program that seeks to bring together all community-driven development (CDD) initiatives in Indonesia. More specifically, it was developed to improve community participation in PNPM Rural and PNPM Generasi. PNPM Rural is the largest of the many programs under PNPM Mandiri. PNPM Rural focuses on rural communities and covers more than 72,000 villages across Indonesia. PNPM Generasi, which is implemented as part of PNPM Rural, focuses on improving achievements of basic education and health indicators within the Millennium Development Goals.

PNPM, often regarded as the largest community driven development program in the world, has made significant contributions towards poverty alleviation, development of infrastructure and public services in Indonesia. Despite its success, PNPM’s quick national scale-up from 2007 posed a number of challenges to facilitator recruitment process, their performance management, oversight and training, and consequently to the effectiveness of that facilitation, given the massive scale at which PNPM was implemented. Combined with some reported community fatigue from the repeated planning cycles, the possibility that enthusiasm for public participation could wane over time was recognized, including risks that community voice – especially that of the poor and marginalized – could diminish. In particular,

6 The PSF was established in 2007 by the Government of Indonesia (GoI) and international development partners to support effective leadership and management of PNPM. It provides technical assistance, policy and planning advice and financial assistance to the GoI to complement PNPM and support poverty alleviation. PSF is supported by multi-donor grants, which are administered by the World Bank.

7 A World Bank-Executed Trust Fund was activated in September 2012 to enable initial preparation work on the project. The Recipient-Executed Trust Fund was activated in May 2013, but field activities started in April 2013 using funds pre-financed by the recipient Yayasan Kelola.


2 Background

the Marginalized Groups Study found that PNPM village meetings where decisions are made are often dominated by local elites, with 75% of poor members of the community attending these meetings being passive participants 8 9,. Barriers related to class, ethnicity, religious beliefs and gender norms deter certain segments of the community from participating at these meetings.

The PNPM Rural Impact Evaluation (2012) pointed to a need to address the strains associated with the scale up and the fatigue caused by the numerous community forums and steps required of PNPM Rural in many locations. This Evaluation called for a renewed effort to strengthen community engagement and to ensure the inclusion of poor and disadvantaged members of the community in decision- making processes. 10 As one of the strategies to address this challenge, the PNPM Support Facility (PSF) developed the Creative Communities 2 (CC2) project in 2012.

8 World Bank. 2010. Marginalized Groups in PNPM Rural. Washington, DC: World Bank. http://documents.worldbank.org/curated/en/2010/06/15423996/ marginalized-groups-pnpm-rural.

9 Voss, J. 2008. PNPM Rural Baseline Project. Jakarta: The World Bank.

10 Voss, J. 2013. PNPM Rural Impact Evaluation April 2012. Jakarta, Indonesia. PNPM Support Facility.


3About Creative Communities 2

ABOUT CREATIVE COMMUNITIES 2

CC2 was developed based on the experience of an earlier initiative, the Creative Communities Fund (CC1), which was implemented in the period from 2008 to 2010 to empower communities under PNPM through community arts and cultural activities. Learning from CC1, which supported a range of activities from socialization of PNPM to supporting local cultural economy, CC2 adopted a narrower scope by developing creative processes that empower communities to play an active role in village development processes.

3.1 CC2 OBJECTIVES AND MODALITIES

The Project Development Objective (PDO) of the CC2 was to “to improve the ability of villagers, especially the poor and marginalized people, to participate actively in PNPM processes using cultural expressions in project locations”.

In particular CC2’s objectives were to

1. Increase the communities’ participation in the PNPM Rural and PNPM Generasi;2. Increase participation of the poor and marginalized communities in PNPM Rural and PNPM Generasi; and3. Improve the capacity of PNPM facilitators and cultural workers in using creative approaches to increase the

community’s participation in both PNPM Rural and PNPM Generasi.

The project was implemented in two phases, Phase 1 (April 2013 – September 2014 )11 and the Phase 1 Extension (October 2014 – March 2015).

CC2 utilized two main modalities: 1) The Creative Empowerment Process (CEP) harnessing Theater for Development (TfD) and Participatory Video (PV) methodologies to mobilize and empower villagers; and, 2) sub-grants disbursed to individuals and community based organizations to undertake creative activities in line with the project’s goal.

11 The project was given a No Cost Extension by the World Bank until September 30, 2014 while the request for additional funds from the PSF donors for the implementation of further project activities was being prepared.


4 About Creative Communities 2

3.2 RESTRUCTURING OF CC2 IN RESPONSE TO A CHANGING ENVIRONMENT

The original project design, approved by the World Bank following internal review and appraisal, was for a period of 2.5 years (until June 2015) and to be implemented in two phases:

1. Phase 1 Operation Set Up – Design project based on the lessons from CC1 and the findings of a field assessment conducted in this phase, in order to address PNPM needs for quality participation. Testing of the design in seven sub-districts in the districts of North Lombok (West Nusa Tenggara), Landak (West Kalimantan) and Bone (South Sulawesi). Establishment of project management and operational system.

2. Phase 2 Implementation –Implementation of tested design in 50 sub-districts that receive funds from the PNPM Rural and PNPM Generasi programs.

However during project implementation, the decision to transform PSF led to the need to restructure the project. The uncertainties around PNPM following the passing of the Village Law also created significant challenges to the project.

Towards the end of CC2 Phase 1, the PNPM Support Facility (PSF) was going through a transition to provide more consolidated support to the government’s community empowerment based poverty reduction programs and policies, in response to the changes in the government policy context, especially the decentralization to village governments through the Village Law. As part of this change, PSF planned to transfer the oversight responsibilities of some of its projects, including Creative Communities 2, from the World Bank to a Managing Contractor (MC) hired by the Australian Department of Foreign Affairs (DFAT). In light of this, CC2 was restructured to reduce the number and scale of activities as originally planned in the Project Paper that was approved by the Bank on May 30, 2013. Instead of Phase 2, the project implemented a “Phase 1 Extension” to carry out a transitional phase until March 31, 2015, including a replication of the design in 24 locations, prior to the handover of the project to the MC. CC2 would continue to support PNPM Rural and PNPM Generasi during the transition.

Following the Government of Indonesia strategy to increase autonomy and capacity of village governments, PNPM started its transition to be replaced by mechanisms to implement the Village Law (Undang-undang Republik Indonesia No.6 Tahun 2014 tentang Desa) that will dramatically increase the role, responsibilities, power and resources of village communities. The Law adopts the community driven development approaches that have been developed and tested through PNPM programs.

Since the project was developed in the first place to support PNPM Rural, CC2’s PDO and the results framework emphasize the project’s effects on participation in PNPM processes. The disruption to PNPM Rural's delivery owing to the ongoing “transition” of PNPM towards implementation of the Village Law, and a lengthy period of “stalemate” between Ministry of Home Affairs and the new Ministry of Villages—unforeseen at the time of CC2 design—has meant that (i) there were few or no PNPM processes taking place in project locations over the implementation extension period (September 2014 – March 2015) and (ii) there were little recording of routine PNPM Rural administrative data, making the CC2 project effects on PNPM highly difficult to measure.12

To remain relevant to formal development processes at village level during the Extension, it became necessary for CC2 to broaden its definition of these processes beyond PNPM. It was also necessary to generate new indicators to measure the effectiveness of the project, beyond key performance indicators about increased attendance of the marginalized at PNPM meetings. In addition to looking at the support provided to remaining PNPM activities, the final evaluation of the project also looked at the overall effectiveness and potential of creative approaches in increasing communities’ ability to participate actively in broader village planning and development processes, which are integral to the use of Village Funds under the new Village Law. This generates important lessons for the future development of the project.

12 CC2 Interim Status Report, PSF, March 2015


5About Creative Communities 2

3.3 PROJECT CONCEPT AND DEFINITIONS

The CC2 M&E Framework (December 2014) was based on the following definitions of core concepts derived from project documents and interviews with field staff and managers:

Participation is a process through which stakeholders influence and share control over development initiatives, decisions and resources that affect them 13. The project was originally designed to influence: 1) communities knowledge about PNPM and development processes; 2) shape people’s perceptions about these processes, and increase their motivation to participation; 3) provide access to development processes, and 4) strengthen control over development processes. More specifically participation in this project refers to being involved in the planning, implementing and overseeing of initiatives that directly address local development priorities. 14

Beneficiaries are villagers who receive benefits from the CC2 program, and can be broken down by direct and indirect beneficiaries of CEP and sub-grants interventions, as shown in Table 1:

Table 1 - Definition of Direct and Indirect Beneficiaries

Direct Beneficiaries Indirect Beneficiaries

a) Active members of the Creative Communities;

b) Community facilitators (including PNPM and village government officials) and cultural workers actively participating in CC activities;

Villagers who receive benefits but are not active members in the communities, e.g. the audience, people interviewed or featured in video or theater performances

a) Recipients of sub-grants;

b) Villagers, community facilitators (including PNPM and village government officials) and cultural workers actively involved in sub grants activities

Villagers who receive benefits but are not actively involved e.g. the audience, people interviewed or featured in video or theater performances

Cultural workers in CEP and Sub-Grants refers to people at village level or higher, who were engaged in cultural groups, i.e. dancers, musicians, traditional craftspeople etc., prior to CC2, and who collaborated with sub-grantees or CCGs at cultural events. Some of these cultural workers were also members of CCGs, and are then counted as direct participants.

Marginalized people are defined by the project as those regularly excluded in PNPM and which can be characterized as having no (valuable) assets, living in outlying areas with limited basic infrastructure, having limited income with a large number of dependents, with disabilities or originating from an ethnic/religious/gender minority.15

Community Empowerment is a process that enables the community to take more control over their lives. This involves not only attendance at meetings, but also the active pursuit of social and political change. Community empowerment is a process of re-negotiating power in order to gain control. And thus, when one group of people is empowered, another group will have to share some of their power.16

‘Creative Approaches’ refer to a) use of cultural mediums, such as video, theater, music and dance, to achieve broad community participation; b) use of cultural, customary and social mechanisms to stimulate participation, and c) the use of informal and bottom-up methodologies to attract and enable people, who usually do not participate in formal development processes, to actively participate in activities, e.g. meetings held in the rice field during work hours and generally outside of intimidating centers of power, using games and mutual sharing rather than formal speeches and protocols.17

13 The Worldbank Participation Sourcebook. (1996). Washington DC: The International Bank for Reconstruction and Development.

14 CC2 Revised Result Framework (June 2014)

15 Creative Communities 2 Revised Results Framework, June 2014

16 Baum (2008) cited on the WHO website: http://www.who.int/healhpromotion/conferences/7gchp/track1/en/index.html cited in Creative Communities Trial Evaluation, December 2013

17 Definition derived from the reflections of CC2 facilitators and managers

Sub-

Gra

nts

CEP


6 CC2 Activities

CC2 ACTIVITIESSelection of Project Locations

In total, the CC2 project worked in 44 villages, 30 sub-districts and 20 districts in six provinces.

Villages Sub-Districts Districts ProvincesPhase 1 11 6 3 3Phase 1 Extension 33 24 17 3Total 44 30 20 6

Project Locations were selected in consultation with the Secretariats of PNPM Rural and PNPM Generasi at PMD. Yayasan Kelola has also conducted location assessments, jointly with the PNPM Generasi and PNPM Rural teams, to verify these locations according to the selection criteria shown in Figure 1. 18

Figure 1 - Criteria for selection of CC2 locations

» PNPM Rural and/or PNPM Generasi site, » Lower level of participation of community members in PNPM, » For PNPM Generasi locations, lower achievement in health and education indicators, » Support from PNPM Rural and Generasi for the project to be implemented in the location, » Located in a province targeted by CC2, » Feasibility of supervise, taking into account travel time from the main town center, » CC II has the resource capacity to implement in the location, » A supportive enabling environment to implement the project, » A desire from the local community and stakeholders for the project to be implemented, » Potential for further development and replication in other villages.18

18 PSF. 2014. CC2 Phase 1 Progress Report, Jakarta


7CC2 Activities

Creative Empowerment Process (CEP) using Theater for Development and Participatory Video Methodologies

A Creative Empowerment Process was developed as a key modality for community engagement. Figure 2 shows an outline of the process, which was anchored by the establishment of Creative Community Groups (CCG) at village level targeting primarily the poor, marginalized, women and youth. Field facilitators were videographers and theater workers, who were trained in facilitation. During the Extension, village level Creative Empowerment Cadres (KPKs) were recruited from each village to support the process, based on lessons from Phase 1. The facilitators went to “live in” each community for three months. Villages were targeted for either theater or video activities based on province level assessments and management considerations, consequently CCGs were mobilized to utilize either Theater for Development (TfD) or Participatory Video (PV) techniques to voice their aspirations and challenges. The process generated stories for and by the communities themselves that were told through theater or video. Theater and video provided the groups with a common project to deliver, however, the process of establishing a creative, informal and safe environment where people could build self-esteem, understand that participation is a right, and learn new ways to express their opinions and ideas was prioritized over quality and quality of outputs. The focus was on bringing the CCG members through a learning experience that could enable them to work independently in the future without external support.

The CEP process consisted of the following steps (Figure 2):

1. Socialization of project objectives and identification of target group in collaboration with PNPM workers, village leaders and the wider community;

2. Formation of CCGs and recruitment of members. The first weeks focused on the introduction of the project to local communities, and in some instances mini performances and video screenings were held to demonstrate the project and to attract even more members.

3. Social analysis was conducted with the CCG members to map out key development concerns in the village and identify the key processes where these issues could be addressed.

4. Story and theme development based on the social analysis;5. Preparation for theater performance or video screening. Cultural workers in the village, e.g. dancers, musical

groups, martial arts, were invited to collaborate during these events. Village leaders, PNPM workers and the community were invited to the events.

6. Post performance focus group discussions with key stakeholders to discuss potential solutions to the communities’ concerns;

7. End-of-cycle evaluation with the CCGs and development of future plans. These future plans were supported by a small CC2 seed fund (IDR 20 million to CCGs in Bali and NTT, IDR 10 million to CCGs in West Java 19)

Figure 2 The Creative Empowerment Process (CEP)

Monitoring

Socialization Social and

Technical

Public

Story Development

Follow-up

meetings with

stakeholders Production

Preparation of

performance or

videos; ongoing

Social Analysis

Mapping of issues;

Understanding of

development

Evaluation

of impact

Group Formation

19 The lesser amount in West Java was due to a reduced implementation timeframe


8 CC2 Activities

CEP Activities during Phase 1

During CC2 Phase 1, seven theater and video facilitators worked in four villages in three sub-districts and three districts as a pilot of the approach for potential scale up in the following phases of the project.

Table 2 - CEP activities during Phase 1

Province District Sub-district Village ModalityWest Nusa Tenggara North Lombok Pemenang East Pemenang, (Malaka and Nipah Hamlets) VideoSouth Sulawesi Bone East Tanete Riattang Bajo’e TfD West Kalimantan Landak Sengah Temila Sahamp TfD & VideoWest Kalimantan Landak Sengah Temila Petai TfD & VideoTotal 3 districts 3 Sub-Districts 4 villages

During Phase 1, in total, 206 members of the community (123 women, 83 men) participated directly in the CEP. The theater productions and videos created through this process were presented to the communities through 17 public events and cultural dialogues held jointly with PNPM Rural and PNPM Generasi. These events were attended by members of the general public, community leaders, PNPM personnel, the Board of Community Empowerment and Village Governance (BPMPD), and other government and community representatives. Whenever possible, CCG in each location also presented their works during the PNPM local community forums that were taking place at that period of time. Across the three villages, altogether more than 2,700 people attended these and additional spontaneous presentations.

CEP Activities during CC2 Phase 1 Extension

During Phase 1 Extension, 24 facilitators were recruited along with 24 local Creative Community Cadres (KPK) to work in 24 villages in Bali, West Java and East Nusa Tenggara Provinces. Among these CEP villages, 12 villages carried out Theater for Development and the remaining 12 carried out the Participatory Video process.

Table 3 - CEP activities during Phase 1 Extension

BALI PROVINCEDistrict Sub district Villages Modality Jembrana Negara Berambang CEP – TfD Buleleng Sukasada Panji CEP – TfD Bangli Bangli Pengotan CEP – TfD Badung Abiansemal Desa Bongkasa Pertiwi CEP – TfD Karangasem Bebandem Budakeling CEP – TfD Gianyar Tampak Siring Manukaya CEP – TfD Tabanan Penebel Riang Gede CEP – TfD Karangasem Karangasem Jasri CEP – TfD FLORES ISLAND, EAST NUSA TENGGARA (NTT) PROVINCEManggarai Timur Poco Ranaka Lento CEP – VideoManggarai Timur Sambi Rampas Golo Wangkung CEP – VideoManggarai Timur Borong Waling CEP – VideoManggarai Cibal Barang CEP – VideoManggarai Wae Rii Golo Wua CEP – VideoNgada Golewa Malanuza CEP – VideoNgada Soa Ngabeo CEP – VideoNgada Inerie Manubhara CEP – VideoWEST JAVA PROVINCESukabumi Caringin Caringin Wetan CEP – TfD Subang Tanjung Siang Cimeumal CEP – TfD Sumedang Ganeas Cikoneng CEP – TfD Cianjur Cikalong Kulon Sukamulya CEP – TfD Garut Bayongbong Panembong CEP – VideoBandung Barat Cililin Cililin CEP – VideoKuningan Cilimus Kali Aren CEP – VideoKuningan Garawangi Garawangi CEP – Video18 Districts 24 Sub-districts 24 Villages CEP – Video


9CC2 Activities

In total, 1055 individuals (546 female and 476 male) participated as core members 20 of CCGs during Phase 1 Extension. The project carried out 72 cultural events during this period that were witnessed by an estimated 9,600 individuals along with village, sub-district and, in some cases, district government officials and PNPM workers.

831 cultural workers, 21 defined as existing members of cultural groups in the communities, e.g. traditional or contemporary music and dance troupes, religious prayer and music groups, martial arts groups et cetera, performed at CC2’s cultural events and/or participated as core members of the CCGs.

To support the CCGs to continue their activities after their facilitators depart and enhance the sustainability of the groups beyond the lifespan of the project, small funds were provided to CCGs: IDR 20 million to 16 CCGs in Bali and NTT, IDR 10 million to 8 CCGs in West Java (due to a shorter timeframe for implementation), to carry out further CEP activities in all 24 villages with reduced direct support from the project.

Table 4 - Overview of all CC2 CEP activities

Project Phase Facilitators KPKs Villages Sub-districts Districts Direct

participantsIndirect

participantsCultural workers

Phase 1 7 0 3 3 3 206 2,700 N/APhase 1 Extension 24 24 24 24 18 1,055 9,600 831Total 31 24 27 27 21 1,261 12,300 N/A

Sub-grants for Creative Approaches by Grassroots Organizations and Individuals

In addition to CEP, sub-grants (between IDR 27 million and 85 million) were provided to 14 community based organizations or individuals based on proposals to utilize creative approaches to stimulate broad participation in village development processes. In Phase 1 Extension, sub-grantees were specifically requested to communicate health messages in support of PNPM Generasi or to raise public awareness of the new Village Law (UU Desa). Sub-grants activities were carried out in 20 villages in 12 sub-districts. 225 individuals (564 men, 585 women 22) participated directly in sub-grants activities.

Sub-grants during CC2 Phase 1

During phase 1, the sub-grants model was piloted and tested for potential scale-up. Eight sub-grants were provided to grassroots organizations ten villages located in six sub-districts, three districts in three provinces. 803 individuals (375 male and 428 female) participated directly in activities. Figure 7 shows and overview of sub-grants provided during Phase 1.

20 “Core members” of Phase 1 Extension CCGs were defined primarily as those considered by facilitators and KPKs to have participated regularly in CCG activities throughout the process. Lists of core members were verified against attendance lists (Annex 5)

21 Based on numbers provided by field facilitators

22 Genders of 77 participants from Phase 1 Extensions were not listed in sub-grantee reports.


10 CC2 Activities

Tabl

e 5

- Su

b-gr

ants

dur

ing

CC2

Phas

e 1

Sub-

Gra

ntee

A

ctiv

ity

Loca

tion

D

etai

ls o

f Act

ivit

y Im

pact

s (b

ased

on

Proj

ect R

epor

ting

and

Sub

-G

rant

s Ca

se S

tudi

es)

Am

ount

of

Sub-

Gra

nt

Num

ber o

f Dir

ect

Part

icip

ants

Re

mad

i - S

angg

ar

Seni

Cup

ak G

eran

tang

Ta

runa

Sak

ti

Suka

dana

Vill

age,

Ba

yan

Sub-

dis

tric

t, N

orth

Lom

bok,

Wes

t N

usa

Teng

gara

Hel

d re

hear

sals

and

per

form

ance

s of

Cup

ak

Ger

anta

ng a

t PN

PM v

illag

e co

mm

unity

foru

ms

to

mot

ivat

e pu

blic

par

ticip

atio

n. T

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cal p

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rman

ce

trad

ition

use

s m

ask

danc

e, a

nd d

epic

ts th

e go

od a

nd

evil

with

in h

uman

's so

ul. R

ehea

rsal

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ere

used

as

a ch

anne

l to

colle

ct v

illag

ers'

thou

ghts

and

opi

nion

s on

vill

age

plan

ning

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vidi

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n al

tern

ativ

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rmal

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PM fo

rum

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x pr

esen

tatio

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ere

unde

rtak

en in

diff

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lets

.

This

act

ivity

was

suc

cess

ful i

n in

crea

sing

the

com

mun

ities

' par

ticip

atio

n in

PN

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ssio

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and

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litat

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crea

tive

way

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r mar

gina

l co

mm

unity

mem

bers

to v

oice

thei

r vie

ws.

IDR

79,1

00,0

00

104

(55

Mal

es, 4

9 Fe

mal

es)

Hel

iana

Sin

aga

- Mai

n te

ater

Ban

dung

Ba

jo’e

Vill

age,

Eas

t Ta

nete

Ria

ttan

g Su

b-di

stric

t, Bo

ne, S

outh

Su

law

esi

Supp

orte

d th

e fu

rthe

r dev

elop

men

t and

su

stai

nabi

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of th

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ativ

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mm

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roup

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idan

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f est

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ain

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roup

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and

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orm

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illag

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sues

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ames

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atch

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om lo

cal a

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eigh

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Thro

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ivity

, Baj

o’e

Crea

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Com

mun

ities

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roup

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bers

furt

her d

evel

oped

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r cap

acity

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d be

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tren

gthe

ned

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gent

s th

at c

an m

otiv

ate

com

mun

ity p

artic

ipat

ion

in v

illag

e pl

anni

ng. T

hey

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als

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ised

aw

aren

ess

of P

NPM

pro

gram

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d st

reng

then

ed th

e vo

ice

and

part

icip

atio

n of

you

th w

ithin

PN

PM p

roce

sses

.

IDR

80,0

00,0

0094

(39

Mal

es, 5

5 Fe

mal

es)

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ajri

East

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enan

g Vi

llage

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enan

g Su

b-di

stric

t, N

orth

Lo

mbo

k, W

est N

usa

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gara

The

2014

Eas

t Pem

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g Vi

llage

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rt re

side

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nize

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mun

itas

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r Poh

on, K

omun

itas

Pasi

r Put

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and

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lsio

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ce P

roje

ct. T

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stiv

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volv

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com

mun

ities

with

hig

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tes

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oor h

ouse

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d m

argi

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roup

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ch a

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ddhi

st

com

mun

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om Te

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o Bo

lot h

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incl

uded

wor

ksho

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nd p

rese

ntat

ions

with

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villa

gers

exp

lorin

g vi

llage

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sing

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oetr

y,

mus

ic, t

heat

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ance

and

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erem

onie

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d pe

rfor

man

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ilt a

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cal

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edia

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nant

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ic h

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ance

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llage

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ition

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ist d

ance

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me

invo

lved

thro

ugh

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CC2

part

icip

atio

n.

IDR

78,8

85,0

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127

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Mal

es, 7

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mal

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11CC2 Activities

Mr.

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hiLa

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ntoc

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ub-

dist

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th

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ly e

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mes

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orks

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omic

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entia

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15

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llage

s in

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ek R

egio

n.

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80,0

00,0

00

79 (1

4 M

ales

, 65

Fem

ales

)


12 CC2 Activities

Sub-Grants during CC2 Phase 1 Extension

Six grassroots organizations (two in West Java, two in Bali, two in NTT) received a sub-grant of IDR 80 million each to fund proposals to use creative approaches to either socialize health messages in support of PNPM Generasi or to socialize the Village Law (UU Desa). 422 individuals participated directly in activities (156 women, 189 men)23 in a total of ten villages.

The sub-grants activities during Phase 1 Extension were more focused on socialization of key messages, but several of the sub-grantees succeeded in creating new space where communities could interact directly with PNPM workers, village government and other stakeholders, also creating potential for communities to influence village decision-making. Sub-grantees all used different approaches to reach their objectives: trainings and workshops, cultural festivals, bazaars and performances were held in collaboration with cultural groups, PNPM workers and village representatives.

Table 6 - Sub-grants during CC2 Phase 1 Extension

Sub-Grantee Activity Location Details of Activity Impacts (based on Project

Reporting and Sub-Grants Case Studies)

Amount of Sub-Grant

Number of Direct

Participants Jatiwangi Art Factory (JAF)

Bandorasa, Cilimus, Kuningan, West Java

Using creative approaches (community television, bazaar and art festival) to raise pregnant women and mothers of children <5 awareness about health

Successful communication of key messages, and create new space for women to raise their concerns to village government and PNPM Generasi

IDR 80,000,000

48

SAPA Institute

Cikawung, Tanjungsiang, Subang, West Java

Raise community’s understanding of sexual and reproductive health, especially targeting women and mothers of small children through training, bazaar and art festival

Successful communication of key messages. Ability to encourage broad participation of target group and opportunities for PNPM, village government and target group to discuss issues

IDR 80,000,000

82

Lite Institute Sidem Bunut, Bangli, Bali Socialize the new Village Law to the community in Pakraman village, Sidem Buntut, Bagli through workshop and art festival

High mobilization of cultural workers, and their engagement at workshop on village law. High community participation as indirect participants during village art festival and creative show, where messages about village law were conveyed.

IDR 80,000,000

109

Taman Penasar

Tampaksiring and Sanding Villages, Gianyar, Bali

Increase community’s understanding for new Village Law in Gianyar, Bali through mobile arts and theater performances

The sub-grantee demonstrated good understanding of the village law and its implications, and provided high quality information to communities that witnessed performances. More time would allow more active participation of community and more two-way interactions between communities and leaders.

IDR 80,000,000

30

Papa Wiu Mengeruda, Piga I and Bogoboa Villages, Soa, Ngada, NTT

Raise knowledge of parents’ about child nutrition and increase parents’ sills in preparing nutritious food from local ingredients

Training on nutrition, local food and cooking. Support to livestock groups.

IDR 80,000,000

92

Komunitas Satu Tekad

Malanuza and Ratogesa Villages, Golewa, Ngada, NTT

Increase community’s understanding about new village law and people’s participation in village development, while also support local traditions and art utilizing traditional bamboo music instruments.

Successful in setting up traditional music workshops for instrument making and concert. More time needed to create improved links to issues of village law and develop space for communities to engage with village government and other stakeholders.

IDR 80,000,000

61

23 The gender of 77 participants was unspecified in sub-grantee reports


13CC2 Activities

Capacity Building

Phase 1 Capacity Building Activities

Training of Trainers (TOT) on Creative Empowerment Processes

TOTs were provided to 39 participants in the period from June 2-9, 2014 at the Disaster Oasis Training Centre in Yogyakarta. The objective of the TOT was to train facilitators and cadres to implement the CEP under the Phase 1 Extension of the project in the provinces of Bali, West Java and East Nusa Tenggara (NTT) to prepare them to become future trainers for the project. The participants consisted of selected Theater and Video Facilitators and Creative Empowerment Cadres (KPK) from project locations who may or may not have expertise in the given creative area.

CEP Training Manuals for TfD and Participatory Video were developed by Yayasan Kelola in consultation with external experts in theater, video, and community empowerment. The ToT also included sessions on issues related to PNPM, the Village Law, financial and administrative management, and communication and outreach.

Training of PNPM Facilitators on Creative Approaches for Community Engagement

22 PNPM KPMD from Sengah Temila district, in Landak, West Kalimantan were trained in the use of creative expressions to improve the level of participation in PNPM on 26 October 2013 at the Sengah Temila sub-district office. This training was not originally budgeted or planned for, but was held in direct response to a specific request from the West Kalimantan PNPM team. The KPMDs were trained in the use of games, theater activities, horizontal communication techniques and other creative means to motivate villagers to attend and engage in PNPM forums. According to project reports prepared by Yayasan Kelola, the PNPM KPMDs who participated in the training session were very positive about it, with participants stating it was “inspiring”, “related to their everyday situation”, and “full of new ideas on how to creatively involve society with PNPM”.

Capacity Building for Kelola and Sub-grantees

All eight recipients of sub-grants received capacity building support in the areas of project and financial management. This included two days of training in September 2013 for shortlisted sub-grant applicants who were invited to develop a full-length proposal (see Sub-Grant Activities). Applicants who were selected for sub-grants subsequently received mentoring and guidance on project and finance management by the CC2 team during project implementation. A Sub-Grant Manual was developed and provided to the recipients, with this manual establishing guidelines and procedures according to which the sub-grant component of the CC II project was implemented. At the start of Phase 1 Yayasan Kelola staffs were also trained by the PSF/World Bank in matters related to financial reporting, safeguards and procurement.

Phase 1 Extension Capacity Building Activities

Refresher Training on Creative Empowerment Process

Between October 5 and November 23, 2014, intensive week-long refresher training sessions were provided for 68 individuals, including 24 Facilitators, 22 KPKs and Kelola field coordinators and Technical Specialists. Two PNPM workers from West Java also attended the training. The trainings were facilitated by external Participatory Video and TfD specialists along side Kelola’s cultural and technical specialists. The focus was on the CC2 project concept, creative facilitation techniques, participatory social analysis tools, formal development processes and technical skills for TfD and PV. In addition, Kelola’s admin and finance teams provided practical guidance to the internal policies and procedures of the projects.

The evaluation of the trainings showed that participants were inspired and able to look at their work as facilitators or cultural workers in new ways. It was especially enlightening for theater workers and videographers to realize the potential of their art to play a role in communality development, a new perspective for most of the participants.


14 CC2 Activities

Capacity Building of Sub-grantees

The 6 sub-grantees in Bali, NTT and West Java received hands on support by Kelola management in the development of proposals and program design. In addition, they were also given support in financial and operational procedures and the reporting requirements of the project. Field facilitators and an M&E officer were assigned to provide hands on programmatic advice based on observation of the their activities and review of their progress reports.

Developing of Training Modules

External experts on Creative Empowerment Process were contracted to develop two training modules:

a) Tumbuh Dalam Lingkaran. Modul Fasilitator Efektif dengan Pendekatan Kreatif (Grow Within the Circle. A module for Effective Facilitators with Creative Approaches) is a basic TOT module specifically aimed at training people to use creative approaches for effective community facilitation and mobilization.

b) Mengelola Pertumbuhan (Managing growth) is an advanced module for how to manage the sustainable growth and continuation of a creative community. This includes focus on managerial aspects such as planning processes, M&E and reporting).

These modules are unique resources developed to support future Creative Communities interventions ,in particular for supporting the implementation of the Village Law, and capacity building of community leaders, NGOs, cultural workers, grass roots organizations and others in creative facilitation skills aimed at stimulating broad participation using any cultural medium, not limited to theater and video.

Theater Workshop on the Ethics and Esthetics of Theater for Development

A workshop was held in Yogyakarta on March 28-29, 2015 to reflect on the ethics and esthetics of Theater for Development. The objectives of the workshop were:

a. To transform the facilitators’ practical experience into collective knowledgeb. To reflect on CC2 in light of community theater ‘best practice’c. To generate recommendations for future empowerment and creative theater processes

20 theater workers (including all theater facilitators) attended the workshop, facilitated by Lono Simatupang, a Cultural Anthropology lecturer at the Gajah Madah University.

Monitoring, Evaluation and Learning

Monitoring and Evaluation during CC2 Phase 1

The following monitoring and evaluation activities were carried out during CC2 Phase 1:

» In the period from October 2012 to January 2013, as part of the preparation for the design of CC2, the PSF commissioned a team of researchers to conduct a field assessment in six provinces of existing cultural practices that could function as a community forum and/or that provide channels for a diverse range of community groups to express their opinions and to convey their aspirations for potential inclusion in village planning processes. This assessment included extensive consultations and discussions with local PNPM teams and government officials on the concept of the CC2 project. Findings from the field assessment helped to inform the design of CC2.

» Yayasan Kelola and the PSF conducted regular monitoring activities throughout the project and developed forms to enable facilitators and sub-grant recipients to collect basic attendance data and monitor project progress.

» An Impact Assessment of the Creative Empowerment Process and a series of case studies on both CEP and sub-grant activities were conducted to evaluate Phase 1 of CC2, document project progress, and identify lessons to inform the subsequent phase of the project.


15CC2 Activities

» In April 2014, CC2 also partnered with researchers from the University of Melbourne’s Centre for Culture Partnerships (Australia) and the Kunci Cultural Studies Centre (Indonesia) to conduct two public discussions, in Jakarta and Yogyakarta respectively, on the evaluation of community arts projects as well as two research capacity building workshops for local researchers on methodologies and tools for the evaluation of community arts projects. A total of 37 researchers attended the workshops.

MEL during the CC2 Phase 1 Extension

The following MEL activities were carried out during the Phase 1 Extension:

» The CC2 Baseline Study, originally planned for Phase 1, was carried out in December 2014, to identify the marginalized and the poor, as well as the barriers and opportunities for their participation in PNPM and other formal development processes.

» Kelola recruited an M&E Specialist in November, 2014, who revised CC2 Monitoring and Evaluation Framework to include a logical framework that allowed the final evaluation to measure quality impact of the project beyond the Key Performance Indicators in the Revised Results Framework. A perception survey was designed and carried out in 24 CEP villages by the Yogyakarta-based research institute MIGUANI. A household survey and interviews were conducted with 665 core CCG members. In addition, 24 heads of villages, 24 KPKs and 52 PNPM workers were interviewed to measure perceptions about the CC2 program and its impact. Five ethnographers, anthropologists were recruited to document 11 case studies on CEP and six case studies on sub-grants. The compilation of case studies is available in English and Indonesian.

» Several reflection workshops were held both to improve ongoing operations and to generate recommendations for future creative communities projects. This includes, an internal Kelola Learning Workshop in December 2014 to generate lessons and recommendations. Mid-term reflections were held with field facilitators half way into their three months period in the villages. In NTT, the eight KPK also attended this reflection. For four theater facilitators in West Java, two such reflections were held within the three-month period. Final reflections were held with facilitators from Bali and NTT in Bangka (January 2015) and for West Java facilitators in Bail (March 2015) to generate lessons learned both at organizational and individual levels. A final PSF/Kelola reflection was held at the end of March 2015 to discuss preliminary evaluation findings and generate recommendations for the future.

» A separate Evaluation Report was written on the relevance, efficiency, effectiveness and sustainability of sub-grants (Annex 3). In addition, field facilitators, coordinators and KPKs produced a wealth of reports that document their reflections and lessons learned from their field activities, all which were reviewed and used for the final evaluation of the project.


16 CC2 Activities

Tabl

e 7

- CC

2 In

puts

and

Out

puts

Ove

rvie

w

Bu

dget

Orig

inal

Re

vise

d in

Se

ptem

ber 2

015

Phas

e 1

(Apr

201

3–

Sept

201

4)Ph

ase

1 Ex

t (O

ct 2

014

– M

ar 2

015)

Fina

l Tot

al E

xpen

ditu

re (M

ay 2

7, 2

015)

24

RETF

(USD

)4,

700,

000

1,92

0,00

060

6,00

01,

314,

000

1,37

2,51

025

BETF

(USD

)27

4,00

037

4,00

027

4,00

070

,000

Budg

et st

ill o

pen

Tota

l (US

D)

4,97

4,00

02,

294,

000

880,

000

1,38

4,00

0-

Crea

tive

Empo

wer

men

t Pro

cess

es#

of V

illag

es#

of C

reat

ive

Com

mun

ity G

roup

s#

of D

irect

Par

ticip

ants

# of

Indi

rect

Pa

rtic

ipan

ts#V

illag

e Cu

ltura

l W

orke

rs

# of

KP

Ks#

of Fa

cilit

ator

s (vi

llage

fa

cilit

ator

s, co

ordi

nato

rs,

spec

ialis

ts)

# Ev

ents

/cul

tura

l di

alog

ues

Phas

e 1

43

Vide

o 3

TfD

206

2,70

0 N/

A0

87

Phas

e 1

Ext.

24

8 Vi

deo

8 Tf

D 1,

055

9,60

0 83

124

3072

Tota

l28

11

Vid

eo

11 T

fD

1,26

112

,300

>8

3124

38

89Su

b-gr

ants

# of

Vill

ages

# of

Gra

nts

# of

Dire

ct

Part

icip

ants

# of

Indi

rect

Pa

rtic

ipan

ts#

Villa

ge C

ultu

ral

Wor

kers

Ne

t Val

ue

of G

rant

s (ID

R)

TOTA

L UN

IQUE

VIL

LAGE

S (C

EP

+Gra

nts)

Tota

l Cul

tura

l w

orke

rs

Phas

e 1

10

880

3 (3

75 m

ale

and

428

fem

ale

N/A

N/A

478,

985,

000

Phas

e 1

11n/

a

Phas

e 1

Ext.

10

642

2 (1

56 w

omen

, 18

9 m

en)

3650

418

480,

000,

000

Phas

e 1

ext

3313

11

Tota

l20

141,

225

(at l

east

564

m

en, 5

84 w

omen

)At

leas

t 365

0At

leas

t 418

958,

985,

000

Tota

l44

>131

1

Capa

city

Bui

ldin

gTr

aine

d in

use

of m

edia

an

d se

lf-ex

pres

sion

TOT

in Fa

cilit

atio

n Sk

ills a

nd C

EPM

odul

es

Dev

elop

ed#

Sub-

gran

tees

su

ppor

ted

in

adm

in, fi

nanc

e an

d re

port

ing

Phas

e 1

206

Core

CCG

mem

bers

tra

ined

7 Fa

cilit

ator

sN/

ATf

D an

d Vi

deo

Man

uals

(Dra

ft)8

Sub-

gran

tees

Phas

e 1

Ext.

1055

Cor

e CC

G m

embe

rs tr

aine

d24

Faci

litat

ors

24 K

PKs t

rain

ed in

fa

cilit

atio

n Sk

ills

a) T

fD a

nd V

ideo

Man

uals

(Refi

ned)

b) Tu

mbu

h da

lam

Lin

gkar

an. A

man

ual f

or e

ffect

ive

faci

litat

ion

usin

g cr

eativ

e ap

proa

ches

c) M

enge

lola

Per

tum

buha

n ad

vanc

ed m

odul

e fo

r man

agem

ent o

f cre

ativ

e co

mm

uniti

es

(incl

. pla

nnin

g, M

&E, R

epor

ting)

6 Su

b-gr

ante

es

Tota

l12

61 C

CG m

embe

rs

31

24 K

PK4

CC2

Faci

litat

or

Man

uals

12 su

b-gr

ante

es

24

Kel

ola'

s bu

dget

(RET

F) c

lose

d on

Mar

ch 3

1, 2

015.

BET

F cl

oses

in S

epte

mbe

r 30,

201

5

25

IDR

1,50

7,53

4,24

8


17Outcomes

OUTCOMESSUMMARY OF THE CC2 PHASE 1 EVALUATION26

Impact of CC2 Phase 1

In Phase 1, more than 1,200 individuals (participating villagers, PNPM facilitators and cultural workers) participated directly in CC II activities, while more than 5,600 participated indirectly (villagers and others who attended presentations and/or performances). The project provided support for 14 types of cultural activities, which resulted in a total of 37 presentations and/or performances in 13 villages in seven sub-districts. Each presentation and/or performance was jointly organized with, or attended by, PNPM Rural and/or PNPM Generasi personnel. The majority of the participants were women, children and youths who had little or no previous knowledge of PNPM Rural or PNPM Generasi.

CC2 Increased Public Understanding, Access and Opportunity to Participate in PNPM

The evaluation of Phase 1 found that CC2’s creative initiatives were effective in increasing people’s understanding of PNPM and in creating opportunities to participate in PNPM. They were also more likely to participate in PNPM forums and be involved in PNPM in general following this involvement.

Working with PNPM facilitators, CC2 used creative empowerment approaches to create opportunities for all sectors of the community to participate in PNPM forums, for examples. PNPM forums were held in community spaces normally not used for such meetings that were accessible to a broader range of the community. PNPM forums were combined with entertaining and interactive cultural activities that involved community members, which resulted in increased enthusiasm for such events. Creative approached were used to create an alternative space to traditional PNPM forums that enabled voices of the poor and marginalized to be head.

26 This section is an excerpt summary of the Creative Communities II Progress Report, September 2014


18 Outcomes

Increased General Attendance and Participation in PNPM

Phase 1 of CC2 has demonstrated the value of using creative processes to improve participation in PNPM processes and other village development initiatives, both in terms of the quality of participation and attendance. Through direct synergies between CC2 activities and PNPM forums, attendance increased from around 20-40 participants to 70-200. Creative media also proved a non-confrontational channel for villagers to express their grievances directly to decision-makers.

Increased Attendance and Participation of Youth, Women and Poor People

Looking specifically at the attendance of the marginalized, poor, women and youth in PNPM forums, participants at such forums included demographic groups whose members rarely or never previously attended such forums.

The Phase 1 evaluation also found that CC2 has been effective at increasing the quality of participation by poor members of the community and women in village planning processes. E.g. In Bone, Sulawesi, under the Creative Empowerment Process, members of the village, including members of the marginalized Bajo’e community, came together with PNPM actors to stage a performance to raise awareness regarding the PNPM program. During this performance, members of the community were able to address questions to PNPM actors and to express their opinions regarding village level development initiatives.

CC2 Phase 1 supported Agency, Empowerment and Capacity of Villagers

Despite the short implementation timeframe, the Phase 1 Evaluation findings show that the project facilitated some changes of agency, empowerment and capacity of villagers, including the following:

» Improved self-confidence, particularly in terms of voicing views and issues related to community level development initiatives;

» Ability to undertake discussions, including expressing one’s views and valuing the views of others;

» Ability to work as a team; Increased sense of community; Increased technical capacities in terms of the use of video, theater and other forms of creative expression.

CC II also provided support to community members to enable them to act as agents of change and to identify issues that could be raised at PNPM forums and possibly addressed through the provision of PNPM block grants.

Challenges and Lessons from Phase 1

In some villages CC2 Phase 1 succeeded in creating direct synergies between CC2 activities and PNPM forums, which made the project effective and efficient in achieving its goals. Synergies occurred thanks to coordination at different levels. Importantly, PNPM workers at village, sub-district levels were directly involved in activities in some of the villages that showed best results, e.g. in Bajo’e Village. 27 CC2 creative outputs were used during PNPM forums to foster community interest and to facilitate the achievement of increased participation. CC2 also provided inputs for the revision of the PNPM Technical and Operation Guidelines (PTO).

CC2 supported PNPM in improving the level of community participation in program processes. CC II has facilitated these improvements by:

» Using TfD, PV and other forms of creative expression to serve as alternative channels for inputs, trigger of discussion and renewed interest in participation;

» Enabling PNPM facilitators to use forms of creative expression to support the community empowerment processes, with these forms of expression acting as an alternative means of engaging communities, supporting participatory processes, providing information and encouraging participation;

27 Widuri, D. & Haryanto, A. A. Lima Studi Kasus Komunitas Kreatif II: Kabupaten Bone, Sulawesi Selatan dan Kabupaten Lombok Utara, Nusa Tenggara Barat, Creative Communities II, PNPM Support Facility, Indonesia.


19Outcomes

» Creating Creative Community Groups and partnership with sub-grant recipients so that they can act as local partners to assist PNPM in reaching out to the community, particularly to poor people and members of marginalized groups;

» Supporting the training of PNPM facilitators and volunteers in the use of creative approaches and forms of expression to engage the community in village planning processes.

Despite an informal understanding between the CC2 with the Ministry of Home Affairs Directorate of Village and Community Empowerment (PMD) to partner with PNPM Rural, there was no formal communication from PMD to the PNPM facilitators in CC II project sites to explain the partnership, which created barriers to the involvement of PNPM facilitators in CC2 activities. Achieving systematic integration of creative approaches into PNPM across Indonesia was difficult to achieve because PNPM already had defined and established procedures of implementation.

Overall, the lack of any form of formal communication from PMD to local PNPM teams CC2, had a negative impact on the degree to which support was provided. While there is evidence that PNPM benefited to some extent in areas where CC2 was implemented, even when the level of engagement between PNPM and CC II was minimal, the benefits were generally less apparent than in areas where the level of support provided by PNPM was high or very high, including reduced likelihood that creative approaches would be utilized by PNPM without the continued support of CC2.

Short implementation timeframes made it difficult to measure the extent to which community inputs to PNPM were in fact formulated into PNPM proposals. Longitudinal measurement options are needed in the future to gauge such take-up of proposals of the poor and marginalized. Lack of take-up could lead to disempowerment in the long run. Additionally, more work needs to be undertaken to integrate project activities into formal village planning processes, whether these processors are implemented through PNPM or through the newly promulgated Village Law, so that the needs that have been voiced will be addressed and development funds will be made available to address the needs.

In CC2 Phase 1, it was found that many sub-grant recipients did not have a good understanding of PNPM and their activities were not directly relevant to PNPM processes and therefore could not be effectively integrated with these processes. To address this during the Extension, sub-grantees were provided with more time and support to develop their proposals with inputs from local PNPM teams, especially in PNPM Generasi locations.

Lessons from CC2 Phase 1 called for increased integration between CEP component and sub-grants activities. This remained a challenge during the Extension due to short the implementation period and the PNPM transition towards the new village law. Overall the main lessons from Phase 1 about integration between CC2 activities with the formal PNPM process was challenging to implement during the Extension, also due to the PNPM transition.

Key Performance Indicators for CC2 Phase 1

CC2 Phase 1 was governed by two sets of KPI, one as outlined in the approved proposal to the JMC (Figure 10), and the other as Intermediary Results of the World Bank Results Framework for CC2 (Annex 1). Table 8 is a reports against CC2 Phase 1 performance against the JMC approved Key Performance Indicators.


20 Outcomes

Table 8 - CC2 Phase 1 Key Performance Indicators (as per CC2 proposal approved by the JMC)

Key Performance IndicatorsIndicator

Project Development Objective: To carry out preparation and pilot activities for Creative Communities II (CC II), and ensure the design of the program uses locally-appropriate cultural approaches to enhance public participation and increases voices of the poor and marginalized groups in community planning.

Projectdesigncompleted &CCII formallylaunched

CC II formallylaunched

Project designcompleted

On target Project design andoperational manualscompleted; CC II launched

Project design andoperational manualscompleted;

Formallaunchof CCII

Launch event plannedfor period under MC’soversight instead. Itsbudget allocation usedto cover operationsneeds during no costextension period.

-

50 - 100 peopleper PNPMvillage forum

70 - 200 people +20-100 50 - 100 people per PNPMvillage forum

70 - 200 people 20-100 Attendance datacollected from pilot sites

20-40 peopleper PNPMvillage forum

The poor andmarginalizedare able toconvey theirneeds to policymakers throughCC II culturalactivities

Evaluation ofpilot shows thatCCII has enlargedaccess of the poorand marginalizedto communityplanning in PNPM

On target Poor and marginalized areable to convey their needsto policy makers

Poor andmarginalized areable to convey theirneeds to policymakers

Ontarget

Findings based onqualitative evaluation.

Poor peopleandmarginalizedgroups havelimited accessto decision-making ofPNPM-Rural.

Pilotindicatesimprovementsin PNPMpublicparticipationPilotindicates thatpoor &marginalizedpeople arebetter able toraise theirconcerns

Consultationson lessonsfrom CC I &design of CCIIFieldassessment toinform design

Full fledgedesign thatcan operateat scale

10

Fieldassessmentcompleted

Operationaldesign andbudgetdeveloped

18

Field assessmentreport completed

Operationaldesign and budgetdeveloped

+8

On target

On target

2

Field assessment reportcompleted

Project Operations Manualand Sub grant Manualadopted; budget developed

3

Field assessmentreport completed

Project OperationsManual and Subgrant manualadopted; budgetdeveloped

Ontarget

Ontarget

Ontarget

-

-

In light of transition toMC, longer-term designof project will bediscussed with MC in Q12015.

-

-

-

Component 1 Review lessons from CC I and carry out field assessment to inform the design of CCII

Component 2: Design a full-fledge CC II program

Baseline CumulativeTarget

CumulativeAchievements

VAR Target for 2014 Achieved in 2014 VAR Remarks

CC2 PHASE 1 EXTENSION EVALUATION FINDINGS

The Applied Theory of Change of CC2

Kelola recruited a Monitoring, Evaluation and Learning Specialist in November 2014, who developed an M&E Framework by consolidating the “Theory of Change” as expressed in various key project documents, including the project proposal and facilitators’ manuals (Figure 3). The theory of change highlighted three pathways towards achieving the project’s Project Development Objective of “active participation”: 1) Communities increased agency; 2) Community Representatives improved quality of their representation of the marginal and poor; and, 3) Village Facilitators and Cultural Workers increased capacity to facilitate development using creative approaches.

Figure 3 - CC2 Theory of Change

Definition of ‘Creative approaches’Participatory Video, Theater for Development and grants for creative proposalsCreatie community mobilization techniques

Creative approaches are applied so that…

Community members, specifically the marginal and poor, have increased agency Community Representatives

Facilitators/cultural workers

Under-standing of their rights to

partici-pate

Self-esteem Capacity for self-expre-ssion

Social net-works and arenas for

expre-ssion

Under-standing of PNPM and dev

pro-cesses

Improve quality of represen-tation

Increased capacity for use of creative method-ologies

GOAL: Community members, specifically the poor and marginalized, have increased capacity to participate actively in PNPM and development processes

Definition of ‘Active Participation’• Awareness about PNPM and/or other development processes• Motivation to participate• Access to participate • Ability to influence decision making in the development processes

Based on this theory of change, an M&E plan developed to measure the impact of the Phase 1 Extension.


21Outcomes

M&E FRAMEWORK AND KEY PERFORMANCE INDICATORS OF CC2 PHASE 1 EXTENSION

A mixed-methodology evaluation was carried out in all CC2 Phase 1 Extension locations to support the documentation of lessons learned and document the effectiveness of creative approaches in achieving broad participation in development processes. Details about the evaluation methodology are found in Annex 1.

A report against the Key Performance Indicators of the project are found at the end of this Project Completion Report, which includes the measurement of PDO Level Results Indicators:

Indicator One: Increase in public participation in village planning processes in project locations

Indicator Two: Beneficiaries have increased understanding of PNPM and village planning process.

Indicator Three: PNPM facilitators and cultural workers have increased capacity to use cultural mediums to improve participation in village planning

For the final evaluation of the Extension, a Monitoring and Evaluation Framework was developed around a more comprehensive logical framework approach to the PDO, which included indicators for the measuring of “empowerment”. This Framework is found in Annex 2.


22 Outcomes

KEY LESSONS FROM THE CEP COMPONENT

Targeting

Targeting Criteria of CEP

The Projects Results Framework was revised as a part of the program restructuring carried out in June 2014. The Revised Results Framework identifies the target group of the project as the marginal, poor, women and youth. As mentioned above, the definition of marginal encompasses “those regularly excluded in PNPM and which can be characterized as having no (valuable) assets, living in outlying areas with limited basic infrastructure, having limited income with a large number of dependents, with disabilities or originating from an ethnic/religious/gender minority.” In November 2014, a baseline was carried out to identify the marginal and poor and the barriers to their participation in PNPM and other village development processes. Unfortunately the baseline was conducted too late to inform targeting strategies, and consequently the definition of the marginal was never fully operationalized.

The Kelola field manual for the project facilitators and cadres includes the term “marginal” without an operational definition except “including people living with disabilities/people with special needs”. The manual also lists a gender target (50% women or more), adults above the age of 17 and at least one PNPM village facilitator (KPMD) as active member of the creative community. 28 The criteria in field manuals were not fully aligned with the results framework, but the target group was extensively discussed with the facilitators and readdressed during mid-term reviews held with facilitators and KPK midway though the village processes. The field facilitators and the KPKs were given a mandate to identify participants in coordination with the community in collaboration with the KPKs, PNPM officials and the communities. Facilitators reported that identifying the marginal and poor was challenging, also due to time constraints. Nevertheless, the evaluation shows that the participants and direct beneficiaries of the project aligned well with the intended target group.

Phase 1 Extension Participation in CEP Activities

A total of 2017 people signed attendance lists at least once during the CEP processes in the 24 villages of the extension phase (Table 9). This included people who attended socialization or just one meeting, and who would not have experienced the full impacts of the project. 54% were female, 31% children under 17 years of age.29

Attendance lists were not always used, so these numbers are likely lower than actual. Although methods were used to avoid double counting, some people have signed attendance lists using both birth names and nicknames.

Table 9 - Total people attending CC2 Phase 1 Extension CEP activities at least once

Total Male Female Children (<17) Boys GirlsGender

30N/AAge N/A

Bali 794 306 39% 482 61% 185 23% 103 56% 82 44% 6 205Flores 858 457 53% 401 47% 292 30% 142 49% 150 51% 0 119West Java 365 117 32% 215 59% 143 39% 60 42% 82 57% 33 Total 2017 880 44% 1098 54% 620 31% 305 49% 314 51% 39 324

* Children percentage of total. Boys and girls percentage of children. Individuals listed in attendance sheet whose gender was unknown adds to 2% of total, 9% of West Java. Ages of 16% of total are unknown.

Numbers of participation was fluctuated throughout the CEP process, which is in line with the understanding of a “community” as a dynamic entity that remains open to new members, rather than a closed group.31 “Core members”

28 Kelola Foundation. 2014. Manual Pelatihan Fasiltiator Dan Kader Pemberdayaan Komunitas Kreatif. Jakarta: Yayasan Kelola/PSF Creative Communities 2.

29 <17 years was used as a definition of “youth” in the evaluation, to match 17 as the legal age for participation in PNPM activities. The baseline concludes, however, that most unmarried individuals are marginalized in development processes regardless of age.

30 The data is generated from attendance lists of field activities. The columns “Gender N/A” and “Age N/A” refer to individuals whose gender and/or age were not listed. This means that gender and age cannot be accurately stated for the table of total individuals who participated at least in one activity.

31 Conversation with CEP Theater for Development Coordinator, December 2014.


23Outcomes

were identified for this evaluation as those who participated “regularly enough”32 to have experienced a direct impact of the project. KPKs and facilitators in Flores and some villages in West Java generated lists of their most active members. In the remaining villages in Bali and West Java, the evaluation team eliminated people from attendance lists, who only participated once. This adds up to 1055 core members. An overview of “Core Members” is shown in Table 10.

Table 10 - CC2 Phase 1 Extension Creative Community "Core" Members

Total Male Female Children (<17) Boys Girls Gender N/A

Age N/A

Bali 408 207 51% 201 49% 132 32% 71 54% 61 46% 0 205Flores 282 152 54% 130 46% 145 52% 72 50% 73 50% 0 119West Java 365 117 32% 215 59% 143 39% 60 42% 82 57% 33 Total 1055 476 45% 546 52% 420 39% 203 48% 216 51% 33 324

* Children percentage of total. Boys and girls percentage of children. Gender unknown for 3% of total and 9% of West Java.

52% of the core CC members are female, with a high 59% in West Java and low 46% in Flores 33. The high percentage in West Java can be explained with the targeting of women with children involved in PNPM Generasi activities. 39% of the members were youth and children below 17. The youngest participants were six years old in Panembong village, West Java, where CC2 also worked with Grade One Elementary School students.

Working with Women

Women often experience additional barriers to participation in development, and the baseline confirms that female attendance at formal PNPM meetings is tokenistic.34 Effective gender targets are usually achieved with specific gender strategies to overcome gender biases that exist internally within the project and in the community. Despite efforts of recruitment, only 4 out of 24 video and theater facilitators were women (17%). Similarly, only 5 out of 24 KPKs were women (21%). Based on experience from other development programs, 35the fact that a team of predominantly male facilitators and KPKs that did not receive specific gender training succeeded in engaging more women than men, indicate that creative approaches are particularly suitable for women. This observation is supported by how facilitators experienced being guided by village leaders towards women and youth, especially once it was made clear that the project operated within the “cultural arena” with few material resources, hence being perceived as more appropriate for women and youth.36

Coordination with PNPM Generasi in West Java also contributed to the high number of female participants in Java (59%), where the main target groups were women and children given the relevance to PNPM Generasi’s health and education activities.

Engaging Youth

The CC2 Baseline Study shows that unmarried youth under 35 were generally marginalized from participation in formal village meetings in all three provinces of the CC2 Extension because invitations to such meetings are largely based on household representation. A survey of core CCG members showed that 56% belonged to this group.

According to the facilitators’ manuals, children and youth were not initially intended as direct participants of the project. 37 However, lessons from Phase 1 showed the potential of the approaches to attract youth, and facilitators were encouraged by project management to include youth. As mentioned also, village leaders and PNPM officials often guided facilitators and KPKs towards youth groups and school children38 resulting in a remarkable 39% participation

32 The definition of “regularly” varied from village to village where facilitators’ were asked to list, those considered as core members. It was generally understood that a core member had at least participated in the social analysis or exercise to generate themes for theater or videos, during “most” theater rehearsals or video production processes, during the large performance or screening and at the final CC meeting to plan for future activities.

33 The perception survey verified the core member lists to identify respondents and found that 56% of core members were female.

34 Creative Communities II Phase 1 Extension Qualitative Baseline Study: Summary Report. Draft 4. PSF. March 2015

35 Source:

36 E.g. Flores Facilitator’s and KPK’s Mid-term evaluation, November 2014.

37 Kelola Foundation. 2014. Manual Pelatihan Fasiltiator Dan Kader Pemberdayaan Komunitas Kreatif. Jakarta: Yayasan Kelola/PSF Creative Communities 2.

38 Interview with Kelola CEP Coordinator and Cultural Specialist, March 2015.


24 Outcomes

of youth and children under 17 of which 52% were girls and 48% boys. This indicates that creative approaches are also highly effective in engaging youth in development.

In line with the experience of CC2 Phase 1, youths gravitated towards the project due to the creative approaches: the informal meeting style, their curiosity and interest for new experiences and, particularly for video, the opportunity to learn how to use new technology. Community leaders, teachers and parents also wished to step aside and offer the opportunity to their children add youth, as it was seen as an investment in their education.39 A lesson from Phase 1 showed that youth in general have little understanding for PNPM processes and village development.40 The baseline also underlined the findings that the unmarried are marginalized as they often lack formal access to village meetings.41 The project also succeeded in providing alternative space for the expression of opinions. Overall, the evaluation concludes that creative approaches are especially powerful when working with youth.

Targeting of The Poor

The initial idea was for CC2 to follow PNPM’s modality of using community definition of the poor. However CC2 facilitators reported that they could not access reliable data on the poor in the communities. Short timeframes also did not allow assessments or use of participatory wealth mapping methodologies to identify the poor. Delays caused by the project restructuring also impacted the timeliness of baseline results. Despite these challenges for targeting, a household (HH) survey conducted on CCG members showed that 43% of core CCG members came from poor households. 42 The highest number of poor was achieved in NTT with 80% because when using a cross province methodology, NTT has significantly lower income per household.

Table 11 - Distribution by wealth, Creative Community Group Members, CC2 Phase 1 Extension

Poor Non Poor N % N %Bali 58 26.85 158 73.15West Java 50 22.12 176 77.88NTT 177 80.09 44 19.91TOTAL 285 42.99 378 57.01

Based on the Indonesian Central Statistics Agency (BPN) data on provincial level poverty 43 9,18% in West Java, 5,39% in Bali and 19,6% in NTT live below the poverty line. The CC2 survey data does not lend itself to direct comparison with these provincial surveys but are useful in giving an impression about the effectiveness of CC2 targeting. The high participation of the poor indicates that creative approaches are effective in engaging poor community members. The baseline concludes that the lack of time and a feeling of embarrassment and fear of not meeting dress codes when meeting in formal settings contribute to the barriers to participation of the poor. 44 These are exactly what creative approaches work to overcome by meeting people where they are, e.g. in the fields or gardens during work breaks, rather than in formal meeting spaces, using games and sharing rather than top down, formal speeches that demand adherence to formal hierarchies.

Targeting People Living with Disabilities

The facilitator’s manuals list people living with disabilities as a targeting criterion, and there are several examples of how creative communities have been inclusive. For example, in Panji Village, Bali, a young man with hearing and speech impairment performed a pantomime sketch, and although he didn’t directly address rights issues in his performance, he showed the community that he could participate. In the same village, the CC2 created a momentum existing creative individuals and groups in the community, including the KPK, who made space available in his house for people

39 MEL Specialist interview with villagers in Lento, NTT, November 2014.

40 PSF 2014. Creative Communities II. Phase 1 Progress Report. Jakarta: PNPM Support Facility. September 2014.


42 The 590 households surveyed were home to the 663 respondents of the Perception Survey in all CC2 Phase 1 Extension 24 CEP villages. The HH survey used an income quintile, naming households of the 2 lowest quintiles “poor”. In other words, CCG members belonging to household that fell into lowest 40% income, without accounting for provincial differences in income, were classified poor.

43 Badan Pusat Statistik, September 2014



25Outcomes

to meet. The availability of this space generated additional support from individuals in the community that enabled the CCG to procure tools for jewelry making that provided livelihood opportunities for one of their members with physical disabilities.

In Flores several creative communities made videos about people living with disabilities in their communities. These people were provided opportunities to speak about their lives and the challenges they face in the video, or their family members would speak on their behalf. In Manubhara village, a video about members in the community living with physical and mental disabilities was awarded the best video, and the people were called up on stage to receive the award.45

The project team needs to carefully consider how to involve people in the project, who do not have the physical ability to express themselves. Involving people in videos only and not as full members of CCGs is only indirect involvement, when people are not in position to determine the consequences of their participation in videos, because they do not have a say in when and where the videos are shown, even at village level. Considerations should be given to the slogan of many associations for people living with disabilities: “nothing about us without us”. There are also ethical issues about the use of video and theater to portray stories of the lives of the marginal and poor, that should be considered in future projects, potentially as a part of future facilitator and KPK trainings. For example, how to predict consequences of a video or theater performance for those involved, how to avoid “social pornography”, additional stigma and perceived ridicule?

Targeting the Marginalized

Using no participation in PNPM and other village planning activities as the definition of marginalization in the six months prior to CC2 entered the village, 72% of CCG members were marginalized (Table 12). This number was highest in Bali (86%). The baseline showed that in Bali only married men were eligible to participate at formal village meetings,46 which makes a large part of the population “marginal”. Participation in PNPM process in Bali was also mostly affected by the transitioning of PNPM Mandiri. Most CC2 villages had no PNPM meetings in 2014.

Table 12 - Core members of CCGs that did not participate in PNPM activities during six months prior to activities

Marginalized Non Marginalized

N Percentage N Percentage

Bali 186 86.11 30 13.89Jawa Barat 124 54.87 102 45.13NTT 169 76.47 52 23.53TOTAL 479 72.25 184 27.75

The baseline findings show that the main cause of marginalization was that PNPM meetings were not open, and that in all three provinces, PNPM meetings had a structured attendance limited to male family heads (kepala keluarga) and elites.47 The high number of marginal in the CC2 project may be partly accredited to support by the community to identify people who rarely participated in formal processes, but also the fact that most people in these villages were by this definition marginal.

CCGs provided opportunities also to stigmatized groups in the community, who rarely participated in formal village development processes. E.g.:

» In a village in Flores, the KPK and adult members of the Creative Community Group were perceived by the head of village to be in opposition to the established elite in the community. They were also stigmatized as the “drinkers” in the community.48 Through their membership in the CCG they had an opportunity to express their ideas and challenge the head of village, which caused some tension.49

45 Manubhara Village, NTT



48 Creative Communities 2 Compilation of Case Studies. 2015. Agung Haryanto. “Case Study from Barang Village, NTT.” Jakarta: Yayasan Kelola/PSF.

49 Ibid.


26 Outcomes

» In a village in Flores, a community of gamblers requested that a video was made about them because they wanted to warn youth about repeating their mistakes in life.50 A man from the group said he was at first embarrassed when he saw himself on screen, but at the same time he was happy to set an example for the young people.

» In Bongkasa Pertiwi Village in Bali, the so-called “village drunks” were invited to participate in the theater play to show their ability to contribute to the community. .51

» A woman and mother of six, active in a Creative Community Group in Bali had divorced her abusive husband, which placed her outside formal structures in Bali where women are represented by their husband. Hence she belongs to one of the most marginalized groups in Bali. 52 She found acceptance amongst her CCG peers.53

Why Targeting Matters

The Creative Communities project literally provides a stage to its direct participants as it aims to bring out the voices rarely heard. It provides an opportunity for community members to (re)produce culture and (re)shape discourse. Targeting becomes especially important in a project of this nature to ensure that all activities are organized to bring forward unheard voices – defined in the Extension as those belonging to the marginal, poor, youth and women.

It should remain the project’s priority to adapt strategies to involve its target group as direct participants rather than indirectly as interview subjects of the community videos or as audience members at its cultural events. Even when their concerns are raised through the theater or videos, if they are not provided with the opportunity to engage in the strategic decision making about when and where their stories are told, they may feel disempowered, and in worst case scenarios they may also face backlashes from their communities.

It may be most challenging to involve marginalized people in activities, as the barriers to their participation are real and must be overcome. Working only with socially engaged community members, who declare themselves allies of the marginalized and consider themselves fit to speak on their behalf cannot be seen as a satisfactory strategy. Empowered marginal groups are likely to demand to speak for themselves.

If the project fails to target the right people as participants, the project may give renewed legitimacy to the already powerful, or become vulnerable to exploitation of groups and individuals in the community with specific political agendas. In this way, the Creative Communities Project is no different from other development initiatives that are by default political and potentially contentious as they aim to redefine structures of power and influence.54

It was easiest to achieve a relaxed and informal atmosphere, where the marginalized, poor, youth and women could express themselves freely, in a homogenous and egalitarian group.55 At the same time, mixed groups, where the marginalized and members of the elite participated together, have the added value of building extended networks. The facilitators needed skills to ensure that dominance of more resourceful members of the Creative Communities did not occur, and to make sure that the project’s main target group held influence and control over the agenda.

50 Facilitator Narrative Report Lento village, NTT

51 Kelola Foundation. 2015. Creative Communities 2 Compilation of Case Studies. Diya S. Widuri. “Case Study from Bongkasa Pertiwi Village, Bali.” Jakarta: Yayasan Kelola/PSF.


53 Interview with CC member, Panji Village, January 2015


55 Ibid.


27Outcomes

Ideology about women, wives and mothers expressed from a theater stage in Cimeumal, West JavaAfter a social analysis to identify issues most important to the women active in the Creative Community Group in Cimeumal Village, they decided to make a theater performance about a woman, who due to poor targeting of government welfare programs found her family in great financial difficulties. She had little support from her husband, which eventually made her leave to work in Saudi Arabia as a domestic worker. After she left, the family at home fell apart and her teenage daughter became pregnant out of wedlock. According to Sri Kuncoro (2015) the performance expresses an ideology about women, wives and mothers in West Java understood within the local cultural context where women are responsible for the financial situation of their families while also being mainly responsible to ensure the moral, spiritual and social wellbeing of their families. When these roles are at odds, the women experience guilt and social condemnation. This is an example showing the power of Creative Communities in both reproducing and critiquing cultural norms. However in the case of Cimeumal, the Case Studies researcher argues that the women did not reflect critically enough on this double burden of women in the community. 56

Empowerment

The evaluation found evidence that the CC2 Phase 1 Extension has achieved positive results in terms of increasing people’s agency and empowerment of Creative Communities participants. The project’s theory of change outlines the pathways towards an enabling environment for people’s active participation. An increase in people’s agency, or ability and opportunity to express themselves and participate, constitutes one pathway.

Core members in all locations reported to have benefitted positively from participating in the TfD and participatory video communities. Figure 5 shows the response of core CCG members when asked an open-ended question about how they benefitted from participated in the project. Each respondent was allowed multiple answers, which means the total responses adds up to more than 100%. People reported to have increased self-confidence, increased ability to express complaints, increased understanding of the situation in the village and increased awareness of their rights to

56 Creative Communities 2 Compilation of Case Studies. 2015. Sri Kuncoro. “Salah Saha – Exploring the Burdens of Women in Poverty on Stage, A Case Study from Caringin Wetan Village, Sukabumi, West Java.” Jakarta: Yayasan Kelola/PSF.


28 Outcomes

participate in development processes. Strengthened networks were also highlighted by some respondents, such as the opportunity to access important people in the village, having a place to meet and discuss with friends and a chance to meet with communities in other villages.

Figure 4 - Perception of individual benefits gained from being members of CCGs (in percentage) 57

0 10 20 30 40 50 60 70

More self con�ident

Learn new ways of expressing complaints

Understand situation in village better

Added organizational experience

Gained place and friends to disuss with and express opinions

Learned new skills/knowledge

More activities in the village

in other villages

More aware of my rights to participate in village …

Can access important people (i.e. KPK, KPMD, village gvmnt)

% of non-poor

% of poor

% of total

Both poor and non-poor members reported to have benefitted from the project. The opportunity to learn new skills and knowledge was highlighted by participants in Flores, who were also poorer and younger than those in other provinces, which may indicate a felt need for additional activities and alternative spaces in villages that are isolated with limited access to modern technology. More non-poor reported to have increased self-confidence after participating in CCG activities. More theater participants reported to have increased self-confidence than video, which may be attributed to the focus in theater on stage performance in front of an audience. As the majority of the poor where involved the video, this may account for the difference.

Overall the findings indicate that the CEP process is a powerful tool for empowerment that brings both poor and non-poor participants beyond passive attendance. The process has proven effective in ensuring that the poor and marginalized have benefitted equitably from the project. Importantly, learning goes beyond the technical aspects of video and theater as media, towards an understanding about issues in the village, how to express complaints, build networks and create a space wherein to interact with other community members, all of which the project’s theory of change identified as pre-requisites for active participation in village planning and development processes.

57 Respondents were asked an open ended question about the benefits of participating in CCGs. They were allowed multiple answers, which means the total of responses exceed 100%.


29Outcomes

CC2 Created Space for Reflection and Critical Thinking

The Baseline Study showed that associational life is rich in all three provinces with a strong emphasis on religious life.58 However, the evaluation showed that the CC2 provided coveted new spaces and opportunities for people to get together and discuss their concerns and the potential for future development in their villages outside the boundaries and formalities of religious and customary groups.59 This new space offered different forms of interaction, new opportunities to discuss and express opinions and ideas, informally, yet without being “pointless gossip sessions”, as articulated by a group of women in Panembong Village, Garut, West Java.60 It may also be argued that there was a need for such alternative spaces for the marginalized, considering that the formal village planning and development arenas were largely closed to the majority of villagers.61

When first arriving in the villages, the facilitators struggled with explaining the project objectives to the communities. There was a need to transform people’s thinking about creativity, theater and video as mere entertainment rather than as tools for influence in development processes.62 The facilitator had to guide the group through a cycle from social analysis to story development, presentations and post-presentation follow-up activities to showcase how theater and video can be used as ways to express opinions and influence decision-making. The strength of the process is found in the journey made by the participants from technical knowledge about media and social analysis to gradual awareness about issues in the village and one’s ability to exercise influence, and to the experience of being an active participant in village development. For example, in Ngabheo Village following visual research and brainstorming about issues facing the village, the facilitator guided the group through video making about the lives of one of the poorest families in the village. The processes sparked them to initiate a fundraising campaign for the family, which was also documented in the video. One of the female members of the


59 CC2 Phase 1 Extension Case Studies from Barang Village, NTT; Panembong Village, West Java; Pengotan Village, Bali

60 Creative Communities 2 Compilation of Case Studies. 2015. Agung Haryanto. “Case Study from Panembomg Village, Garut, West Java.” Jakarta: Yayasan Kelola/PSF.

61 With the exception of Manubhara and Ngabheo Villages, Nada, NTT, where collected attendance data showed that village meetings where held with broad participation.

62 E.g. Facilitators reflections for Bali and NTT and Mid term Evaluations West Java

63 Creative Communities 2 Compilation of Case Studies. 2015. Agung Haryanto. “Case Study from Panembong Village, West Java.” Jakarta: Yayasan Kelola/PSF.


30 Outcomes

New Space for Women in Panembong, West Java, to Talk about Being Women

Women in the Participatory Video Community in Panembong, Garut, West Java, were used to meeting weekly for religious

activities (pengajian). However, with the Creative Communities Project they realized that they had missed an opportunity to get

together informally and talk about issues. After analyzing their lives within the village, they decided to make a film about their

work burdens as women, mothers and wives. They were nervous at first because they knew their roles as women and a wives

were largely defined by religion beyond critique and questioning. However, when they started they realized how they shared

their heavy loads with other women. When they returned home to their husbands after a day of film making, they told their

husbands what they were working on, and it created an opportunity to also talk to their husbands about things they hadn’t

shared before. 63

community said they had always known about the family’s misery but that she rarely thought there was something she could do for them.64 Later the community members independently took the initiative to document the life of a man living with disabilities working as a cleaner at the local market. They had seen the man there every day for as long as they could remember, but they had never previously felt a responsibility to advocate for the rights of people with disabilities.65 66

“People who appeared in videos, especially those telling stories about the struggles in life, felt sad seeing themselves, but also

happy because many people could understand their real suffering and hopefully pay attention. On the other hand, many people

who watched the videos said they didn’t know that people lived like that, because the most marginal people live out in the

vegetable gardens.”67

Both active members of the creative communities and people in the audience noted that the theater and videos brought things that people saw every day to a screen or stage – a mirror was held up for the community to see themselves – which made people reflect and question things usually taken for granted.68 There seems to have been particularly high leverage for issues of people living with disabilities, wrong targeting of government welfare programs,69 teen pregnancies70 and women turning to domestic work overseas to improve their family economy.71 In addition, development needs (e.g. health, water, sanitation and education) and village development potential (e.g. agriculture, handicrafts, traditional music) were addressed.

The videos were made by, for and about the communities and the facilitators were instructed not to interfere with the stories. Issues were chosen after a social analysis or brainstorming processes to identify root causes of development challenges. Figure 7 shows an example of a problem tree analysis developed by the Creative Community in Berangbang Village, Bali.

64 MEL Specialist interview with Ngabheo CCG Member, February 2015

65 Ibid.

66 Creative Communities 2 Compilation of Case Studies. 2015. Agung Haryanto. “Case Study from Ngabheo Village, Nada, NTT.” Jakarta: Yayasan Kelola/PSF.

67 Facilitator, Maubhara FGD Report, February 2015

68 E.g. Case studies, Facilitator Reflection, FGD reports from Facilitators.

69 E.g. Ngabheo, Cimeumal, Sukamulya villages

70 E.g. Cimeumal, Panji, Pengotan

71 E.g. Sukamulya, Cimeumal


31Outcomes

Figure 5 - Problem Tree Analysis from Berangbang Village, Bali

POHON MASALAH KK BERANGBANG

MUDA-MUDITIDAK KOMPAK

BALAPAN LIARDAN MABUK

JUDIJADI KEBIASAAN

TIDAK ADAFASILITAS KEGIATAN

MUDA-MUDI

LAPANGANPEKERJAANTIDAK ADA

KURANG FASILITASPENDIDIKANNONFORMAL

PAMONG DESAKURANG PEDULI

HUTAN DANLINGKUNGAN

RUSAK

PENGELOLAANAIR TIDAK BAIK

PARTISIPASIMASYARAKATSANGAT KECIL

PENERANGANJALAN TIDAK

MEMADAI

BUANG SAMPAHSEMBARANGAN

LINGKUNGANKOTOR

KEKERINGANDAN KURANG

AIR BERSIH

The root cause of problems in Barengbang village was identi�ed as “non-caring village government”, which consequently led to environmental degradation, lack of water and non-formal education. The latter caused lack of jobs, which again caused moral and social degradation of the village youth, who engaged in gambling, drinking and wild driving.

The root cause of problems in Barengbang village was identified as “non-caring village government”, which consequently led to environmental degradation, lack of water and non-formal education. The latter caused lack of jobs, which again caused moral and social degradation of the village youth, who engaged in gambling, drinking and wild driving.

There is a risk that the media – theater or video –influenced the groups decisions about which issues to raise. For example, in one village the story about a rape was left out in a video about a woman because it was too sensitive; the sales of land in relation to a new airport was not dealt with due to fear of controversy if filmed. Asking the question: “what are our main challenges?” is quite different than asking: “what should we make theater or video about?” Not giving too much attention to the media, which are mere tools of communication, but to allow communities’ development priorities to dictate the most effective and appropriate formats of advocacy is important, and to provide advice and support to communities on how to address particularly sensitive issues or issues that require different means of advocacy.

The researcher of the case study of Cimeumal argued that the women involved in a theater performance were not being critical about the double burden of poor women who choose to travel overseas as domestic workers to care for their family finances, while at the same time they must feel guilty when the family they leave behind falls apart. The researcher argued that although aware of the imbalance of these gender roles, their performance did not bring the audience to a conclusion about solutions but chose to leave the performance on an open ending.72 There was also a tendency, in theater especially, to focus on family tragedy, gambling, drinking, pregnancy out of wedlock, which may have played to the potential of theater as a media of entertainment, rather than its potential to influence decision-making in a development process.

In Pengotan Village, Bali, where the theater performance raised the issue of teen pregnancies. The performance did not offer solutions to the problem. Local leaders took the performance as confirmation that the village legislation about

72 Creative Communities 2 Compilation of Case Studies. 2015. Sri Kuncoro. “Salah Saha – Exploring the Burdens of Women in Poverty on Stage, A Case Study from Caringin Wetan Village, Sukabumi, West Java.” Jakarta: Yayasan Kelola/PSF


32 Outcomes

the issue was a priority for the community,73 although nowhere in the theater play was it recommended that the issue should be regulated by law.

In future it is recommended that the project take more strategic approaches that brings the creative communities towards higher levels of participation where they have influence in decision-making, which requires also the expression of desired solutions and recommendations. In the creative process, the communities should also consider the potential and limitations of the media (e.g. video and theater) and consider using alternative ways of expression when required. This requires strategies that bring the project outputs from performance to influence, which is also the highest level of achieving the project’s goal of active participation.

Active Participation

The project’s definition of “active participation" recognizes that meaningful participation goes beyond attendance, and encompasses the need for knowledge about development processes, motivation to participate, access to processes and opportunity to actually influence decision-making. However since the evaluation covered a short six-month period of the project, the evaluation team started out with cautious optimism about what could possibly be expected in terms of participation in such short a short time. Nevertheless, the evaluation found some remarkable results that illustrate the short-term effectiveness of creative approaches. However, a longer timeframe for the project could potentially make the short-term achievements more sustainable.

73 Kelola Foundation. 2015. Creative Communities 2 Compilation of Case Studies. Diya S. Widuri. “Case Study from Pengotan Village, Bali.” Jakarta: Yayasan Kelola/PSF.


33Outcomes

Knowledge about PNPM and Other Development Processes

The increased knowledge about PNPM and other village planning and development processes was included as a key performance indicator (KPI) for the project. Knowledge about development processes is considered a pre-requisite for active participation in the project’s theory of change. 53% of all participants74 (42% of youth) reported to have gained increased knowledge as a result of the project (Figure 8). On the other hand, a high 30% of the members did not know how to answer a question about whether or not their knowledge of PNPM and other development processes had increased after participating in the project. The latter indicates that more can be done to achieve this indicator. During Phase 1, the project had some success in integrating its activities directly with PNPM processes at the village and sub-district levels. This made Phase 1 more effective in generating higher attendance of people at these meetings and increased awareness about PNPM processes. However during CC2 Phase 1 Extension, PNPM was already going through a transition to the Village Law model, which dramatically reduced PNPM activities in many villages. To remain relevant to the reality of development processes in the villages, the project needed to shift its focus from PNPM to village government planning processes, specifically the village planning for 2015 (Musrembangdes 2015) held in early 2015. In theory, CC2 could have linked in directly with Musrembangdes, support village government in rasing awareness about this meeting and offer its services to the village government in creating cultural events to increase participation at the planning meting. However, such a shift was challenging because of the projects function as a PNPM support project. Another challenge was the short timeframe of the project in each village (3 months). Ideally, the opportunity for the project provided by the Musrembangdes should have been identified at the outset, however the project teams were still making attempts to work alongside a less potent PNPM.

A recommendation for future projects is to start out by developing specific joint strategies between communities and village government under the new village law to generate knowledge about ongoing development processes in the village, and to identify opportunities for the Creative Community project participants to effectively link in with these processes.

Figure 6 - CCG core members' perceptions about whether their knowledge on PNPM and other village planning and development processes increased

0

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20

30

40

50

60

70

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Specific strategies to increase knowledge are needed especially for youth and the marginalized groups who would have less knowledge about formal development processes at the outset. Field facilitators and Kelola management also require a relatively high level understanding of the development processes relevant to the project’s goals and objectives.

74 42.3% of participants between 14-17 reported an increase in knowledge about PNPM and other village planning and development processes, but 44% stated they did not know whether their knowledge increased or not. 42.4% of unmarried under 35 stated they had increased knowledge with 37.8% saying they did not know. 46.8 of all below 35 years old said they had their knowledge increased with 35% not knowing.


34 Outcomes

Motivation to Participate in PNPM and Development Processes

The perception survey found that CCG members’ perceptions about themselves as active participants in the community have changed over time with their participation in the project. Figure 9 shows what core CCG members perceive that they did when there were problems or complaints in the community before the CC2 and what they perceive they do now after the CC2.

Figure 7 - CCG core members' perceptions about what they would do when there was a problem or complaint in the village before and after CC2

Do nothingDiscuss with friend/neig

hbors

Bring to community

meetingOther Don't know

Before CC 53.08 22.41 9.62 4.81 10.08After CC 6.02 39.1 31.28 18.05 5.56

0

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20

30

40

50

60

Perc

enta

ge

The figure shows that 53% said that they used to do nothing to respond to complaints or problems before the project. Only 6% said that also after the project they do nothing. There was a significant increase in people’s perception that now after being active in CCGs, they will bring complaints and problems into discussions with friends and neighbors, into community meetings or find other ways to address the problems.

This is an indicator that the creative community members conceptually linked the project activities to their own participation in the community. It also shows that the direct participants in creative communities perceive themselves to have gone from more passive to more active members of the community as a result of the CC2 project.

Near 70% of CCG members said they are now more motivated to participate actively in community meetings compared to 6 months ago (Figure 10). In NTT and West Java around 80% reported they were now more motivated than before. Only 46% of the respondents in Bali said the same, and more people in Bali stated they did not know. This is again likely due to the inactivity of PNPM in Bali, where PNPM Rural has closed its operations, which natural caused challenges in creating synergies and conceptual links between CC2, PNPM and other development processes in Bali.

However all in all, CEP shows signs of being an effective tool to motivate the marginal and poor to participate actively in development processes, also because it brings people through an experience of participation that transforms people’s notions about their ability to participate.


35Outcomes

Figure 8 - CCG core members' perceptions about their motivation to participate in village meetings compared with six months earlier

45.87

83.6378.73

69.62

10.555.31

11.76 9.5

43.58

11.06 9.5

21.2

0

10

20

30

40

50

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8090

Bali West Java NTT Total

Yes No Don't know

“Experience” was central to the CEP processes. Being active in the creative journey together with peers increased participants’ knowledge and awareness about the situation in the village. From there grew their motivation to express their ideas and opinions. The creative processes provides opportunities to access and influence development processes by way of cultural expressions and events. Experience shows that participants were often confused at first about the objectives of the project, however by following a cycle from first meeting to joint social analysis, story making and performances or video screenings, the participants experienced several “revelations” leading to “enlightenment”, i.e. transformed perceptions about their ability to participate actively. Figure 11 shows that most CCG core members could see how CCGs could be used in the community to support development processes and express problems and potential, relative to those who saw the groups as tools to document customary (adat) practices, entertain, build tourism potential and revive arts.

The CCGs offered a new way of getting together to talk abut issues in the community, where the marginal were given status as equals. The performances and screenings created new space for communities to express themselves and interact directly with PNPM and village representatives.

Figure 9 - CCG core members' perceptions about what CCGs can be used for in the community (Percentage)

05

1015202530354045


36 Outcomes

Access to PNPM and Development Processes

The CC2 evaluation was conducted too soon to record long-term effects of the project in terms of attendance and participation in PNPM and other development processes. In measuring short term impact on attendance following CC2 Phase 1 Extension, the disruption to PNPM Rural's delivery owing to the ongoing “transition” of PNPM towards implementation of the Village Law, and a lengthy period of “stalemate” between Ministry of Home Affairs and the new Ministry of Villages—unforeseen at the time of CC2 design—has meant that (i) there have been few or no PNPM processes taking place in project locations over the implementation extension period (September 2014 – March 2015) and (ii) there has been little recording of routine PNPM Rural administrative data, making the CC2 project effects on PNPM highly difficult to measure. Efforts were made to collect available data in all 24 CEP villages to measure CC2’s impact on attendance at PNPM and other formal processes, however comparable pre and post data that showed any significant change in participation before and after the project were only found in two villages. In Golo Wua Village, NTT, there was an increase in the annual village planning meeting (Musrembangdes) attendance in January 2015 compared with the year before. A member of the village government stated that the increase was partly due to CC2. He also said that women from the CCG were active at the meeting and proposed water and sanitation facilities in line with the theme they documented in their video.75 In Manubhara, on the other hand, attendance at Musrembangdes 2015 dropped significantly compared to 2014. The head of the village made a statement on social media blaming CC2 for negatively impacting attendance at community meetings.76 77 This statement was contested by the KPK and facilitators in Manubhara, who claimed that people in general were unsatisfied with the state of affairs in the village, which caused them to not attend. The KPK reported that CCG members did attend, and proposed new policies for people living with disabilities, which was one of the themes addressed in a video.78

In other words, the evaluation of CC2 Phase 1 Extension found little evidence of the project direct impact on attendance in PNPM or other village development processes. The baseline79 already predicted this in its conclusion. Although PNPM meetings were intended as open and inclusive, they were in fact closed because the minimum requirement of 40 participants at each meeting was treated as a maximum regulated through targeted invitations of village leaders and members of the elite. In future creative community projects, the assessments should provide information on which processes can in fact be influenced. In the case of CC2 and PNPM, dusun or RT and RW level meetings tended to be more open for broader participation than village level meetings. Overall, a focus on improved community representation would have been more effective than attempting to increase attendance.

Contrary to in Phase 1, there is little evidence to support claims that CEP activities during the Extension succeeded in opening access to formal PNPM and other development processes, the project nevertheless succeeded in creating new, alternative arenas, namely during theater performances and video screenings. Follow-up FGDs with stakeholders, were women, youth, the poor and marginal were also held that provided additional opportunities for community members to express their opinions and concerns to people in position. This was important to the participants’ experience of being active members of the community, which might be an important step towards more formal participation in the future.

Control or Influence over PNPM and Development Decision-making

As respondents in the perception survey, heads of Villages (90%) and village level PNPM workers (81%) were optimistic that the issues raised in theater or video performances would be followed-up within formal development processes because they recognized how the issues were generated through broad participation from the communities in line with the community’s aspirations. At the time of the evaluation, activities were still ongoing, and there were only anecdotal evidence to support that the CCGs were in fact able to influence PNPM and other formal development processes, for example:

75 Interview with a Village Government member by Golo Wua Field Facilitator on request from the MEL Team, March 2015

76 Facebook Status, February 23 at 11:41 AM

77 The Manubhara Head of Village was not available for interview when the MEL Specialist visited the village in January 2015.

78 MEL Specialist’s phone interview with Manubhara KPK, March 2015

79 PSF. 2015. Creative Communities II Phase 1 Extension Qualitative Baseline Study: Summary Report. Draft 4. PSF. March 2015


37Outcomes

• Members of the creative community in Manubhara, NTT, made suggestions to improve the lives of people living with disabilities at the Village Planning meeting (Musrembangdes) in January 2015

• The CCG in Ngabheo, NTT, made a film about the lives of one of the poorest families and organized a fundraising campaign. The head of the village suggested the community consider torevive traditional mechanisms to care for the poor.

• In line with the CCG video production in Golo Wua, NTT, women from the creative community proposed water and sanitation facilitates during the village planning (Murembangdes).

• In Panji Village, Bali, the play developed by the CCG discussed how the development of new, modern housing complexes near the village cut off children’s access to school and strained the community’s access to water. The developer became angry at first, but at the time of the evaluation the community were in dialogue about how to find solutions.

• In Pengotan village, Bali, the theater performance raised the issue of teenage marriage. Village leaders stated they were reminded that to develop village legislations about this issue, even though it was not suggested as a solution by the CCG through the play.

• In Berambang Village, Bali, two issues were raised through the CCG plays, i.e. bad lighting on certain road sections and the bad quality of village road. The local government swiftly acted on the problems portrayed and improved the road condition with renovation works and villagers collectively put in place lighting in the badly lit areas of the village.

To fully capture the projects impact on village policies and long-term changes in participation of the marginalized require a longitudinal study beyond the scope of this evaluation. Findings do suggest again that Creative Communities projects in the future that apply more strategic approaches towards influence over decision-making have the potential to give marginal, poor, women and youth opportunities to influence village development. Strategies may include way to ensure synergy with formal development processes and more strategic plans of action to stimulate social and political change, beyond the limitations of creative medias, e.g. theater and video.

CC2, PNPM and Village Government Collaboration

Significant efforts were put into collaboration and coordination with PNPM at all levels. The model of coordination is shown in Figure 12.

Figure 10 - Model of PNPM - CC2 Coordination

National Level The World Bank/PSF PMD

Yayasan Kelola PNPM Provincial & District staff and BPMPD

CC II Facilitators PNPM Sub-district Facilitators

PNPM Village Actors

(Activity Implementation Team, Village

Community Empowerment Cadres, etc)Creative Communities Group

Community Members, including the poor and marginalized

Provincial/Kabupaten(District) Level

Kacamatan(Sub-district) Level

Village Level


38 Outcomes

PNPM workers participated directly as members in the CC Group. In eight villages 80, the KPKs were current or former PMPM officials, and current or former PNPM workers were active CCG members in several villages. PNPM staff played an important role in the targeting of CC members. They knew the communities well, and CC2 could take advantage of their strong networks, both at grassroots and village and sub-district levels government and PNPM. If not directly involved as KPK or CCG members, PNPM staff were invited to social analysis sessions and other events where issues were explored, where they played important role as co-facilitators or contributors of the process. Such direct PNPM participation helped align key messages with PNPM messages for health, sanitation, education and development more broadly.81

PNPM and government officials showed support to theater performances and video screenings. At the main performances and video screenings, PNPM and government officials attended and held speeches in support of the creative communities. They praised the CCGs for raising awareness about the potential and challenges in a village, and for offering critique to improve the situation in the village. Community leaders also highlighted the potential of cultural expressions in placing the village on the map both for tourism and development of other livelihoods opportunities.82

“The Creative Approach is very effective in getting many people to participate. We don’t have this level of participation at our PNPM activities.” – PNPM FK, West Java

“This project is about increasing traditional values, decreasing stupidity and poverty and increase the capacity of the community.” - Head of village Manukaya Village, Bali

“This project can make Panji more developed. The point is to be critical for the sake of development. The youth involved in this theater can bring the name of Panji Village to the world.” - Village Secretary, Panji Village, Bali

“We thought that only people in Jakarta could make TV. No we can do it for us and by us. Farmers can also edit! We can show that walking ants can achieve more than sleeping cattle.” - Head of Village Ngabheo.

“With the activities of Creative Communities in Rianggede, our eyes have been opened and we understand better the aspirations of our community. The CCG members have changed. Before they didn’t voice their concerns, now they are brave enough to express what they want.” – Mr. Dewa Putu Arya, Head of Village Rianggede83

Handover of CC2 outputs to PNPM and village government: Videos, problem tree analysis, synopsis of theater plays were submitted to government and PNPM officials at village, sub-district and district levels at the end of the facilitators stay. Follow up actions to the themes raised were discussed, as well as the future role of CCGs in the villages.

During Phase 1, thanks to active engagement with village level PNPM workers, the project had success in some locations at integrating CC2 activities with PNPM, which resulted in significant increases in PNPM attendance in some villages. During the Extension, although the CC2 had the formal backing of the PMD, PNPM activities at village level were defined by the PNPM transition towards the new village law. This made direct integration of activities challenging and in many village impossible. Short timeframes set after the restructuring of the project in June 2014, hindered joint planning with PNPM and village government at village level. Future creative communities projects should allow sufficient time for such joint planning, as lessons from CC2 demonstrates how integration with formal development processes makes creative approaches to stimulate active participation of the marginalized more effective and efficient.

80 West Java (4): Cikoneng, Garawangi, Cililin, Panembong; Bali (2): Bongkasa Pertiwi, Budakeling; NTT: Lento, Manubhara

81 E.g. Laporan Akhir Fasilitator Video, Golowangkung, NTT, January 2015. P.3

82 E.g. Village Secretary (Sekdes) in an opening speech to the Theater Performance in Panji Village, January 14, 2015

83 “Dengan keberadaan KK di Rianggede mata kami lebih terbuka dan bisa lebih mamahami kemauan dari masyarakat desa kami. Karena mereka (peserta KK, red.) sudah banyak mengalami perubahan, di mana masyarakat yang dulu tidak berani bersuara atau menyampaikan segala permasalahan kini mereka sudah berani untuk mengutarakan apa keinginannya” Head of village Rianggede, Mr. Dewa Putu Arya


39Outcomes

CAPACITY BUILDING AND TRANSFER OF FACILITATION SKILLS

Village Level PNPM Facilitators

The continued capacity of community facilitators' ability to use creative approaches in development was identified as a pathway in the project’s theory of change. Through the use of creative approaches in village development processes in the future, it is believed that the marginal, poor, women and youth would have more opportunities for active participation. This involved raising the capacity of PNPM facilitators in the use of creative approaches.

The perception survey showed that an overwhelming majority of village level PNPM workers (KPMD and TPKs) and heads of villages interviewed for the perception survey were positive about the effectiveness of creative approaches. As mentioned above 81% of PNPM workers and 91% of Villages Heads were optimistic that the issues raised in performances and videos would be followed-up because the issues were generated through broad participation, in a way that was easy to understand, and because the issues truly represented people’s aspirations.

94% of PNPM workers and 96% of Village Heads stated that they wanted to use creative approaches in future village planning and development processes because the communities were more open, confident and able to express themselves and it creates broader participation.

79% of PNPM facilitators were confident that they had the skills needed to use creative approaches in the future. This confidence was less in theater villages (63%), where the outputs are less tangible compared to participatory video and where the process may be more difficult to link conceptually to participation in development processes. The highest level of confidence was found in NTT (94%), which is surprising as it was assumed that the technological learning curve for video would be steeper in more remote areas without electricity.

Despite optimism, a key obstacle to transfer of skills and a change in facilitation techniques in future government development programs is that the SOPs may not be aligned with the time and resources required to implement creative approaches. Large government development programs tend to be bureaucratic and hierarchal and if not


40 Outcomes

incorporated in formal management and accountability structures, it is less likely that a program like CC2 will have a significant impact on how development processes are facilitated in the future. This was also articulated by a Sub-District PNPM Facilitator (FK) in West Java:

“Creative approaches are very effective in creating mass participation. We never achieve the same level of participation at formal PNPM meetings, where bureaucracy gets in the way of empowerment initiatives. The creative approaches could be very effective if adapted by the head of the organization within its punishment and rewards systems”. 84

Future Creative Communities activities linked with the new village law may be more flexible and have renewed opportunities to influence village representatives to use creative approaches, where village level champions can play important roles in integrating creative approaches in village level planning and development processes.

Capacity Building of KPK and Project Sustainability

All KPKs reported to have gained from participating in CC2. Video KPK highlighted new technical skills, whereas Theater KPKs gained most facilitation skills. Male KPKs were most positive about what they gained, compared to female KPKs, and KPKs with higher education gained more than those with low education, which may reflect KPKs inputs to the projects formal TOTs for Facilitators and KPKs that often were perceived by the KPKs to be too technical and advanced for people with little experience with theater and video and facilitation skills in general.85

53% of theater KPKs and 47% of video KPKs anticipated challenges when expected to carry on with Creative Communities after the facilitators’ departure from the villages. The more educated KPKs had more worries than those with lower education. All Video KPKs were worried that the technical equipment provided would malfunction in the future. All KPKs were optimistic that Creative Community activities would continue after the facilitators’ departures.

88% of KPKs felt that their participation in the project as KPK had a positive impact on how they are perceived in the community. For examples, they felt that the community had become more comfortable in sharing their opinions and they gained more trust and respect in the community. The latter would have a positive impact on KPKs that also serve as village facilitators, and their ability to carry out their duties or work as facilitators of development in the future.

4% of the KPKs experienced negative sanctions, for example envy from other village officials. The remaining 8% did not feel any difference in how they were perceived by the community after CC2.

84 MEL Specialist interview with a PNPM sub-district facilitator (FK) in West Java, February 8, 2015

85 TOT Evaluations, June 2014, November 2014.


41Outcomes

CEP and The Risks of Adverse Effects

Development programs introduce resources to the community and typically challenges patterns of power and influence over decision-making processes. Therefore, development programs are often contentious by nature.86 Although most heads of villages reported no negative effects from the CEP process in the village, two mentioned that the CEP process took too much time away from children/youths study time; one head of village stated that there was garbage left behind after performances. Three heads of villages said that people were offended by the theater performances or videos.87

Case studies, facilitators’ reflections and observations show that tension may occur more frequently than the survey suggested. In some villages tensions emerged between the Creative Community Groups and the Village Heads. Lack of coordination and communication between the facilitator, KPK and village government caused some tension in some villages.88 Other Village Heads questioned the legitimacy of the CCG and failed to see the intended links between CC2 and PNPM processes, which would have been avoided with more direct synergy with formal PNPM processes.89

In Panji village, the developer of a new housing project was offended when he realized the CCG was rehearsing a play about water difficulties and children’s cut-off access to school as a result of their business. In Ngabheo village, the documentation of a poor household, which led to a community fundraising effort, generated some frustration by other disadvantaged villagers, who did not receive any attention and aid. This potentially placed the poor family that received support in a more vulnerable position as a consequence of their participation in a video. In Sukamulya village, the Village Head ordered security guards to be present at the theater performance because he feared unrest when communities complaints about the targeting in government initiatives for the poor.90 Such unrest did not occur,


87 From Survey Findings: Pengotan Village: “some audiences felt embarrassed”; Golowangkung Village: “afraid that the CC activities revealed mis-administration of the government project such as Raskin (rice for the poor) that was distributed equally to each household”; Unknown village: “perception that the project just want to video people activities for the project’s own interest because the video equipment belongs to Yayasan Kelola”.

88 Creative Communities 2 Compilation of Case Studies. 2015. Agung Haryanto. “Case Study from Panembong Village, Garut, West Java.” Jakarta: Yayasan Kelola/PSF.

89 E.g. Interview with head of village in Waling and Barang, NTT

90 Kelola Foundation. 2015. Creative Communities 2 Compilation of Case Studies. Sri Kuncoro. “Experiencing narrative play in “Not My Desire” (Lain Kahayang Kuring), A Creative Community Case Study from Sukamulya Village, Cianjur District, West Java”. Jakarta: Yayasan Kelola/PSF.


42 Outcomes

however, it shows the potential strength of Creative Communities in mobilizing communities but also the fears among people in power and the risk of tension and conflict.

Through the project, communities anticipated and gained access to video and computer equipment of high value by local standards. Few safeguards were in place, e.g. formal criteria and requirements for sustainable handover of such equipment. Such safeguards are needed to prevent misuse and tensions in the community. There were reports of misuse and tensions in one village in NTT directly linked to the use of equipment. Although this occurred only in one village, experience from other development interventions shows a risks of tension when resources are concerned. To avoid doing harm to the communities, appropriate strategies are required to ensure productive and sustainable handover of resources in ways that continue to benefit the marginalized.

Tension ran comparatively high in a village in NTT where the KPK and the Head of Village had been at odds prior to the project. Tension escalated during and partly as a direct result of the project triggered initially by lack of communication between the KPK and the Village Head at an early stage. The Village Head perceived the adult members of the creative community to be his opponents. Despite efforts to bring the parties together, the Village Head chose not to attend the video screening event, which was seen as a sign of continued tension. The case study from the village shows how the project became politicized along the existing patterns of tension and conflict in the community.91

Preparations and joint planning between the project and local village government is important to identify opportunities for synergies. Risks to the project should also be addressed at an earlier stage, considering that efforts to shift decision-making structures in the community and critique village leadership have a high likelihood of tension and conflict. Villages that have leaders that are truly committed to broad participation are ideal locations for future creative community projects.

LESSONS LEARNED FROM THE SUB-GRANTS COMPONENT

Six grants of IDR 80,000,000 were distributed during CC2 Phase 1 Extension (Bali (2), West Java (2), NTT (2)). Following a call for proposals six partners were identified, as shown in Table 6.

91 Creative Communities 2 Compilation of Case Studies. 2015. Agung Haryanto. “Case Study from Barang Village, NTT” Jakarta: Yayasan Kelola/PSF.


43Outcomes

The recipients of grants were given three months to implement their plans. Kelola initially provided support for proposal development and briefing on reporting and financial requirements. Two facilitators (one for Bali and Flores and one for West Java) were recruited to support monitoring and field activities.

A three month time period of implementation of relatively ambitious proposals indicate that the grants component of the Phase 1 Extension was carried out on the assumption that Kelola would be able to identify local and grass roots organizations with the required capacity to deliver programs in the community while contributing to the overall goal of CC2. Experience shows that the sub-grantees could benefit from more capacity building on project design, management and community facilitation. It is recommended in the future to allow for longer time frames, appropriate capacity assessments and capacity building activities to uphold the projects accountability towards the communities. The project could make better use of opportunities to synergize capacity building of sub-grantees with CEP training activities.

The implementing partner of sub-grants should have the organizational structure in place to support sub-grants including partnership and capacity building expertise.

Three of the sub-grantees focused on socializing the new village law, whereas three focused on health messages. The latter had most opportunities for synergy with PNPM Generasi. The former generated support from government at village, sub-district and district levels.

Sub-grants proved effective in engaging community members directly in activities. Table 13 shows that 422 community members were direct participants in cultural activities, trainings and workshop. 54% were female.

Table 13 - Direct Participants in CC2 Phase 1 Extension sub-grants activities

Female Male Total

Total PNPM Girls Total PNPM Boys Total

Jatiwangi Art Factory, Bandorasa, Cilimus, Kuningan

18 N/A 7 23 N/A N/A 48

SAPA Institute, Cikawung, Tanjungsiang, Subang

63 2 N/A 17 N/A N/A 82

LITE Institute, Pakraman Sidembunut, Bangli 29 N/A N/A 80 N/A N/A 109

RBM-Taman Penasar Paras-Paros, Gianyar. 3 3 N/A 21 3 N/A 30

Papa Wiu, Soa, Ngada. 68 N/A N/A 24 N/A N/A 92

Komunitas Satu Tekad Wogo, Golewa, Ngada. 27 N/A 6 24 N/A 4 61

208 5 13 189 3 4 422

Female 226 Male 196 PNPM 8 Children 17

54% 46% 2% 4%

In addition, 3650 community members were counted as indirect participants for example as audience members at cultural performances and festivals. 418 cultural workers were involved in the sub-grant activities. This indicates that sub-grants were efficient, and shows potential for future creative community programs in combination with capacity building activities.

The evaluation shows that five out of six sub-grants where effectively implemented to increase community knowledge and motivation to participate. The evaluation saw signs that four of the partners also succeeded in creating new space where participants could discuss issues and express their ideas and concerns directly to authorities or relevant stakeholders. Only one of the grants was considered ineffective. The local partner did not have the capacity to develop the cultural activities using traditional music instruments from a cultural event to an arena of knowledge sharing and exchange of opinions and ideas.

Overall the evaluation concludes that the sub-grants were effective and efficient and contributes towards the goal of the CC2 project. However it is recommended in the future that partners’ capacity is assessed, and that capacity building for technical and facilitation skills is offered as needed.


44 Outcomes

Sub-grants and Collaboration with PNPM and Government

Several opportunities were seen for sub-grants to support PNPM and other development processes in the villages. Especially in villages where sub-grantees focused on health education, productive links were formed with PNPM Generasi.

PNPM worked closely with sub-grants recipients in the villages to identify community marginalized community members. The target group for sub-grants activities coincided with PNPM Generasi beneficiaries, i.e. pregnant women and parents of children under 5. KPMDs provided guidance to sub-grantees about the poor and marginal community members that rarely participated in regular PNPM activities, or who needed additional support.

Village level PNPM officials also provided support in the development of key health messages to ensure that the messages were in line with official messages and the needs of the communities.

Sub-grants created alternative space for communities to meet with PNPM workers and government officials to raise their concerns and voice their opinions. This happened in four out of six sub-grants village, and was mostly seen in West Java where a local partner used community television to talk about woman and child health. The village government office and village health clinic (Posyandu) were transformed into television studios and a feature was made on women and child health, which allowed people to voice their concerns, ask questions and express their opinions that were addressed by village officials from PNPM Generasi and the government. Similar exchanges were created in three out of six sub-grant villages, and shows how sub-grants to creative approaches can be effective in allow people to participate actively in development processes.

In villages where sub-grantees focused on socialization of the new Village Law, the sub-grantees worked together with village government and sub-district and district level officials to develop key messages. Government officials participated actively in activities, and seized the opportunity to voice their aspirations for village development under the new legislation.

It may be argued that using creative approaches in socializing of key messages, which was the main objectives of all sub-grants, made collaboration with PNPM and village government less challenging than what we saw in the CEP process because sub-grantees provided a communication service, which was seen as a win-win scenario.

OPPORTUNITIES UNDER THE NEW VILLAGE LAW (UNDANG UNDANG REPUBLIK INDONESIA NOMOR 6 TAHUN 2014 TENTANG DESA)

The newly promulgated Village Law dramatically increases the role, responsibilities, power and resources of village communities. This law adopts a number of community- driven development approaches that have been developed and tested through PNPM programs. With the enactment of this law, PNPM is expected to go through a period of transition, to support the implementation of the law through the provision of facilitation and other technical support. The new law creates opportunities to integrate creative empowerment approaches into systems created by the law, particularly as a high level of community participation will be a vital precondition for ensuring that village funds are put to good use and are used effectively to meet local needs. The ability of all segments of the community, including poor members of the community and members of marginalized groups, to participate meaningfully in this process will be crucial. Thus, there is potential for future creative communities projects to play an important role in this process.

It is also envisaged that future projects, through its synergies within a larger DFAT project, can influence the design and implementation of national or regional programs linked to the new village law, encourage the use of other cultural resources to facilitate the implementation of community empowerment processes. In particular, future projects should focus on introducing the approaches and tools developed under the project into the village development planning processes. Given the massive investment that has been made in community empowerment programming through PNPM and other national and regional programs, and with the huge increase in funds that will flow to the village level under the Village Law, the use of such funds to promote approaches that facilitates the more effective engagement of communities on their own terms in village level development is an extremely valid investment at this point in the history of Indonesia’s community development programs.


45Conclusions

CONCLUSIONS

• Creative approaches are highly effective in engaging and empowering the marginal, poor, women and youth. Participants in the project reported to have increased motivation to participate in formal development processes, increased self-esteem, better understanding of their village and right to participate and ability to express themselves. New, safe spaces were created to discuss ideas and concerns with peers and to interact directly with village leaders and other stakeholders. When integrated with formal development processes knowledge about village development and create opportunities for communities to access and influence decision-making.

• The use of cultural expressions and creative approaches in formal community planning processes generates community interest and breaks down formal power structures that stand as barriers to the participation of the marginalized. CC2 Phase 1 showed examples of how attendance at PNPM events increased as a direct result of the project. By offering a service to village government in attracting community members to formal meetings, creative communities could generate support for creative communities and increase leverage and opportunities for the marginal to voice their concerns.

• Barriers to the projects ability to directly support PNPM by directly impacting attendance and influencing facilitation skills of PNPM workers included PNPM’s capacity to engage directly with CC2 given the PNPM facilitators’ workloads, and the lack of formal instructions from the central government (Ministry of Home Affairs) to village level PNPM workers to engage with CC2. CC2 also did not succeed in mainstreaming creative approaches into PNPM SOPs aside from allowing the use of culture mediums in socializing PNPM in the revised PNPM Rural Technical and Operational Guidelines (PTO). Similar challenges may be anticipated when using creative communities in the future to support the implementation of the new village law.

• During CC2 Phase 1, the use of cultural activities in integration with formal PNPM meetings had a significant positive impact on increasing the attendance of community members who typically would not attend. Due to the PNPM transition such integration could not be replicated in the Extension. There is nevertheless evidence that the


46 Conclusions

CEP process and sub-grants overall created new opportunities for community members to get together and discuss their ideas and concerns, and meet with village leaders and stakeholders to express their opinions. There is also anecdotal evidence that the CCG groups were able to directly influence decision making in some villages through their use of theater and video.

• For creative communities to have an impact on active participation on villagers in development processes joint planning between the project and village level stakeholders is necessary to create the integration required between the project and formal development processes. The lesson from CC2 is that sufficient time needs to be allocated to such joint planning. Where integration with formal village planning processes occurs, creative approaches are highly effective in increasing attendance at formal meetings, motivating people to participate, and in bringing the voices of the marginal and poor into decision-making processes.

• Creative approaches can be used to impact different levels of participation from attendance to knowledge about how to participate, motivation to participate, access to arenas of decision-making and control in the decision-making process. For a project that aims to increase communities’ ability to participate, it is important to define and operationalize the objectives of the project clearly, and select appropriate indicators to reflect the PDO. The CC2 PDO includes “active participation”. However, “increased attendance at PNPM meetings” as a KPI proved ineffective in measuring the real impact of the project on community empowerment given the gap between attendance and actual participation. The M&E plan for the Extension added indicators for empowerment to bridge this gap. In terms of influencing attendance, the evaluation shows that attendance at village level meetings was often closed and structured rather than open, and hence could not be easily influenced. The baseline highlighted a larger opportunity to impact attendance at sub-village level (i.e. dusun or RT/RW levels) or on improving quality of representation rather than mass attendance. Timely assessments and baselines can provide the information about the barriers and opportunities for active participation of the community needed to design effective project strategies.

• Development initiatives often aim to change dynamics of decision-making in a community by enabling more people to participate. Particular groups in the community may see this as a threat to their own access to resources. As such, development initiatives are political and often contentious92 . When implementing the CEP, CCGs may become a stakeholder positioned along the fault-lines of pre-existing tensions and conflicts in the communities. This was documented in case studies from e.g. Barang and Ngabheo Villages during the Extension. The CEP will likely be most effective in achieving influence over decision-making in villages that have leaders who are committed to broad and active participation. Management of the risk of potential backlashes against project participants with the involvement of village leaders is needed to ensure that no harm is done.

• When Creative Community Group (CCG) members have ownership of the mission and vision of the group, it is more likely that the group will without support after the project ends. Assessments at the outsight helps to identify key groups and individuals in the community that are likely to have a vision and mission for community engagement and/or creative skills. The evaluation of CC2 shows that in communities like Panji (Bali) and Malaka (Lombok) where the communities have a strong motivation driven by key members, they also have the ability to find resources needed to continue their activities independently. CC2 also adopted strategies to support CCGs in making future strategies and plans and the sharing between creative communities of different villages.

• The Evaluation of the CC2 Phase 1 Extension CEP showed that the lack of strategic engagement with formal development processes that could have increased the CCGs’ success in influencing policy and decision-making. Participatory social analysis generated issues and themes for video and theater, however too much focus on the media also influences the agenda, e.g. where issues not suited for video were left out or focus was issues causing family tragedy as that makes good theater. A more open ended approach to advocacy with less focus on pre-determined media and project driven video screenings and theater performances, would have allowed for a mapping of priorities and development of strategies for how to deal with the most important issues effectively. Linking these strategies directly to formal processes of village planning and decision-making would likely have



47Conclusions

increased their effectiveness in achieving higher levels of active participation.

• The strengthening of the main Grant Recipient (i.e. Kelola) for M&E led to a systematic analysis of the barriers to community participation linked to the articulation of the project’s theory of change and the design of logical frameworks and M&E plans that improved the management of project results during the Extension, and enabled the measuring and documentation of project impact. Such evidence based documentation allowed the project management to build a case for the effectiveness of creative approaches for future development initiatives, such as the implementation of the new village law.

• The CEP model implemented in CC2 is intensive and requires resources. Better integration with formal development processes will make the intervention more efficient, and will provide CCG members with insight into the workings of formal planning processes, and an experience in accessing and influencing decision-making that is likely to motivate more active participation in the future.

• Sub-granting is an effective modality to mobilize communities and socialize messages. Sub-grantees use of cultural events and activities created broad participation and opportunities to socialize messages about PNPM processes, health and the new village law. E.g. during the Phase 1 Extension, Lite Institute in Bali, engaged hundreds of local cultural workers (e.g. dancers, musicians and craftspeople) in a village festival that pulled a large audience to a socialization of the new village law. The most effective sub-grantees also succeeded in creating opportunities for communities to interact directly with PNPM workers or representatives of village government to address issues of concern. E.g. during Phase 1 Extension, Jatiwangi Art Factory (West Java) facilitated community members in making community television that allowed them to meet directly with PNPM Generasi and village leaders. The television production also brought the dialogue into people’s homes, which created new forms of dialogue about community health issues 93.

• The Sub-grant model is best implemented based on an understanding of partners’ capacity to deliver quality programs to the communities. Lessons from CC2 show that grassroots organizations, especially in remote areas, could benefit from capacity building, not only on administration, finance and report writing, but also community facilitation and technical skills. Implementation timeframes should allow for such capacity building activities with sub-grantees. Future capacity building of sub-grantees could be integrated with the CEP training to make effective use of training modules and materials developed for effective community facilitation.

93 Creative Communities 2 Evaluation Report on CC2 Phase 1 Extension Sub-grants (Annex 3)


48 Key Recommendations

KEY RECOMMENDATIONSResult-based Management

1. Ensure that results-based management and M&E and learning frameworks are built into the project, for example, by using appropriate logical frameworks and indicators and incorporate a MEL plan into day-to-day management and implementation of the project. When working through an implementing partner, ensure the partner has effective project cycle and result-based management capacity.

Design

2. In the design phase, conduct an analysis of entry points and barriers to the project’s ability to influence formal development processes, both in terms of attempting to mainstream “creative approaches” within government at the national level, or for project participants to gain access to and influence over local development planning processes.

3. Articulate strategies for using Creative Communities activities for the communication of key messages as a service to authorities, and for community mobilization to build positive relations and leverage between its participants and village leaders.

4. Take a wider approach to the use of media (e.g. theater and video) in empowerment to stimulate active participation that leads to influence over decision-making processes. Key issues generated through a social analysis require strategy for how to best create a wanted change that benefits the marginalized. Too much focus on the media may lead to the question: What should we make theater/videos about? Rather than: what are our key challenges, and how to change them? The latter being the most relevant to active participation. Future projects should let the issues guide the making of effective strategies for wanted change.


49Key Recommendations

5. Continue sub-grants as a modality to support local NGOs, CBOs and individuals. using creative approaches to stimulate broad participation. Allocate sufficient time and resources that allow for capacity assessments and the capacity building of sub-grantees to ensure that they are able to delivery high quality activities and results. The provider of sub-grants (in this case Kelola) needs to have “Partnership and Capacity Building Specialists” in their sub-grants management structure. Capacity building of sub-grants partners may integrate with CEP capacity building for community facilitators for increased efficiency.

Implementation

6. In the inception phase, conduct a timely baseline study to identify who are marginal and poor and barriers to and opportunities for participation to inform implementation strategies and facilitators’ manuals, and conduct village level assessments to identify people and groups that share a vision of community development, and community leaders committed to broad participation.

7. Start implementation with joint strategy and planning, including joint risk analysis, with authorities at all levels, including village level, to identify potential for integration of the project with specific formal development processes.


50 Key Recommendations

CC2

PHA

SE 1

EXT

ENSI

ON

KEY

PER

FORM

AN

CE IN

DIC

ATO

RS

Key

Perf

orm

ance

Indi

cato

rsIn

dica

tor/

Uni

t of M

easu

reBa

selin

eTa

rget

Val

ueCu

mul

ativ

e Ac

hiev

emen

tsVA

RTa

rget

for

2015

*Ac

hiev

ed

in 2

015

VAR*

Rem

arks

Proj

ect D

evel

opm

ent O

bjec

tive:

To

impr

ove

the

abili

ty o

f vill

ager

s, es

peci

ally

poo

r and

mar

gina

lized

peo

ple,

to p

artic

ipat

e ac

tivel

y in

PNP

M p

roce

sses

usin

g cu

ltura

l exp

ress

ions

in p

roje

ct lo

catio

ns.

PDO

Lev

el R

esul

ts In

dica

tors

In

dica

tor O

ne: I

ncre

ase

in p

ublic

par

ticip

atio

n in

vill

age

plan

ning

pro

cess

es in

pro

ject

loca

tions

% in

crea

se in

PNP

M

part

icip

ants

PNPM

atte

ndan

ce

in lo

catio

n50

%N/

AN/

AN/

AN/

AN/

ACC

II w

as d

esig

ned

to su

ppor

t PNP

M R

ural

. How

ever

with

the

unex

pect

ed

chan

ge in

the

oper

atin

g en

viro

nmen

t i.e

. the

“tra

nsiti

on” o

f PNP

M R

ural

in

view

of V

illag

e La

w d

urin

g pr

ojec

t im

plem

enta

tion

perio

d, th

ere

wer

e fe

w

or n

o PN

PM a

ctiv

ities

in C

C II

loca

tions

. PNP

M a

ttend

ance

dat

a w

as a

lso n

ot

atta

inab

le. A

ttem

pts w

ere

mad

e to

use

par

ticip

atio

n in

oth

er v

illag

e pl

anni

ng

proc

esse

s as a

pro

xy b

ut d

ata

for t

hese

mee

tings

was

not

ava

ilabl

e.

Addi

tiona

l ind

icat

ors w

ere

used

inst

ead

to a

sses

s im

pact

on

mot

ivat

ion

of

part

icip

atio

n. Th

e be

nefic

iarie

s’ pe

rcep

tion

surv

ey fo

und

that

nea

rly 7

0%

of re

spon

dent

s fee

l mor

e m

otiv

ated

to p

artic

ipat

e in

com

mun

ity p

lann

ing

mee

ting

afte

r par

ticip

atin

g in

CC

II. W

hen

aske

d w

hat t

hey

wou

ld d

o w

hen

ther

e w

as a

pro

blem

or c

ompl

aint

in th

eir v

illag

e, 5

3% sa

id th

ey w

ould

do

not

hing

prio

r to

part

icip

atin

g in

CC

II an

d af

ter p

artic

ipat

ing

in C

C II

the

perc

enta

ge fe

ll to

6%

. On

the

othe

r han

d, th

ose

who

ans

wer

ed th

ey

wou

ld b

ring

the

prob

lem

to v

illag

e m

eetin

gs in

crea

sed

from

9.6

% p

rior t

o pa

rtic

ipat

ing

in C

C II

to 3

1.3%

pos

t CC2

.

% p

oor c

omm

unity

mem

bers

As a

bove

50%

N/A

N/A

N/A

N/A

N/A

% o

f wom

an p

artic

ipan

tsAs

abo

ve50

%N/

AN/

AN/

AN/

AN/

A

% o

f mar

gina

lized

par

ticip

ants

050

%N/

AN/

AN/

AN/

AN/

A

Indi

cato

r Tw

o: B

enefi

ciar

ies h

ave

incr

ease

d un

ders

tand

ing

of P

NPM

and

vill

age

plan

ning

pro

cess

.%

of b

enefi

ciar

ies

070

%53

%

-17%

N/A

53%

N/A

Whi

lst th

e hi

gh ta

rget

was

not

met

, the

ach

ieve

men

t of 5

3% in

crea

sed

unde

rsta

ndin

g of

PNP

M a

nd v

illag

e-pl

anni

ng p

roce

ss is

satis

fact

ory,

cons

ider

ing

the

prev

ailin

g ch

alle

nge

of th

e cl

osin

g of

PNP

M.

% o

f fem

ale

bene

ficia

ries

050

%55

%+5

%N/

AN/

AN/

A%

of y

outh

ben

efici

arie

s0

50%

42%

- 8

%N/

AN/

AN/

ATh

e va

rianc

e in

ach

ieve

men

t is l

ikel

y du

e to

the

lack

of P

NPM

act

iviti

es d

urin

g pr

ojec

t im

plem

enta

tion.

%

of m

argi

naliz

ed

bene

ficia

ries

050

%40

%- 1

0%N/

AN/

AN/

AAs

abo

ve

% o

f poo

r ben

efici

arie

s0

50%

45%

- 5%

N/

AN/

AN/

AAs

abo

ve#

peop

le tr

aine

d0

600

1531

+255

%N/

A80

3N/

ATh

e pr

ojec

t was

abl

e to

mob

ilize

man

y m

ore

com

mun

ity m

embe

rs th

an it

or

igin

ally

exp

ecte

d. In

tota

l, 110

9 pe

ople

wer

e tra

ined

in u

sing

thea

ter o

r vi

deo

to id

entif

y lo

cal i

ssue

s and

solu

tions

(Cre

ativ

e Em

pow

erm

ent P

roce

ss

or C

EP). T

his i

nclu

des r

egul

ar p

artic

ipan

ts o

f CEP

, fac

ilita

tors

, loca

l cad

res,

coor

dina

tors

and

supe

rviso

rs. M

ore

than

hal

f of w

hich

are

wom

en. A

furt

her

422

villa

gers

wer

e tra

ined

by

sub

gran

t rec

ipie

nts i

n us

ing

othe

r cre

ativ

e ex

pres

sions

to su

ppor

t com

mun

ity p

lann

ing.

In

dica

tor T

hree

: PNP

M fa

cilit

ator

s and

cultu

ral w

orke

rs h

ave

incr

ease

d ca

paci

ty to

use

cultu

ral m

ediu

ms t

o im

prov

e pa

rtic

ipat

ion

in v

illag

e pl

anni

ng


51Key Recommendations

Trai

ning

mod

ule

and

tool

s fo

r PNP

M a

nd V

illag

e La

w

Impl

emen

tatio

n

0M

odul

e an

d to

ols

deve

lope

d

4 se

ts o

f m

odul

es a

nd

tool

s dev

elop

ed

N.A.

N/A

2 se

ts o

f m

odul

es

deve

lope

d

N/A

The

4 se

ts o

f tra

inin

g m

odul

es a

nd to

ols p

rodu

ced

are:

1. M

anua

l on

usin

g Th

eate

r for

Dev

elop

men

t for

com

mun

ity p

lann

ing.

2. M

anua

l on

usin

g Pa

rtic

ipat

ory V

ideo

for c

omm

unity

pla

nnin

g.3.

Tum

buh

dala

m L

ingk

aran

. Tra

inin

g m

odul

e ta

rget

ing

villa

ge fa

cilit

ator

s on

Crea

tive

Appr

oach

es to

Effe

ctiv

ely

Faci

litat

e Co

mm

unity

Pla

nnin

g (d

esig

ned

to su

ppor

t im

plem

enta

tion

of V

illag

e La

w)

4. M

enge

lola

Per

tum

buha

n –

Guid

elin

es fo

r Cre

ativ

e Co

mm

uniti

es o

n co

ntin

uing

and

exp

andi

ng th

eir a

ctiv

ities

to fa

cilit

ate

com

mun

ity p

lann

ing.

# cu

ltura

l wor

kers

040

013

11+3

28%

N/A

893

N/A

The

proj

ect a

ttrac

ted

and

mob

ilize

d fa

r mor

e cu

ltura

l wor

kers

than

exp

ecte

d at

the

villa

ge le

vel t

o pa

rtak

e in

its a

ctiv

ities

. At e

very

CC

II pr

esen

tatio

n, lo

cal

cultu

ral g

roup

s and

art

ists e

ither

per

form

ed a

long

side

CC II

par

ticip

ants

or

prov

ided

ent

erta

inm

ent p

rogr

ams.

Cultu

ral w

orke

rs h

ere

refe

r to

danc

ers,

mus

icia

ns, v

ideo

grap

hers

, and

thea

ter w

orke

rs in

volv

ed in

CC

II pr

oces

ses,

incl

udin

g pr

ojec

t fiel

d fa

cilit

ator

s, co

ordi

nato

rs, s

uper

viso

rs a

nd lo

cal c

adre

s.

CC2

PHA

SE 1

KEY

PER

FORM

AN

CE IN

DIC

ATO

RS

INTE

RMED

IATE

RES

ULTS

Proj

ect D

evel

opm

ent O

bjec

tive

(PDO

): To

impr

ove

the

abili

ty o

f vill

ager

s, es

peci

ally

poo

r and

mar

gina

lized

peo

ple,

to p

artic

ipat

e ac

tivel

y in

PNP

M p

roce

sses

usin

g cu

ltura

l exp

ress

ions

in p

roje

ct lo

catio

ns.

Inte

rmed

iate

Res

ult (

Com

pone

nt O

ne):

Com

mun

ity-b

ased

cultu

ral a

ctiv

ities

(Rec

ipie

nt-E

xecu

ted)

PDO

Lev

el R

esul

ts In

dica

tors

*Un

it of

Mea

sure

Base

line

Cum

ulat

ive

Targ

et V

alue

s**

Freq

uenc

yDa

ta S

ourc

e/M

etho

dolo

gyRe

spon

sibili

ty fo

r Da

ta C

olle

ctio

nD

escr

iptio

n (in

dica

tor

defin

ition

etc

.)Ye

ar 1

Year

2

Proj

ect d

evel

opm

ent c

ompl

eted

Stat

usN/

APr

ojec

t man

ual d

evel

oped

N/A

once

Proj

ect

repo

rts

Kelo

laSt

atus

of d

ocum

ent

Des

ign

mod

ifica

tions

test

edSt

atus

N/A

Pilo

t act

iviti

es st

arte

dPi

lot a

ctiv

ities

co

mpl

eted

once

Proj

ect

repo

rts

Kelo

laSt

atus

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52 References

REFERENCES

Barron, P., Diprose, R. and M. Woolcock. 2011. Contesting development: participatory projects and local conflict dynamics in Indonesia. Yale Agrarian Studies Series. Yale University Press, Ithaca

Gultom, M.L. Yohanna. 2013. Creative Communities Trial Program Final Evaluation. Jakarta: Yayasan Kelola/PSF Creative Communities

Kelola Foundation. 2015. Creative Communities 2 Compilation of Case Studies. Sri Kuncoro. “Experiencing narrative play in “Not My Desire” (Lain Kahayang Kuring), A Creative Community Case Study from Sukamulya Village, Cianjur District, West Java”. Jakarta: Yayasan Kelola/PSF

Kelola Foundation. 2015. Creative Communities 2 Compilation of Case Studies. Sri Kuncoro. “Salah Saha – Exploring the Burdens of Women in Poverty on Stage, A Case Study from Caringin Wetan Village, Sukabumi, West Java.” Jakarta: Yayasan Kelola/PSF

Kelola Foundation. 2015. Creative Communities 2 Compilation of Case Studies. Diya S. Widuri. “Case Study from Bongkasa Pertiwi Village, Bali.” Jakarta: Yayasan Kelola/PSF

Kelola Foundation. 2015. Creative Communities 2 Compilation of Case Studies. Diya S. Widuri. “Case Study from Pengotan Village, Bali.” Jakarta: Yayasan Kelola/PSF

Creative Communities 2 Compilation of Case Studies. 2015. Agung Haryanto. “Case Study from Panembong Village, Garut, West Java.” Jakarta: Yayasan Kelola/PSF

Kelola Foundation. 2015. Tumbuh dalam Lingkaran. Modul Fasiltiator Efektif dengan Pendekatan Kreatif. Jakarta: Yayasan Kelola

Kelola Foundation. 2014. Manual Pelatihan Fasiltiator Dan Kader Pemberdayaan Komunitas Kreatif. Jakarta: Yayasan Kelola/PSF Creative Communities 2

PSF. 2015. Creative Communities II Phase 1 Extension Qualitative Baseline Study: Summary Report. Draft 4. PSF. March 2015

PSF 2014. Creative Communities II. Phase 1 Progress Report. Jakarta: PNPM Support Facility. September 2014

World Bank. 1996. The Worldbank Participation Sourcebook. Washington DC: The International Bank for Reconstruction and Development.

Voss, J. 2008. PNPM Rural Baseline Project. Jakarta: The World Bank.

Voss, J. 2013. PNPM Rural Impact Evaluation April 2012. Jakarta, Indonesia. PNPM Support Facility.

World Bank. 2010. Marginalized Groups in PNPM Rural. Washington, DC: World Bank. http://documents.worldbank.org/curated/en/2010/06/15423996/ marginalized-groups-pnpm-rural.


53List of Annexes

LIST OF ANNEXES

Available for download: http://psflibrary.org/collection/detail.php?id=7105

1. CC2 Phase 1 Extension Evaluation Methodology

2. CC2 Monitoring and Evaluation Framework (December 2014)

3. CC2 Phase 1 Extension Sub-Grant Evaluation Report

a. In English

b. In Bahasa Indonesia

4. CC2 Case Studies

a. In English

b. In Bahasa Indonesia

5. CC2 Phase 1 Extension Creative Empowerment Process Attendance Data

6. CC2 Phase 1 Extension Beneficiaries’ Perception Study Report

7. Kelola/PSF Reflection Workshop Summary Report, March 30, 2015

8. CC2 Phase 1 Extension Qualitative Baseline Study (March 2015)

9. CC2 Phase 1 Extension Secondary Data on PNPM and village meeting attendance

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