The Missing

Pillar
Culture’s Contribution to the UN
Sustainable Development Goals
©British Council 2020
Contents

Foreword 4

Response from United Cities and Local Governments 5

Introduction 7

Section I — Culture and Sustainable Development Goals: a literature review 9

Section II — Analysis of the Sustainable Development Goals through a cultural lens 15

SDG 1: No poverty 17

SDG 1 case study: Cultural Heritage for Inclusive Growth 17

SDG 3: Good health and well-being 19

SDG 3 case study: Golden Thread 20

SDG 4: Quality education 21

SDG 4 case study: Creative Enterprise 22

SDG 5: Gender equality 23

SDG 5 case study: Women of the World 24

SDG 8: Decent work and economic growth 25

SDG 8 case study: Developing Inclusive and Creative Economies 26

SDG 9: Industry, innovation and infrastructure 27

SDG 9 case study: Creating Opportunities for South Africa’s Youth 27

SDG 10: Reduced inequalities 28

SDG 10 case study: Transform 28

SDG 11: Sustainable cities and communities 29

SDG 11 case study: Cultural Protection Fund 30

SDG 12: Responsible consumption and production 31

SDG 12 case study: Crafting Futures 32

SDG 16: Peace, justice and strong institutions 33

SDG 16 case study: Artivism in the Horn of Africa 33

SDG 17: Partnership for the goals 35

SDG 17 case study: Tfanen Tunisia Creative Programme 36

Section III — Recommendations 37

Conclusion 40

Endnotes 41

Bibliography 45

Programme website links 48

2
3
Crafting Futures, Thailand ©Simon Mills
Foreword

2020 marks five years since the UN 2030 Agenda for I would like to thank Nordicity for their research and mapping;
Sustainable Development, the fifteen-year plan to achieve our Culture and Development team and the Research and
the Sustainable Development Goals (SDGs), was adopted Evidence teams for making this research happen; and
by its 193 members (including the UK). There are now only colleagues and partners in the arts and development sectors
ten years left to do so. This is a moment for the British around the world delivering such meaningful and impactful
Council to reflect on its contribution to the response to work.
global challenges, and its alignment with global policies and
frameworks.
Mark Stephens
The British Council has recently launched its strategy for
the next five years encompassing our vision, mission, values Director Cultural Engagement
and offer areas of work. Strategy 2025 demonstrates our
British Council
ambition to support the delivery of the SDGs as part of our
shared values, ensuring that the UK sits at the heart of global
efforts to improve lives and protect our planet. We believe
in the value of education, civil society, arts and culture to
respond to local and global challenges, and that cultural
relations offers an approach to drive that response. With
growing recognition for our work in cultural relations and
strong partnerships around the world, the British Council is
well positioned to champion the impact of our work in the
field of culture and sustainable development.
The Missing Pillar – Culture’s Contribution to the Sustainable
Development Goals highlights the evident links between
culture and development. This report provides the rationale
for why arts and culture are important in the development
context, identifies ways in which arts and cultural
programmes and initiatives can and do contribute to the
SDGs, and what the key themes and recommendations are
to focus and improve on. It provides a starting point for
positioning culture as the missing pillar of development in the
UK, and at a European and global level.
In the face of global events such as COVID-19 pandemic, it is
all the more important to rally together towards achieving the
Sustainable Development Goals and valuing our culture and
heritage to secure a more peaceful, inclusive and prosperous
future.

4
Response from United Cities
and Local Governments
We need to strengthen the narratives that connect Indeed, building stronger, more diverse partnerships and
culture and the SDGs fostering learning are key to achieving progress in this area in
the coming years. It should be noted that, whereas the 2030
Culture shapes the way we understand our lives and the Agenda was signed by national governments at the UN, its
meaning we make of them, and it lies therefore at the basis implementation relies on contributions from local, regional
of any notion of people-centred development. Furthermore, and national governments, international organisations and
participation in cultural life, the safeguarding and renewal development agencies, civil society organisations, and
of heritage, creative expression, and the celebration and the private sector. Mutual recognition and collaboration
discovery of diversity, among others, are integral to lives are therefore essential. In the field of culture in particular
worth living. (and mainly because there is not a stand-alone Goal on
culture), stronger partnerships will be essential to enhance
They may also contribute to the achievement of policy goals
understanding and to improve policymaking and project
in areas such as economic development, social inclusion, and
delivery.
environmental sustainability.
Since 2004, the Committee on Culture of UCLG has been
This research and mapping undertaken by Nordicity for
working to foster the recognition of how culture and cultural
the British Council provides extensive evidence of this
policies are critical to achieving sustainable development,
connection between culture and sustainable development,
through policy development, awareness-raising, capacity-
with particular emphasis on the 2030 Agenda and its
building, research and advocacy. Addressing global agendas
Sustainable Development Goals (SDGs).
such as the SDGs is central to this. In partnership with several
We welcome this initiative and want to commend both the other global and regional networks, in the years preceding
British Council and Nordicity for the excellent contribution the adoption of the SDGs, UCLG campaigned to ensure
that the report makes to our knowledge on the relation that culture would be given its due place under the banner
between culture and the SDGs and how to make it effective ‘The Future We Want Includes Culture’ (#culture2015goal).
through action on the ground. As the authors suggest, there Whereas the resulting SDGs fall short of our expectations,
is a need to strengthen the narratives connecting culture and we remain convinced that cultural aspects are necessary
the SDGs, and this report serves this purpose very well. to achieve progress in many areas, even where the 2030
Agenda fails to make such connections explicit.
Several of the report’s findings and recommendations
are strongly aligned with the work of the Committee on Reports such as this can contribute to rendering the implicit
Culture of the global network of United Cities and Local connection between culture and other areas of sustainable
Governments (UCLG). Among them is the need to engage development more visible. They also show that, even though
communities, develop participatory approaches and draw on cultural organisations do not always use the language of
local knowledge in order to foster sustainable development sustainable development, their work is clearly relevant in
and achieve the SDGs. Other critical conclusions include the this area. In the long run, we believe more comprehensive,
need to improve monitoring and evaluation mechanisms and holistic agendas are needed, in which culture is given a more
information systems more broadly, and the importance of prominent position, recognising both its contribution to the
conducting longitudinal work, since positive results require achievement of economic, social or environmental goals
long-term efforts. and the inherent value that heritage, creativity, diversity
and knowledge have for lives worth living. As the authors
The Covid-19 pandemic has shown how cultural participation
suggest, this may require developing more sophisticated
is essential to people’s lives, and therefore, the urgency of
monitoring and evaluation mechanisms, which combine
the tasks described above to guarantee that culture is not
quantitative and qualitative aspects. Very often, the meaning
missed in the policies and programmes for the recovery.
of culture for sustainable development is difficult to narrow
It is also particularly important to highlight, as the report down to individual targets – it should rather be understood
does, that broader coordination of stakeholders from as enabling forms of participation and meaning-making,
different sectors and levels of government is required generating a setting in which communities can achieve their
in order to foster policy innovation and enhance our goals. This also serves to reinforce the importance of acting
understanding of the connection between culture and the at the local level and ‘localising’ the SDGs, something which
SDGs. UCLG actively advocates.

5
We are honoured to have been asked to write this
response and encourage the British Council, as well as
other arts and cultural organisations and development
agencies, to draw inspiration from the examples and
recommendations presented.
Over the last few decades, a more complex
understanding of development has emerged,
introducing aspects related to education, health, the
environment, gender, and human rights, among others.
Each of these steps has required the engagement
of many stakeholders active at different levels.
Similarly, there is a space for stronger engagement
and collaboration to give culture its due place in all
approaches to sustainable development.

Emilia Saiz
Secretary General
United Cities and Local Governments – UCLG

6
Introduction

The Missing Pillar – Culture’s Contribution to the Sustainable Section I — Culture and Sustainable Development:
Development Goals highlights the importance of culture a literature review
to the UN’s Agenda 2030 and its Sustainable Development
In order to provide baseline evidence on culture’s
Goals (SDGs). It provides an overview of the main frameworks
contribution to the UN SDGs, Nordicity carried out a robust
and institutions that currently engage with the SDGs, analyses
review of international literature by academic institutions
the SDGs through a cultural lens, offers examples of relevant
and cultural organisations, including the British Council. The
British Council programmes, and sets out recommendations
literature describes how culture can play a powerful role
for the arts and culture sector to demonstrate the value of
in working towards the SDGs, directly and indirectly, with
arts and culture to sustainable development.
a focus on contributing to positive social and economic
This report is a summary of the research and mapping outcomes via education, protecting and promoting tangible
carried out by Nordicity on behalf of the British Council,1 and intangible heritage, as well as digital engagement and
drawing upon desk research and interviews with British technologies.
Council staff in consultation with three external advisors.2
Section II — Analysis of the Sustainable Development
The findings of this report are of particular interest to
Goals through the British Council programmes
policymakers, public bodies, cultural organisations,
international development organisations, and local The report examines the relevant goals, targets and
authorities. It can inform policies, programme development indicators and their correlation with culture, based on an
and delivery, funding mechanisms, research and evidence analysis of the British Council’s programmes around the
gathering and contribute to strengthening the cultural sector world. The purpose of this analysis was to identify how the
in the sustainable development agenda. The British Council British Council and the wider cultural sector responds to
plans to carry out a follow up research exercise in the near specific goals through a cultural lens and the benefit of this
future to explore the progress made and the evidence to to achieve the given goals, targets and indicators. All SDGs
support culture’s contribution to the SDGs. and their associated targets and indicators were reviewed to
identify which ones could be seen to be most relevant to arts
Methodology
and culture.
Nordicity carried out four distinct steps: a literature
A formal mapping exercise was then conducted in which
review; a mapping exercise of British Council programmes
15 British Council programmes were analysed and mapped
in the sector; the development of case studies; and an
to specific SDG goals, targets and indicators. In addition to
analysis phase to generate recommendations for both the
programmes, the research also presented a list of themes
British Council and the wider cultural sector. The project
where culture contributes to the SDGs including education,
Team undertook a four-phase mixed methods approach,
cultural heritage, positive social outcomes, technology, and
centred on an extensive document review which includes
gender.
external reports from a variety of sources and programme
documentation from the British Council. In addition, the The mapping highlighted 11 SDGs that are relevant to the
project team carried out key informant interviews with British British Council programmes, and the associated targets and
Council staff. indicators for these goals that the organisation is making a
direct or indirect contribution towards. It also identified some
The report examines the relevant goals, targets and
of the key goals, targets and indicators that the organisation
indicators and their correlation with culture, based on an
has the potential to contribute towards through its cultural
analysis of the British Council’s programmes around the
relations mission and global network. Case studies have
world. The purpose of this analysis was to identify how the
been included against several of the SDGs, although each
British Council and the wider cultural sector responds to
programme analysed responds to more than one SDG in line
specific goals through a cultural lens and the benefit of this
with their cross-cutting nature.
to achieve the given goals, targets and indicators.

7
Section III — Recommendations
The report outlines recommendations for how cultural
contributions towards sustainable development could be
captured – and increased – more effectively. Overall, nine
recommendations emerged from the research and analysis
for incorporating the SDGs into arts and culture programmes
and measuring culture’s contribution to the SDGs. These
recommendations are both relevant to the British Council and
to the wider sector, and have been collated and summarised
in the report.

• Adopt the language of the SDGs.

• Develop training programmes that highlight the role of
arts and culture in the SDGs.
• Work with community members and partners in
developing, delivering and evaluating cultural
initiatives.
• Advocate for specific outcomes that respond to
individual SDGs through arts and culture.
• Select key targets and indicators to mainstream
throughout projects.
• Collect baseline data to better monitor impact and
recognise the need for longitudinal evaluations.
• Monitor stakeholder, media and digital engagement.
• Leverage digital technologies to increase engagement
with the SDGs.
• Address climate change as a cross-cutting theme.

8
Section I — Culture and
Sustainable Development Goals:
a literature review
What are the SDGs? At the same time, Bond, the UK’s network for organisations
working in international development, carried out a review of
With the adoption of the 17 United Nations’ Sustainable
the UK’s global contribution to the SDGs. The review suggests
Development Goals (SDGs) and the 169 associated targets in
that the UK faces challenges with regards to implementation,
2015, the international community committed to a broad and
with contradictory policies and programming goals.11 It
universal policy agenda that seeks to strengthen the social,
advocates for a local civil society-led approach, shared
economic and environmental dimensions of sustainability by
ownership and collaboration between the UK government,
2030.3
international civil society and other stakeholders. It also calls
From 2000 to 2015, the global development agenda was for “the UK [to] do more to ensure the content of its own
guided by the Millennium Development Goals (MDGs).4 Whilst VNR and any actions following the HLPF are directed by the
the MDGs engaged with crucial issues and the inequality perspectives and approaches of local civil society, especially
between the Global North and the Global South, one of the in the Global South where the UK is investing the most to
key lessons learned from the MDGs is that ‘one size does not deliver the SDGs”.12
fit all’ – different cultural perspectives demand different paths
The British Council has notably contributed to the UK
to development.5 The SDGs introduce a new paradigm where
VNR,13 indicating progress on achieving the SDGs at home
development is a collective journey, and that all cultures,
and overseas, and reaffirming its commitment to the 2030
civilisations and countries can contribute to and benefit
Agenda more broadly. The British Council also presented
from sustainable development.6 They allow the international
its cultural relations approach, inclusive growth agenda
community to increase the breadth of certain issues and to
and case studies of a number of programmes at the UN
look at the contributing factors to other areas, demonstrating
High Level Thematic Debate on Culture and Sustainable
the complexity and cross-cutting nature of many of today’s
Development in May 2019, held pursuant to General
global challenges. The 2030 Agenda seeks to support
Assembly resolution 72/229 of December 2017, and in
countries and stakeholders in transforming their approach
partnership with UNESCO.
to working towards inclusive, people-centred sustainable
development,7 by identifying critical thematic areas, universal In 2016, the British Council commissioned Collingwood
targets and, through SDG 17, endorsing collaboration at a Environment Planning (CEP) to conduct a baseline
local, national and international level.8 assessment of how the British Council contributes to the
achievement of a sub-set of ten SDGs. The report highlights
Together, the SDGs integrate and balance the three pillars
that the SDGs’ emphasis on national governments defining
of sustainable development – economic, social, and
relevant targets and indicators has the benefit of enabling
environmental. However, from the perspective of UNESCO
countries to translate the goals into targets and indicators
and many other cultural actors, culture is a ‘missing pillar’ of
relevant to their own realities, thus promoting national
sustainability.
ownership.14 It also proposed that the British Council
What is the UK’s position on the SDGs? should take the lead in outlining appropriate indicators
for UK international development efforts.15 Following the
The UK played an important role in the development of
recommendations of CEP, this report was commissioned
the SDGs, and it is one of 47 countries that volunteered
to outline recommendations for how specifically arts and
to present its Voluntary National Review (VNR) to the UN
culture can contribute towards sustainable development and
High-Level Political Forum (HLPF) in July 2019.10 The UK
how this impact could be captured – and increased – more
VNR refers at several points to the SDGs as a ‘collective
effectively.
agenda’, one that is grounded in global understanding and
solidarity. Indeed, in reference to Target 10.3 and South
Asian countries, the report notes the role of aid and trade
relationships and other diplomatic and cultural links, and how
these ‘create collective responsibility’.
The arts have the potential to contribute to the development
of this sense of understanding, as well as provide a way in
which to facilitate collaboration.

9
 DICE fund collaboration project between ZU-UK and La Da Fahvelinha.
©Garota Hacker

Lá da Favelinha is a cultural centre in Aglomerado da Serra, Brazil.

The centre offers free creative classes to local youngsters and pays
for the services of more than 70 independent creative professionals
who are making a living there as micro entrepreneurs. Pictured is the
end of a fashion show by Remexe, a fashion label supported by a DICE
Collaboration grant that specialises in upcycling genderless fashion
and is led by LGBTQ+ and non-white women.
10
What is the link between Culture and sustainable innovation, entrepreneurship, and employment. Enhanced
development? trade in cultural goods and services strengthens local and
national markets and can contribute to the empowerment
The United Nations Educational, Scientific and Cultural
and inclusion of all people, irrespective of age, sex, disability,
Organisation (UNESCO) defines culture as ‘that complex
race, ethnicity, origin, religion or economic status.27
whole which includes knowledge, beliefs, arts, morals, laws,
customs, and any other capabilities and habits acquired by [a In the UK, the ‘Culture White Paper’ from the Department
human] as a member of society.’16 for Digital, Culture, Media and Sport emphasises that culture
creates huge benefits by providing a better quality of life
Culture and international development have long been
and well-being within local communities.28 To highlight the
recognised as having a reciprocal and interdependent
impact of the arts and culture in the development sector,
relationship that has evolved over the last 30 years.17 J.P.
the British Council commissioned the Change Collective to
Singh’s study, ‘Culture and International Development:
write a thought piece, ‘Arts, Culture and Development – The
Towards an Interdisciplinary Methodology’, commissioned by
Tricky Balancing Act’. The Change Collective emphasises
the British Council, provides an outline of the history on this
that both the development and art sectors are beginning to
topic.18 Throughout the 19th century, development efforts
embrace the idea of doing things differently, and that a more
were guided by industrialisation and Keynesian ideas that
socially-engaged artistic practice can add real value to the
became salient with international organisations, development
development world. Within the context of the development
agencies and developing country governments.19 Until the
sector, the arts contribute to addressing divisive narratives,
1980s, culture was ignored in the technocratic and neo-
fostering human experiences, supporting skills development
liberal economic models that contributed to the development
and building empowerment.29 Furthermore, the British
efforts by post-war institutions, such as the World Bank
Council has explored the notion of Cultural Heritage for
or bilateral aid agencies. Over recent decades, culture
Inclusive Growth, recognising the role of cultural heritage
has gained increasing recognition within international
(both tangible and intangible) in sustainable development
development discourse with particular emphasis on the
more broadly.30 It has also explored the relevance of the
concept of sustainability,20 its positive impact on individuals
Cultural Protection Fund (managed by the British Council
and communities, and as a way to contribute to wider social
in partnership with the UK Department for Digital, Culture,
and economic aspects of development.21
Media and Sport) to the SDGs in its annual report in
UNESCO has played a critical role in promoting and 2018-2019.31
advocating culture as an important dimension of sustainable
Where is culture in the SDGs?
development, shifting international development discourse
from an economic perspective to include social and Even though the SDGs did not include culture as a stand-
environmental perspectives as well. The 2005 ‘Convention alone goal, the resulting 2030 Agenda includes several
on the Protection and Promotion of the Diversity of Cultural explicit references to aspects of culture. Throughout the
Expression’, for example, was the first standard-setting 2030 Agenda, culture is integrated in a cross-cutting manner
instrument that linked culture and sustainable development across the various goals and targets. The preamble of the
at the heart of rights and obligations of Parties.22 In 2030 Agenda for Sustainable Development states that: ‘We
particular, the Convention aimed to integrate culture as a (...) recognize that all cultures and civilizations can contribute
strategic dimension,23 including within international and to, and are, crucial enablers, of sustainable development.’32
national development plans, thereby ensuring the emergence
of dynamic cultural sectors around the world.24 The following targets are noteworthy:33
UNESCO has long asserted that strategies to achieve Target 4.7 refers to the aim to ensure that all learners acquire
sustainable development need to be people-centred, the knowledge and skills needed to promote sustainable
whereby culture is a key driver of people’s participation, development, including, among others, through education for
ownership and creativity: global citizenship and the appreciation of cultural diversity,
and of culture’s contribution to sustainable development.
‘By safeguarding cultural heritage in all its forms, both
tangible and intangible; promoting the diversity of Target 8.3 addresses the promotion of development-oriented
cultural expressions; ensuring access to cultural spaces, policies that support productive activities as well as, among
infrastructure and institutions; and protecting the rights of others, creativity and innovation.
all peoples to enjoy and share their culture free from fear,
Targets 8.9 and 12.b refer to the need to devise and
people are rightly placed at the heart of local and national
implement policies to promote sustainable tourism, including
strategies for sustainable development.’25
through local culture and products, and to the need to
As highlighted in a recent study by UNESCO, many countries develop suitable monitoring tools in this area.
have begun to view culture as an asset in eradicating
Target 11.4 highlights the need to strengthen efforts to
poverty, addressing social inclusion and inequality, and
protect and safeguard the world’s cultural and natural
creating economic growth.26 Not only can culture renew
heritage.
and create economic opportunities, it can also boost

11
Despite the limitations of Agenda 2030 when it comes to to development.42 Subsequently, UNESCO gathered 120
culture, the SDGs open a new way for more ministers of Culture on 18 November 2019,43 where they
culturally-sensitive approaches to achieve better launched their thematic indicators on Culture for the 2030
development outcomes and integrate culture into policies Agenda.44
for social and economic inclusion and environmental
Following the adoption of 2030 Agenda, the European
sustainability.
Union (EU) developed The New European Consensus on
Development in 2017 to align its development policy with the
How is culture and the SDGs perceived by the culture
SDGs. Paragraph 35 of the Consensus explicitly recognises
sector and policymakers?
culture as an important enabler of sustainable development,
Although culture has long been recognised as a crucial and asserts that the Union and its Member States ‘will
element in international development and social impact promote intercultural dialogue and cooperation and cultural
work,34 its contribution has long been undervalued.35 In diversity, and will protect cultural heritage, boost the cultural
recent years, there have been intense efforts from UNESCO and creative industries and will support cultural policies
and a number of regional and global civil society and cultural where these would help achieve sustainable development.’ 45
organisations to integrate culture into the SDGs and the post-
Furthermore, in the mandate of the new College of
2015 development agenda.36
Commissioners, the President Ursula Van der Leyen made
In the cultural sector, a campaign was developed for clear that “Each Commissioner will ensure the delivery of
#culture2015goal including a number of European and the United Nations Sustainable Development Goals within
international cultural organisations and think tanks, led by their policy area. The College as a whole will be responsible
UCLG Agenda 21 for Culture. Building on these commitments, for the overall implementation of the Goals.”46 A recent
the campaign has recently been relaunched and rebranded reflection paper “Towards a Sustainable Europe by 2030”
#culture2030goal, and a report has been published entitled: also recognised that the EU should “harness the full potential
“Culture in the Implementation of the 2030 Agenda”, of education, training and culture as drivers for job creation,
including key messages and recommendations on the role economic growth and social fairness”.47 This renewed
that culture is playing (and should play) in the implementation approach paves the way for the mainstreaming of the SDGs
of the SDGs.37 in European policymaking, and for culture’s role to be
acknowledged.
In seeking to incorporate culture into the 2030 sustainable
development agenda, UNESCO commissioned a thematic The Cultural Affairs Committee of the Council of the
think piece in 2012 highlighting that not only can cultural European Union has recently approved a Resolution on
heritage, cultural and creative industries, sustainable cultural the Cultural Dimension of Sustainable Development.48 It
tourism and cultural infrastructure be drivers of economic encourages EU Member States to exchange best practices,
growth, they can also lead to social and environmental consult with the cultural sector, and include culture in their
benefits such as greater social inclusiveness, resilience, Voluntary National Reviews of the SDGs. It also calls on the
innovation, creativity, and entrepreneurship for individuals European Commission to prepare an action plan on the
and communities through the use of local resources, skills, cultural dimension of sustainable development for the EU’s
and knowledge.38 UNESCO hosted a series of conferences implementation strategy for the 2030 Agenda.
concluding that the post-2015 agenda should include a
The Organisation for Economic Co-operation and
specific goal focused on culture accompanied by relevant
Development (OECD) has recently set up a Culture
targets and indicators.39 This led to the Florence Declaration
and Local Development team as part of the Centre for
that explicitly argued that the ‘core principles and priorities
Entrepreneurship, SMEs, Regions and Cities (CFE). In
to be included in the elaboration process of the post-2015
December 2018, they organised their first International
development agenda’ should fully integrate culture into
Conference on Unleashing the Transformative Power of
sustainable development strategies and policies at every
Culture and Creativity for Local Development, in partnership
level.40
with the European Commission, UNESCO, Fondazione di
After the 2030 Agenda was adopted, in 2017, UNESCO Venezia, Città di Venezia (key partners), British Council,
claimed that culture could contribute directly to many of CoopCulture, European Creative Business Network — EBRD,
the SDGs relating not only to education, but also economic and International Council of Museums — ICOM (partners).49
growth, the reduction of inequalities, the protection of the The conference brought together representatives from
environment, the promotion of gender equality and peaceful government local authorities, the development sector,
and inclusive societies.41 On 21 May 2019, the UN General the arts and heritage sector, academics, researchers,
Assembly and UNESCO held a high-level debate on culture Italian government and students. The main themes of the
and sustainable development in New York. The event’s conference were centred around the role of creativity and
objectives were to highlight the connection between culture culture for economic growth, wellbeing, social inclusion,
and environmental challenges, to debate the role of culture and civic engagement. There was a focus on gathering data,
in the achievement of the SDGs, and to demonstrate how creating jobs, developing skills, valuing cultural heritage,
culture, artistic education, and creative industries contribute boosting innovation and finding digital solutions.

12
Findings of the literature review
Despite the growing recognition of the role culture plays
in sustainable development, there is a significant gap in
the literature on the implementation of the SDGs through
a cultural lens. Culture is only mentioned directly once in
the SDGs in the context of cultural heritage under SDG 11:
sustainable cities and communities. This calls for a need to
create precise tools, including targets and indicators, in order
to advance and evidence culture’s contribution towards each
dimension of sustainable development.
Whilst there is ongoing research in the development and
implementation of such tools, precise SDG targets and
indicators would be necessary for advancing and evidencing
the role of culture in contributing to each of the dimensions
of sustainable development. Furthermore, little consistency
exists in how the public, private and non-governmental
sectors can monitor and evaluate their own progress in
applying culture to development-oriented initiatives (or vice
versa). This variance is in part due to different cultural values,
norms, worldviews and application of culture-driven policy
and programmes in local contexts.50
The monitoring and evaluation of the value of culture in
achieving the SDGs will require broader coordination of
relevant public authorities from different sectors and levels
of government so as to provide a basis for policy innovation
in using culture as a ‘driver’ and ‘enabler’ in sustainable
development.51

13
 Cultural Protection Fund, Iraq
©Rashad Salim

The Ark for Iraq project is revitalising and

documenting the endangered watercraft
heritage of traditional boats in central
and southern Iraq.
Pictured is a Shasha reed bundle boat on
the Euphrates.
14
Section II — Analysis of the
Sustainable Development Goals
through a cultural lens
Based on the literature review, Nordicity identified
several key thematic areas that connect arts and
These programmes have
culture with several of the SDGs: education, tangible been captured as examples
and intangible cultural heritage, social development,
gender equality, and technology. The crosscutting
under each of the SDGs
nature of the SDGs and of culture means that there is where they are responding
directly or indirectly to the
no “one size fits all” and there are connections to be
made between thematic areas.
The below section examines the relevant goals, related targets.
targets and indicators and their correlation with Based on the 15 British Council programmes
culture, to identify in more detail how to respond analysed, 11 goals were deemed to be particularly
to specific goals through a cultural lens and the relevant. This list is not exhaustive, and other SDGs
benefit of this to achieve the given goal, targets and can be seen to be relevant to arts and culture
indicators. initiatives, particularly those focusing on planet as
A total of 15 British Council arts and cultural identified in the recommendations.
programmes were mapped to the SDGs, including their
related targets and indicators.

SDG 1 – End poverty in all its forms everywhere.

SDG 3 – Ensure healthy lives and promote well-being for all at all ages.
SDG 4 – Ensure inclusive and equitable quality education and promote lifelong learning opportunities
for all.
SDG 5 – Achieve gender equality and empower all women and girls.
SDG 8 – Promote sustained, inclusive and sustainable economic growth, full and productive
employment and decent work for all.
SDG 9 – Build resilient infrastructure, promote inclusive and sustainable industrialization and foster
innovation.
SDG10 – Reduce inequality within and among countries.
SDG 11 – Make cities and human settlements inclusive, safe, resilient and sustainable.
SDG 12 – Ensure sustainable consumption and production patterns.
SDG 16 – Promote peaceful and inclusive societies for sustainable development, provide access to
justice for all and build effective, accountable and inclusive institutions at all levels.
SDG 17 – Strengthen the means of implementation and revitalize the Global Partnership for
Sustainable Development.

15
Nordicity’s research largely focuses on the ‘goal’ and This analysis of the individual SDGs is presented alongside
‘targets’ level of the SDGs, though consideration is also case studies of British Council programmes aligned with
given to the indicators. The analysis consisted in reviewing those goals.
all of the targets for a given goal to identify which
appeared to be relevant to arts and cultural initiatives, and According to Nordicity’s research, the table below outlines
which targets and indicators the British Council is already which targets and indicators were deemed as directly or
contributing to or able to report on through the selected indirectly relevant to the 11 SDGs analysed, and those that
programmes. were not deemed to be relevant.

SDGs52 Direct relevance Indirect relevance Not relevant

SDG 1 1.1, 1.2 (1.1.1, 1.2.1 and 1.2.2), 1.4, 1.5, Indicators for 1.4, 1.5, 1.b
1.a (1.a.3), 1.b

SDG 3 3.9 Indicators for 3.9

SDG 4 4.3 (4.3.1), 4.4, 4.5 (4.5.1), 4.7 4.4.1, 4.6 (4.6.1), 4.7.1,
4.c
SDG 5 5.1, 5.2, 5.5 (5.5.1), 5.b, 5.c Indicators for 5.1, 5.2, 5.b, 5.c

SDG 8 8.2, 8.3, 8.5, 8.6, 8.9, 8.9.2 8.2.1, 8.3.1, 8.5.1,
8.5.2, 8.6.1, 8.9.1
SDG 9 9.3 9.b, 9.c

SDG 10 10.1, 10.2, 10.2.1, 10.7 10.7.1, 10.3 and 10.b 10.1.1

SDG 11 11.3, 11.4, 11.7, 11.a, 11.c Indicators for 11.7

SDG 12 12.a, 12.b, 12.b.1 Indicator for 12.5

SDG 16 16.7, 16.7.2 16.6 Indicators for 16.6

SDG 17 17.3, 17.6, 17.7, 17.9, 17.9.1, 17.16, 17.7.1, 17.16.1, Indicators for 17.6
17.17, 17.17.1

16
SDG 1: No poverty

Background Link to culture

The first Sustainable Development Goal (SDG 1) is one of the Culture has the potential to address the economic and
broadest and all-encompassing goals. Calling for an end to social dimensions of poverty and fight against it. Arts and
poverty in all its manifestations by 2030, it underpins the cultural engagement can broaden the opportunities for
wider SDG project. Although the number of people living and agency of vulnerable groups, foster resilience, enable
in extreme poverty more than halved between 1990 and citizen participation and community empowerment, enable
2015, with the Millennium Development Goals contributing to intercultural dialogue, and advocate for equal rights.
this significant reduction, many people worldwide continue As the most rapidly expanding economic sectors in
to struggle with lack of income and resources to ensure a industrialised and developing countries, the cultural and
sustainable livelihood. This leads to suffering from hunger creative industries make a direct contribution to poverty
and malnutrition; limited access to education and other basic reduction by generating income, creating employment and
services; social discrimination and exclusion; and a lack of supporting marginalised individuals and groups with safe and
participation in decision-making.53 accessible creative spaces within which to contribute to the
economic and social development of their societies.55
SDG 1 makes it clear that the momentum in poverty
reduction is expected to keep growing and recognises a Support for arts and cultural activities can play a key role
greater diversity of indicators and causes of poverty. Within in addressing some of the aspects of poverty reduction
this goal and the associated targets and indicators, a wide included in the scope of SDG 1, such as skill development,
range of social issues are addressed, including welfare, sustainable and inclusive growth and employability. The
discrimination and the ownership of natural resources. cultural and creative industries, cultural tourism and the
The goal aims to ensure social protection for the poor and safeguarding of cultural heritage are powerful drivers of
vulnerable, increasing access to basic services, technology, poverty reduction, sustainable economic growth, and job
and to support people harmed by climate-related extreme creation.56 Furthermore, the arts and culture sector is well
events and other economic, social and environmental shocks positioned to bring socially contentious issues into the public
and disasters.54 sphere, prompting wider discussions, activism, advocacy and
change.
SDG 1 is relevant to a vast array of programmes delivered
in the arts and cultural sector; however, it could be said that
the links are not always clearly articulated. Given the broad
scope of SDG 1, there could be a significant opportunity to
align British Council programmes more closely with this SDG.

Cultural Heritage for Case study

Inclusive Growth
Cultural Heritage for Inclusive Growth is an action research In Colombia, Sembrando Nuestros Saberes is working with
programme currently taking place in Vietnam, Colombia six indigenous communities to recover and strengthen
and Kenya.57 It aims to ensure cultural heritage in its widest their cultural heritage, providing opportunities for cultural
sense is valued and is of social and economic benefit across survival, sustainability and welfare. Community assemblies,
society. The programme explores this global concept with field visits, cultural heritage mapping and documentation,
local solutions, taking a people-centred ethos and providing tailored intergenerational workshops and research projects
an enabling environment for inclusive growth, based on are being developed and delivered with elders for capacity
understanding of local contexts and an appreciation of building and protection. Additional programme themes
cultural diversity. UK and local partnerships include libraries, include ethno-ecotourism, creative economy and working
museums, communities, universities, training centres, with stakeholders and allies across society. The communities
festivals, ministries, local authorities, and funding bodies. have also taken part in the national Expoartesanias craft
Through the focus on cross-society collaboration, skills fair and an international symposium to share learning,
development and social engagement in cultural heritage, exchange, and increase the visibility and understanding of
the programme may ultimately play a role in reducing cultural heritage.
poverty and leaving no one behind.

17
In Vietnam, Heritage of Future Past seeks to protect and Target 1.1: By 2030, eradicate extreme poverty for all people
revitalise the country’s music and film heritage that is everywhere, currently measured as people living on less than
under-represented or at risk of disappearing. Working with $1.25 a day (indirect).
ethnic minority and rural groups, the Community Cultural
Target 1.2: By 2030, reduce at least by half the proportion of
Heritage strand focuses on education, conservation,
men, women and children of all ages living in poverty in all its
community-based tourism, research, and documentation
dimensions according to national definitions (indirect)
to safeguard and build local capacity in communities. The
second strand, Film-Archive-Music Lab (FAMLAB), connects Target 1.4: By 2030, ensure that all men and women, in
these communities with artists, creative practitioners and particular the poor and the vulnerable, have equal rights
institutions through contemporary practices, experimentation to economic resources, as well as access to basic services,
and innovation. To raise awareness of the value of this ownership and control over land and other forms of property,
cultural heritage, the project engages with policymakers inheritance, natural resources, appropriate new technology
and audiences through open consultation and high-level and financial services, including microfinance (indirect).
discussions.
Target 1.A: Ensure significant mobilization of resources from a
In Kenya, #CultureGrows aims to increase visibility, variety of sources, including through enhanced development
ownership, accessibility, inclusivity and transmission of cooperation, in order to provide adequate and predictable
cultural heritage by promoting contemporary practice, youth means for developing countries, in particular least developed
participation and technology. With partners Book Bunk, countries, to implement programmes and policies to end
the project revives an old colonial library and community poverty in all its dimensions (direct).
spaces as centres of culture, learning and engagement. In
Other relevant SDGs: 4, 5, 8, 9, 10, 11, 12, 17.
collaboration with African Digital Heritage, Mount Kenya
University and University of West of Scotland, training
programmes provide technical and transferable skills to
individuals and organisations. With HEVA East Africa Fund,
seed grants have supported and stimulated those at the
forefront of promoting cultural heritage to share Kenya’s
stories. A symposium helped facilitate exchanges across
society and East Africa grass-root-level and governmental
initiatives.

Cultural Heritage for Inclusive Growth,

Kenya. ©Afro Films International Ltd
Harriet Ng’ok from Harriet’s Botanicals
developing traditional herbal products
with her community.

18
SDG 3: Good health and
well-being
Background
The more comprehensive approach to health and wellbeing
SDG 3 aims to ensure healthy lives and promote well-
that SDG 3 puts forward offers numerous opportunities for
being for all ages. The goal combines three Millennium
arts and culture programmes to be part of the global health
Development Goals that focused on issues that particularly
agenda. The arts can be used to communicate important
affect countries in the Global South: reducing childhood
information in innovative and effective ways. In order to
mortality, improving maternal health and combating HIV/
respond to this SDG 3, programmes would need to be
AIDS, malaria and other diseases. Some of these previous
designed around specific targets or indicators to advocate
goals have now been given specific targets within SDG 3;
for or engage with certain topics or issues. To have greater
however, the new goal incorporates a broader spectrum of
impact, participants must be involved in the early stages of
illnesses and health conditions. These include mental health
programme development to ensure that issues are dealt with
(Target 3.4) and addiction (Target 3.5). By recognising the
in an appropriate and sensitive manner in a participant-led
role that accidents and pollution can play in deaths, as well
way.
as the importance of education and information for both
consumers and healthcare professionals, there is an attempt The most relevant targets are those focused on prevention,
to treat health as a broad topic that cannot be isolated from promotion and access where arts and cultural interventions
the other SDGs. could contribute to awareness-raising.
Link to culture
The benefit of arts for mental health and for wider aspects
of wellbeing is clearly documented. In the UK, for example,
Public Health England has developed a specific evaluation
named ‘Arts for health and well-being’.58 Aesop (Arts
enterprise with a social purpose) and BOP Consulting have
published the ‘Active Ingredients’ report on arts interventions
in health and social contexts. It emphasises that “there is
something particular – some property, some dynamic – in
the arts experience itself which enables certain outcomes to
occur and which are inseparable from the experience”.59

19
Golden Thread Case study

Golden Thread was a British Council-led programme from For organisational wellbeing, the programme focused on
2015 to 2016.60 It was part of the Foreign and Commonwealth sustainability by strengthening their skills and capacity,
Office (FCO) initiative in international development which and by developing international networks and long-term
sought to encourage open societies that promote individual partnerships. Many of the projects continued beyond the
and social wellbeing, and freedom of expression. 14 projects lifetime of the programme, and the approach has been
in developing countries were funded to facilitate change at embedded in country and regional strategies within the
an individual, community and societal level through arts and British Council.
creativity.
3.4: By 2030, reduce by one third premature mortality
The projects aimed to strengthen artists, individuals and from non-communicable diseases through prevention
communities’ sense of wellbeing through self expression, and treatment and promote mental health and wellbeing
self awareness, and building social and cultural capital. (indirect).
To achieve this, projects focused on encouraging a
Other relevant SDGs: 1, 4, 5, 11, 16, 17.
feeling of accomplishment, on developing new forms of
communication, and on exploring personal and collective
identities, which can all contribute to greater wellbeing.

Say it through Breakdancing, Tunisia

©British Council

20
SDG 4: Quality education

Background
SDG 4 aims to ensure inclusive access to quality education SDG 4 is likely to be most effective when educational systems
and training, and to promote lifelong learning and access take the particularities of culture, place and community
to professional teaching qualifications. The goal’s ambition into consideration in line with Target 4.7. Incorporating
is that all girls and boys will have access to quality early culture into educational models helps to ensure that the
childhood development, and can complete free, equitable system is adapted to contemporary needs, preparing young
and quality primary and secondary education. people for life in a globalised and multicultural society. This
approach can take different forms, such as improving access
The breadth of SDG 4 represents a much deeper and more
to and participation in culture within schools and informal
nuanced engagement with the question of education than in
education sectors; the promotion of artistic education,
the Millennium Development Goals, which aimed to achieve
creative and technological abilities for learning, attainment
universal primary education. Despite enormous progress
and skills development; and supporting cultural activities
over the past decades in improving access, progress has
and educational curricula designed by artists and cultural
been tough in some developing regions due to high levels
institutions.63 The cultural sector also regularly promotes
of poverty, armed conflict, and other emergencies. Children
cultural diversity and spaces for intercultural dialogue, for
from the poorest households are up to four times more likely
example through exhibitions profiling different cultures or
to be out of school than those of the richest households.61
practices and by engaging with diverse communities.
The SDGs reflect the global community’s acknowledgement
Highlighting the SDGs in cultural initiatives could help
that simply attending school, or in some cases simply being
respond to target 4.7 and engender a wider appreciation
registered as a primary school student, is not sufficient.
of the role that culture plays in sustainable development.
Through its 10 targets, SDG 4 seeks to ensure all people
In addition, the development of specific training and skills
have equal access to tertiary education, and to increase
programmes that highlight the importance of arts and culture
the number of youth and adults who have relevant skills
in progressing towards the SDGs would respond clearly
for employment.62 The goal highlights key areas of inequity
to SDG 4, linking culture with education for sustainable
in the current provision, addressing gender, access to
development.
early childhood education, disability access, education
for indigenous communities and access to technological
facilities.
Link to culture
Education is an important lens through which the arts and
culture sector can engage with the SDGs. SDG4 provides
specific routes to make these connections through training
and capacity building, awareness-raising and cultural
diversity. In particular, target 4.7 focuses on education for
sustainable development with a clear indication of the role
that culture plays in the achievement of the SDGs.

‘Target 4.7: By 2030, ensure that all learners acquire

the knowledge and skills needed to promote
sustainable development, including, among others,
through education for sustainable development and
sustainable lifestyles, human rights, gender equality,
promotion of a culture of peace and non-violence,
global citizenship and appreciation of cultural
diversity and of culture’s contribution to sustainable
development.’

21
Creative Enterprise Case study
Programme
The Creative Enterprise Programme (CEP) developed Target 4.3: ‘By 2030, ensure equal access for all women
from a long-standing partnership between the British and men to affordable and quality technical, vocational
Council and Nesta to meet an emerging need to and tertiary education, including university’ (direct).
better support those in the growing global creative
Indicator 4.3.1: ‘Participation rate of youth and adults
economy.64 Designed to adapt to regional contexts and
in formal and non-formal education and training in the
respond to local demand, CEP promotes the growth of
previous 12 months, by sex’ (direct).
the creative economy by working with entrepreneurs,
creative industry advocates, creative organisations, Target 4.4: ‘By 2030, substantially increase the number
partners and public bodies to increase awareness and of youth and adults who have relevant skills, including
strengthen local arts ecosystems. technical and vocational skills, for employment, decent
jobs and entrepreneurship’ (direct).
At its core, CEP is a three-day capacity building
workshop that brings Nesta’s Creative Enterprise Other relevant SDGs: 8, 11, 17.
Toolkit to life. It provides knowledge sharing and
exchange through quality enterprise training and
networking opportunities for creative entrepreneurs;
the programme supports them to increase their
confidence and to be more aware of how to
develop and grow their businesses for sustainability.
Between November 2016 and February 2020, 1500
entrepreneurs have taken part in 87 workshops in 43
cities across 25 countries.

Creative Enterprise Programme

Dakar, Senegal, ©Nesta

Designer Selly Raby Kane and rapper

Nix at the first Creative Enterprise
Programme workshop, speaking to
participants about their respective
creative journeys.

22
SDG 5: Gender equality

Background
It should be recognised that existing societal and cultural
SDG 5 aims to end all forms of discrimination against women
norms do also contribute to ongoing gender discrimination
and girls and eliminate all forms of violence and other
and sexual harassment, and that existing social paradigms
harmful practices against them in the public and private
can be reinforced by the arts sector (#MeToo movement),
spheres. Furthering women’s empowerment and achieving
cultural practices and beliefs that have an oppressive effect
gender equality are central to ending extreme poverty and
on women and girls or the LGBT+ community. However,
ensuring inclusive and equitable development.65 As such, the
alongside more policy-oriented interventions, artistic and
Goal seeks to ensure women’s full and effective participation
cultural practice can also provide a more accessible way
and equal opportunities for leadership at all levels of decision
to challenge these norms and engage with sectors where
making in political, economic, and public life. Moreover,
women play an important role, such as the education or
it sets targets of ensuring universal access to sexual and
non-profit sectors. A separate Arts Council England report
reproductive health and reproductive rights.66
highlights the role of the arts in offering ‘a safe place to
This is an evolution of Millennium Development Goal 3, which explore difficult issues, and an alternative shared language’.72
looked to ‘promote gender equality and empower women’.
Target 5.1 aims to end all forms of discrimination against
In this case, the SDG takes a much clearer position, which
women and girls. The media, film and music industries,
is evident in targets that tackle specific aspects of gender
for example, can play a critical role in influencing the
inequality. This SDG is particularly important given ongoing
representation of gender equality through the use of
political and sociological questions globally with regards to
language and depiction of gender relations and dynamics
women’s empowerment, gender-based discrimination and
thanks to the large audience reach. Artists and cultural
violence, and sexual harassment.
initiatives and personalities can influence and prompt public
While the gap in economic empowerment between men discussions and debate and encourage progress towards
and women remains high in both developed and developing gender equality, such as progressive artists drawing attention
countries, culture can help broaden income-generating to gender inequality, female role models in the arts, or
opportunities for women and girls to take part in the cultural specific programmes that advocate for gender equality.
and creative industries within their communities.67 The
The British Council has taken crucial first steps in this work
increased linkages between cultural activities and economic
by raising important topics and engaging with stakeholders
gain offer women improved employment and entrepreneurial
through a dedicated Gender team. There is an opportunity to
opportunities, enhance their capabilities in employability
develop more specific programmes that contribute towards
and entrepreneurship, and allow women to advance in other
SDG 5 and align with the sustainable development agenda.
sectors as well, such as education.68
Link to culture
SDG 5 is relevant to a wide range of programmes and
projects in the arts and cultural sector, as culture can
contribute to furthering women’s empowerment and gender
equality. Understanding the socio-cultural context and
fostering cultural participation is critical in order to increase
resilience, reduce vulnerabilities and address gender-based
violence69 to achieve gender equality.70 Gender relations are
critical in the transmission of cultural knowledge and skills,
the protection and safeguarding of cultural heritage, the
promotion of equal rights and access to cultural life, and the
emergence and strengthening of the cultural and creative
industries.71

23
Women of the World Case study

WOW — Women of the World is a global movement Target 5.1: End all forms of discrimination against all women
celebrating women and girls, taking a frank look at some of and girls everywhere (indirect).
the obstacles they face across the world.73 It was launched
Target 5.2: Eliminate all forms of violence against all women
by Jude Kelly CBE at Southbank Centre London in 2010 and is
and girls in the public and private spheres, including
produced by the WOW Foundation globally.
trafficking and sexual and other types of exploitation
(indirect).
Since 2016, the British Council has worked in partnership
with the WOW Foundation to support WOW activity across Target 5.3: Eliminate all harmful practices, such as child, early
South Asia (Pakistan, Bangladesh, Nepal, Sri Lanka) and more and forced marriage and female genital mutilation (indirect).
recently in Brazil and Turkey. Through this activity, the British
Target 5.5: Ensure women’s full and effective participation
Council aims to:
and equal opportunities for leadership at all levels of
decision-making in political, economic and public life (direct).
• Provide opportunities for women’s civic engagement;
Target 5.6: Ensure universal access to sexual and
• Promote women and girls agency; reproductive health and reproductive rights (direct).
• Challenge and shift perceptions and attitudes towards Target 5.c: Adopt and strengthen sound policies and
gender equality by raising awareness, involving men and enforceable legislation for the promotion of gender equality
boys, and supporting women leaders. and the empowerment of all women and girls at all levels
(indirect).
WOW activities include think-ins, chapters, festivals, Other SDGs: 4, 10, 12, 17.
performances, debates and discussions run by local curators
and partners, with the presence of policymakers and the
general public.

Speed mentoring at
Women of the World
Festival, Nepal 2019
©British Council

24
SDG 8: Decent work and
economic growth
Background
Target 8.2 focuses on the high-value added and labour-
SDG 8 promotes ‘sustained, inclusive and sustainable
intensive sectors and aims to increase the levels of economic
economic growth, full and productive employment and
productivity through technological upgrading and innovation.
decent work for all’. This goal aims towards the achievement
Many of the industries in the arts and cultural sector could
of sustained per capita economic growth with higher
qualify as relevant to this target, in particular the crafts
levels of economic productivity and development-oriented
sector.
policies, thus leading to the creation of decent work and
entrepreneurship. It also seeks to address the achievement Target 8.3 focuses on the policy-making aspect of promoting
of full and productive employment and decent jobs for all sustained, inclusive and sustainable economic growth. Many
women and men, including young people and persons with businesses in the creative industries would qualify as micro-,
disabilities; equal pay for work of equal value; the reduction small- and medium-sized and are also reliant on creativity
of the proportion of youth unemployment; the eradication of and innovation for their success. A 2010 report from the
forced labour; and the protection of labour rights.74 SDG 8 European Union recognised the high proportion of SMEs
targets and indicators tend to focus on specific industries or in the Creative Industries.78 Arguably, therefore, any policy
types of industries, and also on specific audience groups. that supports or promotes the creative industries would be
contributing to Target 8.3.
Goal 8 does not have a clear equivalent in the Millennium
Development Goals, but arguably builds on one of the Target 8.5. This target aims to achieve full employment for all
more economic justifications for ODA funding – to facilitate by 2030, regardless of gender, age or disability status. This is
and support the growth of less-economically developed in line with most organisations’ policies on equality, diversity
countries. It is a reflection of the wider SDGs as it adopts a and inclusion and encourages an inclusive approach to
people-centred approach, directly linking national prosperity economic development.
to the success and employment of a country’s citizens.
Target 8.6 is perhaps the target from SDG 8 that most clearly
Link to culture overlaps with SDG 4. It aims to reduce the proportion of
youth not in employment, education or training by 2020.
Active participation in culture is an essential aspect of social
As previously noted, the British Council provides numerous
inclusion and can boost employment and economic growth
training opportunities to young people, and many of these
by increasing civic participation, enhancing minority voices,
programmes aim to increase their employability. There are
and growing mutual recognition and cooperation between
clear links between opportunities for skills development,
different generations and cultures.75
poverty reduction and employment linked to SDG 1
Creative industries themselves play a strong role in and SDG 4.
contributing to economic growth and job creation. Cultural
The tourism focus in Target 8.9 aligns closely to arts and
initiatives encourage the renewal and creation of economic
culture programmes, for instance through work focusing on
activities, entrepreneurship and employability, and the
heritage or cultural tourism. Target 8.9 specifically focuses
development of tourism.76 The UK creative industries sector
on the work that countries should do to develop policies that
is a key employer, growing 28.6% between 2011 and 2017.77
promote sustainable tourism that creates jobs and promotes
Arts and culture projects create opportunities for skills
local culture and products.
development and training which increase beneficiaries’
employability and entrepreneurial skills.

25
Developing Inclusive and Case study
Creative Economies (DICE)
Developing Inclusive & Creative Economies (DICE) aims framework aims to encourage collaboration, learning, and
to address profound economic and social exclusion and sharing of opportunities between 37 social and creative
foster systemic and generational change within and across organisations.
ecosystems.79 It focuses on stimulating and strengthening
At a systemic level: DICE engaged with policy influencers and
homegrown creativity, enterprise, and collaboration, primarily
those influenced by policy to create an enabling environment
working with and for women, young people, ethnic minorities
for the inclusion of women in leadership, and changes to
and those disabled by society. DICE was set up in 2018 and
the ecosystem. It encouraged policies that are co-designed
has been piloted in Brazil, Egypt, Indonesia, Pakistan, South
and promote social and economic inclusion through policy
Africa and the UK. To date, DICE has engaged with over
dialogues, workshops, study visits to the UK, and research
15000 artists, influencers, community leaders, entrepreneurs,
projects.
academics, journalists, investors, hubs managers, and policy
makers. It brings together a multitude of stakeholders to co- 8.2: Achieve higher levels of economic productivity through
design, build relationships, share expertise and create spaces diversification, technological upgrading and innovation,
of trust and collaboration. including through a focus on high-value added and labour-
intensive sectors (indirect).
DICE aims to reach three tiers of the ecosystem:
8.3: Promote development-oriented policies that support
At the individual level: The DICE Fellowship Programme in
productive activities, decent job creation, entrepreneurship,
Pakistan and Brazil, AfroLab Brazil, and the Impact Makers
creativity and innovation, and encourage the formalization
and Creators programme in South Africa provided technical
and growth of micro-, small- and medium-sized enterprises,
support and training for individual entrepreneurs and nascent
including through access to financial services (direct).
enterprises seeking to create solutions to challenges in their
communities. In partnership with the magazine Pioneers Post, 8.5: By 2030, achieve full and productive employment and
14 young storymakers received mentoring in journalism and decent work for all women and men, including for young
opportunities to share stories about positive solutions to people and persons with disabilities, and equal pay for work
challenges in their communities with readers worldwide. of equal value (indirect).
At an institutional level: The £1.8 million DICE Fund has 8.6: By 2020, substantially reduce the proportion of youth
supported 28 collaboration projects between UK creative not in employment, education or training (direct).
social intermediaries and their overseas counterparts. It has
8.9: By 2030, devise and implement policies to promote
strengthened the capacity of 60 intermediary organisations
sustainable tourism that creates jobs and promotes local
and supported nearly 6000 creative social enterprises at a
culture and products (indirect).
hyper-local level to co-create initiatives for positive change
in their communities. Similarly, capacity building for creative Other relevant SDGs: 1, 4, 5, 9, 10 and 17.
hubs leaders took place in Brazil, Indonesia and South Africa
(Creative Hubs Academy), Egypt (Creative Hubs Network) and
Indonesia (toolkits for hubs). In the UK, the DICE supplier

DICE, Egypt
©Ashraf Talaat photography

Ekra Abuzeid specialises in

handicrafts and fairtrade goods and
is responsible for the workshop at
NilFurat, a creative hub that supplies
Yadawee, a recipient of a DICE
Collaboration Grant.

NilFurat started in 2013. The project

includes refugees from Syria, Sudan
and Ethiopia and some Egyptians
who are making a sustainable
income through craft.

26
SDG 9: Industry, innovation
and infrastructure
Background
SDG 9 recognises that investment in infrastructure opportunities for international connectivity would be relevant
and innovation are crucial drivers of economic growth to this target. Adopting the language of the SDGs may help to
and development. It highlights the importance of mass make this impact clearer.
transportation systems, adequate sanitation, effective
Other relevant targets include 9.b, which aims to support
infrastructure, and the potential of the renewable energy
domestic technology development, research and
sectors. It also addresses the problem that 4 billion people
innovation in developing countries, and Target 9.c, which
still do not have access to the Internet, and 90% of them are
aims to significantly increase access to information and
in the developing world.80 Goal 9 also highlights the need to
communications technology and to provide universal and
‘foster innovation’, which is more relevant to arts and cultural
affordable access to the internet, which are both relevant to
programmes.
programmes in universities and libraries, for instance.
Link to culture
Initiatives that incorporate arts and culture into other areas
Activity in the arts sector that overlaps with infrastructure, of industrialisation may also contribute to other targets not
industrialisation or innovation can contribute to SDG 9. identified here, by virtue of their innovation. Longitudinal
evaluation approaches would help to clarify the long-term
Target 9.3 focuses on the access of small-scale industrial
impact of these programmes to meet this goal.
and other enterprises, particularly in developing countries,
to financial services and their integration into value chains
and markets. British Council programmes, particularly those
in ODA recipient countries, working with small companies or
individuals to increase their access to global markets and
supply chains through the provision of training or

Creating Opportunities Case study

for South Africa’s Youth

Creating Opportunities for South Africa’s Youth (COSY) is an
EU-funded programme in South Africa (2017-2020) managed
by the British Council in partnership with Business and Arts
South Africa, LifeCo UN Ltd. South Africa and Livity Africa
(now Digify), as well as the Department of Small Business
Development (DSBD) as an associate partner.
The programme delivers training opportunities for young
entrepreneurs to learn more about how to access global
markets and audience groups for sustainable growth. It
provided finance to successful participants and improved
information about opportunities for young people in the
creative, social enterprise and digital sectors in particular
young women in rural and semi-rural areas. The COSY
project targeted regional equity by working in four provinces
and eight different poor communities (Gauteng, KwaZulu
Natal, Eastern Cape and Western Cape).
Target 9.3: Increase the access of small-scale industrial
and other enterprises, in particular in developing countries,
to financial services, including affordable credit, and their ©RM Photography & Video
integration into value chains and markets (direct). Patience Ngwenya on graduation day
receiving her Start-Up Capital award (right)
Other relevant SDGs: 4, 5, 8, 10, 17. and a representative from Livity (left).

27
SDG 10: Reduced
inequalities
Background Link to culture
Goal 10 calls for the reduction of inequalities for all Arts and cultural programmes and activities can play an
countries relating to income, age, sex, disability, race, important role in reducing inequalities, not only by creating
ethnicity, origin, religion or other status within a country. It employment and educational opportunities, but through
seeks to eliminate discriminatory legislation, policies, and art and culture’s role in public space and discourse and the
practices, and adopt and promote others that contribute to creative process itself. As an Arts Council England report
achieving greater equality. The goal also addresses issues from 2010 describes, the arts can help build social capital
among countries, such as fair representation, migration, and and community cohesion by addressing social issues.82
development assistance.81 Culture has a strong impact on welfare, health, and self-
esteem, and enables individuals and communities to explore
SDG 10 embodies the new approach that distinguishes
their histories and sense of identity. Moreover, new social
the SDGs from the MDGs, that improvement is not just
spaces and collective meaning emerge when individuals
expected from the so-called ‘Global South’. Goal 10 creates
and communities engage together in cultural processes,
a paradigm where relative national poverty is seen in
contributing to conflict resolution, the strengthening of
the same light as the gap between the most and least
the social fabric and greater resilience.83 Access to culture
developed countries. Arguably, this is also reflected in the
in itself is a way of reducing inequalities, and can have
indicators for SDG 1.
positive benefits for young people, such as better academic
Many of the targets overlap in some ways with targets outcomes, cognitive abilities, analytical skills and empathy.84
from SDGs 1, 4, 8 and 9, due to their focus on economic
Whilst many connections to arts and culture can be made
inequality. Target 10.2 is very broad and encompasses a
with SDG 10, a more longitudinal approach to evaluation
wide range of issues and audience groups to encourage
would be beneficial to effectively demonstrate impact in this
social, economic and political inclusion, regardless of age,
broad area of reducing inequalities.
gender, disability, race, ethnicity, origin, religion, economic
or other status. Target 10.7 focuses on migration as a
specific area of discrimination and inequality, calling for
‘orderly, safe, regular and responsible’ migration through
‘planned and well-managed’ policies.

Transform Case study

Transform was a four-year programme (2012-2016) that This included exchange on artistic practice that addressed
sought to develop the artistic dialogue between the UK and disability issues, opening up dialogue on how policy should
Brazil for mutual benefit and long term impact.85 It enabled address access and participation. This focus was welcomed
artists and cultural professionals from both countries to share by Brazilian State Governments, supporting them to construct
experiences and collaborate to bring about creative and and put into practice more holistic policies towards disability
social change for institutions, individuals and communities. arts.
The programme included 148 projects, involving eight
Transform was designed to be sustainable in terms of
Brazilian states, 25 British institutions and 40 Brazilian ones.
projects and partnerships, and several of the initiatives are
It aimed to demonstrate the impact and effectiveness of still in place.
arts and culture as a catalyst for change for individuals,
10.2: By 2030, empower and promote the social, economic
communities and nations. Projects focusing on social
and political inclusion of all, irrespective of age, sex, disability,
inclusion and empowerment were consistent within
race, ethnicity, origin, religion or economic or other status
Transform, including disability arts and the engagement of
(direct).
vulnerable communities.
Other relevant SDGs: 1, 8, 9, 17.

28
SDG 11: Sustainable cities
and communities
Background
SDG 11 does not have a clear predecessor in the MDGs, but Cultural heritage sites have also greatly contributed to
brings together many themes that are present throughout the development of tourism and local livelihoods through
the SDGs, most notably inclusivity and environmental the production and sale of locally produced goods and
responsibility. The goal also engages with the needs of indigenous knowledge (SDG 1: No poverty, SDG 8: Decent
specific groups, such as women and people with disabilities, work and economic growth, and SDG 12: Responsible
and through this overlaps with many other goals. production and consumption). 89 Cultural heritage, especially
the UNESCO World Heritage Sites, generates revenues
Goal 11 is especially crucial considering rapid urbanisation
from visits and generates employment for communities.
and the fact that more than half of the world’s population
Through the sale of local crafts, music, and cultural products
lives in cities. By 2050, up to 70% of the world population
to tourists, the cultural and creative industries are further
is projected to live in urban areas, with over 90% of this
enhanced and supported. Cultural tourism can also lead to
growth occurring in the developing world.86 Goal 11 aims
the creation of cultural infrastructure and institutions, such
to ensure access to adequate, safe and affordable housing,
as universities, museums, cultural centres, cinemas, theatres,
basic services and public transport systems. It also highlights
craft centres, and other such institutions.90
the importance of improving urban resilience against
environmental disasters.87 Link to culture
Cultural heritage plays a marginal role in the SDGs, but is SDG 11 offers an opportunity for arts and cultural
explicitly mentioned in SDG 11 under Target 11.4, which aims programmes to engage with the SDGs, through the lens of
to ‘strengthen efforts to protect and safeguard the world’s heritage and public spaces. Culture is key to what makes
cultural and natural heritage’. Indicator 11.4.1 looks at the cities attractive, creative and sustainable.91 Built heritage is
total amount spent on preserving and protecting cultural and an important consideration for cities and human settlements,
natural heritage, by type of heritage, level of government, as rapid development can compromise a society’s ability
type of expenditure and type of funding. to protect monuments and other manifestations of
shared history.92 Similarly, changes in social structures
Target 11.3 aims to make urban planning a more participatory
or environments can also affect intangible heritage, as
and inclusive activity. This would ultimately make urban
traditional ways of life can be challenged and compromised.
environments more welcoming and hospitable, and promote
Strengthening both tangible and intangible heritage is a lens
community ownership and engagement. It is important
through which arts and culture can contribute to SDG 11.
to consider participatory work in public spaces through
consulting and engaging potential beneficiaries in the early UNESCO emphasises that the safeguarding of cultural and
stages of programme development to ensure impact. urban heritage fosters the development of civic identity
and a sense of belonging. Planning and development that
Target 11.7 overlaps with Target 5.2 through its focus on
integrates culture increases economic opportunities and
providing safe public spaces for women. Children, older
enhances the quality of life. Culture can also transform
persons and persons with disabilities are also identified as
city spaces into places of public dialogue, fostering social
specific groups who need greater access to safe, inclusive
inclusion and contributing to reduced inequality.93
and accessible green and public spaces.
Target 11.c commits countries to supporting least developed
countries to build sustainable and resilient buildings using
local materials. This can be through financial assistance, or
technical support.
Cultural heritage has been directly linked to the creation of
green economies that enhance sustainability, employment
opportunities that support poverty alleviation (SDG 1: No
poverty), and the potential to unite people in furthering
social cohesion and peace (SDG 16: Peace, justice and
strong institutions). Cultural heritage has the power to unite
communities who share a common identity, attachment to
place and everyday life experiences, including minorities,
disadvantaged and socially-excluded persons (SDG 5: Gender
equality and SDG 10: Reducing inequalities).88

29
Cultural Protection Fund Case study

The Cultural Protection Fund is managed by the British Target 11.1: Ensure access for all to adequate, safe and
Council in partnership with the UK Government’s Department affordable housing and basic services and upgrade slums
for Digital, Culture, Media and Sport.94 Since 2016 it has (direct).
supported projects to create opportunities for economic
Target 11.3: Enhance inclusive and sustainable urbanisation
and social development through building capacity to foster,
and capacity for participatory, integrated and sustainable
safeguard and promote tangible and intangible cultural
human settlement planning and management in all countries
heritage at risk in the Middle East and North Africa. In
(direct).
response to the growing need of the cultural heritage sector
to prepare for and mitigate the effects of natural disasters Target 11.4: Strengthen efforts to protect and safeguard the
and climate change, in 2020 the Fund launched a new world’s cultural and natural heritage (direct).
Disaster and Climate Change Preparedness round to support
Target 11.7: Provide universal access to safe, inclusive and
projects in East Africa.
accessible, green and public spaces, in particular for women
Activities such as vocational training, educational and children, older persons and persons with disabilities
programmes and the targeted inclusion of women and (direct).
minorities build capacity, create shared understanding, and
Target 11.c: Support least developed countries, including
contribute to economic and social development. The Fund
through financial and technical assistance, in building
has awarded over £35m to 67 projects to date, encouraging
sustainable and resilient buildings utilizing local materials
partnerships between universities, non-governmental
(indirect).
organisations, cultural institutions, and heritage stakeholders.
Other relevant SDGs: 4, 5, 8, 10, 16, 17.

Drone training at a fort, Lunca as

part of the Training in Action project.
©Durham University

The Training in Action programme

is documenting and protecting
archaeological sites, historic
buildings, landscapes and monuents
across Libya and Tunisia.

30
SDG 12: Responsible
consumption and
production

Background Link to culture

There are clear opportunities for the arts and culture sector
SDG 12 engages with climate change and sustainability by
to engage with responsible consumption and production,
focusing on the need to guarantee sustainable consumption
and climate change more generally. Distinctive campaigns in
and production patterns. Indeed, it is one of several SDGs
recent years have highlighted the impact that some creative
that extend the Millennium Development Goal to ‘Ensure
industries, such as the fashion industry, have on tackling
Environmental Sustainability’ by highlighting specific
climate change through sustainable fashion. Examples of
challenges and suggesting solutions to mitigate their impact.
campaigns include WWF’s Water and Fashion,96 Fashion
Target 12.a highlights the role that more developed countries Revolution,97 and Oxfam’s Fashion Fighting Poverty.98 There
can play in helping developing countries to strengthen ‘their are also increasing efforts across design disciplines to
scientific and technological capacity to move towards more innovate and highlight the usage of recycled or reusable
sustainable patterns of consumption and production’. The materials such as Precious Plastic.99
indicator for this target was also considered to be relevant,
Alongside these industry-focused areas, the arts can play a
as it focuses on the amount of support for research and
leading role in advocacy and social change. The “Under Her
development in this area.
Eye: Women and Climate Change” International Summit and
Target 12.5 focuses on waste reduction, and the possibilities Arts Festival in London, for example, used the arts as a way
to do this through prevention, reduction, recycling and reuse. to spark conversation about climate change and responsible
consumption and production.100
Target 12.b focuses on sustainable tourism and commits
countries to developing and implementing ‘tools to monitor
sustainable development impacts for sustainable tourism that
creates jobs and promotes local culture and products’. In this,
it arguably overlaps with Target 8.9, previously discussed in
this report. The indicator 12.b.1 focuses on the number of
sustainable tourism strategies that exist.

31
Crafting Futures Case study

Crafting Futures aims to support a more sustainable Since 2016, Crafting Futures has been active in 30
future for crafts around the world and ensure that craft countries around the globe, supporting more than
is appreciated for economic, social and environmental 50 projects delivered in partnership with over 30 UK-
development.101 The global programme provides education based organisations, international collaborators and
and training opportunities, connects artisans from entrepreneurs, and artisans globally for exchange of
rural communities with international designers, creates knowledge and the development of mutually beneficial
international partnerships and increases access to new relationships.
markets and audiences. It enables designers and artisans
Target 12.a: Support developing countries to strengthen
(mainly women) to develop their practices (including
their scientific and technological capacity to move towards
with technology), empowers them to create their own
more sustainable patterns of consumption and production
businesses, and improve their abilities to shape local craft
(direct).
markets and sell their products locally and internationally.
Activities include residencies, hands-on workshops, creation Target 12.b: Develop and implement tools to monitor
labs, exhibitions, and discussions on design, fashion, sustainable development impacts for sustainable tourism
entrepreneurship, indigenous knowledge and cross-cultural that creates jobs and promotes local culture and products
creation. The programme investigates environmental (indirect).
impacts, resource efficiency, health and safety, intellectual
Other relevant SDGs: 4, 5, 8, 10, and 17.
property rights and other key considerations.

Crafting Futures,
Myanmar
©Simon Mills

32
SDG 16: Peace, justice
and strong institutions
Background Link to culture
Culture is a tool that can be used to promote understanding
SDG 16 aims to develop more peaceful and inclusive
and tolerance between people.104 The clearest way in
societies to ensure sustainable development. The Goal’s
which the arts and culture sector can contribute to the
ambition is to increase access to justice and to foster
achievement of this goal is through programmes that
effective, accountable and inclusive institutions at all levels,
prompt discussion, debate and public engagement around
which are seen to be pre-conditions for the achievement
questions of peace and justice. In this, arts and cultural
of other goals. Under Goal 16 there are no fewer than 22
programmes contribute to building up the ‘demand’ for
indicators for 12 targets, which range from preventing
strong and effective institutions – an area of work that is
violence and crime, ensuring access to justice, freedoms
often directly funded by development agencies around the
and rule of law, developing accountable and transparent
world. By bringing questions of democracy, fairness, equality
institutions and ensuring fair decision-making at all levels.
and representation into the public sphere, arts and cultural
In 2018, the British Council commissioned Collingwood programmes can offer a clear impact in this area. They can
Environmental Planning (CEP) to carry out a study to advocate for better representation and more accountable
determine how it contributes to the achievement of SDG decision-making, and facilitate inclusive and approachable
16.103 The study found that SDG 16 aligns with many aspects public discussions.
of the British Council’s work and is in line with its Royal
For the wider arts sector, there are clear opportunities to
Charter to create ‘friendly knowledge and understanding
contribute to SDG 16. One way to increase impact in this
between peoples and cultures’. Targets 16.6 and 16.7
area is to develop training programmes that highlight how
are of particular relevance, focusing on accountability of
the arts can contribute to social change. For artists, it can
institutions, and inclusive and participatory decision-making
be about highlighting where injustices lie, holding institutions
respectively.
to account, and promoting freedom of expression and
participation in public life.

Artivism in the Horn of Case study

Africa
Artivism in the Horn of Africa empowers young people
from Sudan, South Sudan and Ethiopia to develop creative Artivism workshop in
responses to local challenges for the promotion of peace Addis ©British Council
and development through the arts.105 Based on the British
Council’s flagship programme Active Citizens106 and Arts
methodology, 70 young community leaders and artists
(Artivists) took part in training workshops, planned and
delivered social action projects in the community, and shared
their experiences locally and internationally.
The programme developed the participants’ capacity and
skills to engage with their communities, set up small-scale
projects and ensure inclusive and participatory dialogue
and decision making. The social action projects provided
safe spaces for people to express themselves and enable
intercultural dialogue, and they have secured local buy-
in from communities, local authorities and institutions for
sustainability. There is now a network of young artists and
activists in the Horn of Africa with international connections.
Target 16.6: ‘Develop effective, accountable and transparent
institutions at all levels’ (indirect).
Target 16.7: ‘Ensure responsive, inclusive, participatory and
representative decision-making at all levels’ (indirect).
Other relevant SDGs: 3, 4, 5, 8, 10, 11, 17.

33
Yadawee-Al Fanar, Egypt
©Ashraf Talaat photography

An artisan from the Fowa cluster

in Kafr El Sheikh Governorate,
producting traditional kilim from
wool and cotton.

The artisan is part of one of 28

projects to receive a Collaboration
Grant from the DICE fund. The
project brings together Yadawee,
a social enterprise producing and
exporting Egyptian handicrafts,
and Al Fanar, a UK-based venture
philanthropy organisation that
invests in social ventures to
support the empowerment and
education of women, youth and
refugees in the Arab world.

34
SDG 17: Partnerships for
the goals
Background Link to culture
Many arts sector programmes are likely contributing to SDG
Goal 17 aims to reinvigorate the Global Partnership for
17 by working in collaboration, but the language of the SDGs
Sustainable Development, following on from the objective of
is not always being used and specific goals are not always
the 8th MDG to develop a global partnership for development
clearly articulated. The sector could emphasise the value of
model. The goal aims to strengthen the implementation of
participatory and collaborative approaches more, and raise
the SDGs by bolstering national and international efforts
awareness of the SDG goals and programmes that support
to contribute to sustainable development objectives. This
their targets. An example of this is the exhibition that the
includes offering official development assistance and other
British Council hosted in its Spring Gardens headquarters in
financial resources, improving technology development
2016, which profiled the different SDGs.
and transfer, capacity-building, and stronger international
partnerships.107 British Council programmes rely on a range of partnerships,
delivered across multiple countries or contexts and in
SDG 17 is an important goal because it recognises the
the framework of international cultural relations. The
diverse organisations and delivery models that will inevitably
British Council is well placed to report on several of the
be involved in making progress towards the SDGs and their
targets as well as the indicators for SDG 17. Monitoring
targets. However, efforts have clearly been made to ensure
stakeholder engagement and adopting a more longitudinal
that it is not simply a catch-all goal. SDG 17 has 19 distinct
approach would be helpful to further demonstrate tangible
targets, the most of any of the SDGs, divided into sections:
contributions to SDG 17.
finance, technology, capacity building, trade and systemic
issues. Many of the targets have more than one indicator.
The most relevant targets in this context are the following:
Target 17.3 aims to bring together additional funds
to support developing countries. Target 17.6 calls for
partnerships to be enhanced such as North-South and
South-South cooperation. Target 17.7 overlaps with Target
8.2, where Indicator 17.7.1 looks at the total amount of
approved funding for developing countries to promote
the development, transfer, dissemination and diffusion of
environmentally sound technologies. Target 17.16 aims to
use multi-stakeholder partnerships that share funds and
expertise to enhance the Global Partnership and support
the achievement of SDGs. 17.17 encourages drawing on
the experience of a range of partners and on civil society
partnerships, with Indicator 17.17.1 being the amount of
money committed to such partnerships.

35
Tfanen Tunisia Creative Case study
Programme
Tfanen is an EU-funded programme that strengthens Tunisia’s
cultural sector for local development, implemented by the
British Council on behalf of the European Union National
Institutes of Culture (EUNIC).108 Tfanen delivers capacity
building support to projects, organisations and individuals,
and provides grants across multiple artistic disciplines
to three main types of initiatives: creation, community
engagement, and festivals/heritage sites. A database of
over 1,500 active Tunisian cultural organisations has been
created.
Tfanen seeks to involve broad audiences in the arts by
creating free and inclusive programmes that can be accessed
by youth, women, ethnic minorities, people with disabilities
and prisoners. The funded projects demonstrate their ability
to enhance community resilience, freedom of expression,
inclusive local development and dialogue across social
difference through arts and culture.
Target 17.2: Developed countries to implement fully their
official development assistance commitments (direct).
Targets 17.3: Mobilize additional financial resources for
developing countries from multiple sources (direct).
17.6: Enhance North-South, South-South and triangular
regional and international cooperation on and access to
science, technology and innovation and enhance knowledge
sharing on mutually agreed terms (indirect).
Other relevant SDGs: 1, 4, 8, 10, 11 and 16.
 

Workshop participants of
the Tfanen Tunisia Creative
Programme
©British Council

36
Section III — Recommendations

1. Adopt the language of the SDGs 3. Work with community members and partners in
developing, delivering and evaluating cultural initiatives
One clear challenge for the arts and cultural sector is the
need to integrate and adopt the language of the SDGs. Working with community members and partners will be
There is a need for major institutions to become better at essential to identify the challenges and opportunities to be
messaging the impact of their work, ensuring that it aligns addressed, and to respond to community needs in line with
with the SDGs. This is important for the sector to clearly the SDGs to ensure sustainability. Working with community
demonstrate that it is invested in the Goals, and to develop members and partners can help provide deep and nuanced
a clear story about the role of arts and culture in achieving community knowledge to support a variety of initiatives,
economic and particularly social impact. There appear to including culture-driven programmes.
be two simultaneous dynamics at work: on the one hand,
The British Council’s Cultural Heritage for Inclusive Growth is
many of the aims of the SDGs have long been embraced
an example of a programme developed through grassroots
by the arts sector; on the other, there is a tension between
co-design with local delivery partners and driven by baseline
arts and culture programmes and the technocratic nature of
data (e.g. audience research, ethnography), to ensure that
some of the targets and indicators of the SDGs. Accepting
the programme offer is context-specific in each country
and incorporating the language of the SDGs is a first step to
(Kenya, Vietnam and Colombia) and as valuable as possible.
reconciling this tension.
It was notable that the evaluation of the Artivism in the Horn
Organisations like the British Council could consciously map
of Africa programme engaged explicitly with participants
their internal language to that used by the UN in the SDGs
and ensured that they were aware of the role that evaluation
to highlight the connections. It is also important that all
would play in the wider programme. This approach ensured
major public funders focus on adopting such language and
that participant-initiated impact and engagement with a wide
approach. Another option is to adapt the language of the
and varied range of SDGs was clear.
SDGs to the arts and culture sector to make the link more
explicit, understandable and relatable.
4. Advocate for specific outcomes that respond to
individual SDGs through arts and culture
2. Develop training programmes that highlight the role of
arts and culture in the SDGs Programmes designed in response to individual SDGs can
have significant impact. Several sectors could use arts and
Alongside the proposed shift in language, there is a need to
culture to advocate for specific policy outcomes that are
provide capacity building across the arts and cultural sector
highlighted in the SDG targets and indicators. Many arts
to ensure that those working in the sector are empowered
programmes already highlight certain issues, but this is not
to frame their work and deliver projects that respond to the
always connected to tangible policy goals. For instance,
SDGs. Training programmes that highlight best practice and
Indicator 4.7.1 provides a key opportunity to engage with
provide concrete ways in which the sector can demonstrate
the education system, national curricula, and the value
impact will also be necessary. Examples of training could
of the culture sector. When this is the case, however, it is
focus, for instance, on participatory methods of delivery, or
important to be explicit about the SDGs that the programme
work that is led by beneficiary communities.
is engaging with and to monitor for the associated targets
It is important for practitioners in the arts and cultural sector and indicators.
to be aware of the wider social and economic dimensions of
There is a significant opportunity for organisations such
their profession, and of the roles they can play in facilitating
as the British Council to develop programmes which have
change. UNESCO has been doing important work around the
outcomes and activities that directly engage with and
2005 Convention to raise awareness of training needs, for
respond to the SDGs. The WOW programme in partnership
example, and is gradually shifting the conversation.
with WOW Foundation clearly engaged with gender equality
and is relevant to more targets for SDG 5 as a result. The 100

37
Resilient Cities work in Athens and Ramallah, in partnership programmes with this in mind, and with an understanding
with the 100 Resilient Cities network and the Rockefeller of the barriers on the ground to delivering development
Foundation aligns with SDG 11. This approach could be used work. Longer programme timelines and a more longitudinal
for several other SDGs – for instance, in response to climate approach to evaluation using long-term tracking and
change. monitoring systems will help to ensure that impact is better
captured and understood.
These projects have been developed into case studies on
city and community-focused cultural projects that respond Associated with this is the need to collect baseline data
to the SDGs. They are included in the United Cities and in order to accurately monitor and assess programmes’
Local Government’s database of good practices, the OBS contributions to the achievement of the SDG targets
database.109 and indicators. Similar approaches have been used to
evaluate livelihood programmes in recent years, where
beneficiaries are tracked over the course of the project
5. Select key targets and indicators to mainstream and are asked about changes in their incomes and daily
throughout projects lives, and the relationship of this change to the programme
Though some SDGs are more sector or context specific, that they participated in. Particularly with arts and cultural
there are general SDGs whose aims could be mainstreamed programmes, both qualitative and quantitative indicators
throughout arts and culture programmes, such as SDGs 1: No are needed to fully capture the impact of a programme on
poverty, SDG 5: Gender equality and SDG 17: Partnerships individuals, organisations and other stakeholders.
for the goals. The SDGs are relevant to programmes that The British Council’s DICE programme has already developed
are delivered in any country, not only in OECD Official indicators that link directly to the SDGs as part of its
Development Assistance (ODA) recipient countries and are monitoring and evaluation. A number of the capacity-building
cross-cutting in nature. Specific monitoring and evaluation programmes being supported focus directly and explicitly on
approaches could be used to attribute impact to arts and the role of arts and culture as key to addressing the SDGs.
culture and track contributions to SDGs. DICE aims to ensure that social creative enterprises enhance,
Parallel indicators could be developed so as to allow develop, articulate, and evidence their social mandate (as
organisations to endorse the goals and use indicators that related to the SDGs) and environmental awareness.
speak more directly and clearly to their existing programming
and partnerships such as UNESCO’s new thematic indicators 7. Develop a clear and consistent approach to monitor
on Culture. Indeed, by selecting a series of indicators that all stakeholder, media and digital engagement
programmes would monitor and report on, the British Council
As several SDGs aim for specific policy changes, a clearer
could develop a convincing case for the wide scale impact
approach to audience mapping and engagement would help
of arts and culture programming, and advocate for the
develop narratives that link cultural initiatives with wider
importance of such programmes to contribute to the SDGs at
political and societal change. This could involve tracking
a local and global level.
tools that show which individuals and organisations have
engaged with the programme, and the number of media
6. Collect baseline data to better monitor impact and appearances or press statements in subsequent weeks and
recognise the need for longitudinal evaluations months. Ensuring that programmes, where relevant, have
As highlighted by the external literature review, sustainable clear social media strategies with monitoring tools and
development is a long-term process and it is difficult to targets helps to understand public engagement with issues
assess the impact of an intervention in its immediate related to sustainable development.
aftermath. It is important to approach situations and develop

38
Incorporating policy objectives could also increase The British Council’s wide global network and its interaction
participant and beneficiary community engagement by with a broad range of stakeholders, combined with the links
supporting the development of specific, locally relevant, self- between the tech sector and the creative industries, mean
sustaining social movements – thereby increasing the impact that the organisation is well placed to explore both the
of the programmes. potential and challenges associated with new technologies.
Ideas Change Lives is a programme that provides interesting
The British Council facilitates engagement between civil
examples of where the British Council is already working with
society and governments, indirectly influencing policymakers
digital technology to engage a wide audience with the SDGs.
and in some cases directly enabling policy change. There is
an opportunity to align this work with the legislative goals
highlighted by the SDGs. For instance, programmes such as 9. Address climate change as a cross-cutting theme
the WOW Festivals could openly advocate for gender equality
In July 2019, the UK’s Secretary of State for International
and human rights to be mainstreamed into educational
Development Rory Stewart announced that the UK’s
curricula – which would directly contribute to Indicator 4.7.1.
development policy would put climate change at its centre.
Examples of this include the Climate 4 Classrooms work,
8. Leverage digital technologies to increase engagement which provides resources for teachers across five countries,
with the SDGs and the recent article published as part of the Creative Play
in the Digital Age series, which looks at the role of design in
Digitalisation represents a tectonic shift in the last few
the climate movement. Wider work in the UK arts sector (e.g.
decades, with digital technologies transforming society
Julie’s Bicycle, Olafur Eliasson’s In Real Life exhibition at the
and social life, connectivity, the economy, and cultural
Tate Modern, Invisible Dust) also provides a useful blueprint
institutions.110 Cultural experiences and audiences’ access
of how to address climate change in creative ways.
and interaction with them have been significantly reshaped
by the growth of digital engagement, which creates new The British Council’s wider commitment to sustainability
challenges and opportunities for sustainable development. means that the organisation can incorporate messages about
climate change throughout its arts and culture work and
Digital technologies provide new ways for creativity and
strategies, as well as consider the role that climate change
innovation to be unlocked. The creative economy is one
can play in the achievement of all of the SDGs.
of the most rapidly growing sectors worldwide, creating
opportunities for job creation and international markets.
Driven by human creativity and innovation, creative
economy can also support the emergence of new ideas or
technologies, and the processes of transformational change.
The interactive, immersive force of digital technologies
provides new ways of enabling more people to be involved in
the production and consumption of art and culture.111

In light of the opportunities digital technologies offer in

achieving the SDGs, there is a need to harmonise governance
and incentive frameworks by the public and private sectors
with fairness, transparency, public access and right to
privacy. More significant consideration needs to be paid to
safeguarding privacy and data ownership; balancing public
and private benefits; fostering a new civic culture to be
co-creative; and creating rules and codes for a highly digital
future.112

39
Conclusion

This report aims to demonstrate the value of arts and culture On the other hand, local and global acts of solidarity and
in the context of sustainable development: for people, peace, creativity have emerged with more intertwining of the
prosperity, and planet. The case studies of British Council arts and social sectors, the digital space has provided
programmes in recent years provide concrete examples more access and connections around the world, and with
of how arts and culture play an active and enabling role reduced consumption and pollution there is hope for a more
across the Sustainable Development Goals and how they sustainable future outlook for the world. Culture is at the
act as a cross cutting mechanism, be it through direct or heart of the situation we face: from the pandemic’s effects
indirect impact. Through cultural relations, artistic and on local cultures and the cultural sector, to new cultures
cultural initiatives can develop relations based on respect for emerging and cultural and innovative responses to COVID-19.
diversity, understanding of local contexts and participation This new reality has huge implications for the social,
of all those affected. This approach builds relationships on economic and environmental development of the people and
equal terms, and promotes trust and understanding for social places that make up our world and culture in all of its forms
cohesion and inclusive growth over the long term. can be the fourth pillar that provides more sustainability.
Many of the aims of the SDGs have long been embraced The case studies in this report have focused on British
by the arts and culture sector. However, arts and cultural Council programmes from before the global pandemic. In the
organisations and professionals do not always associate their years to come, there is no doubt that the range of cultural
work with the language of development and the ambitions of initiatives will need also to include universal and cross-cutting
agendas such as the SDGs. This disassociation can result in issues such as the health crisis, climate emergency, and long-
a lack of understanding of the value and impact of arts and standing inequalities. Along with many cultural organisations
culture to social, economic and environmental development, affected by Covid-19, the British Council is considering its
and a divide between policy and practice that can limit the place in the world and how cultural relations can respond to
achievement of the SDGs. the local and global challenges which face us all.
Furthermore, in order to increase understanding of the role In its Strategy 2025, the British Council has committed to
of arts and culture across the SDGs, there is a need to build advocating for the value of arts and culture in sustainable
and strengthen the evidence base around arts and culture’s development for a more connected, understanding and
contribution to the SDGs. Sustainable development is a long- trusting world. It will be taking the SDGs as a framework
term process and it is difficult to assess the impact of an for its global arts programmes, which will be based on the
intervention in its immediate aftermath. Longer programme contexts in which we operate, the people we engage with,
timelines, mixed methods of evaluation and a more and our shared values. The British Council aims to play an
longitudinal approach will help to better understand and active global role by convening and taking part in local and
capture the impact. Key to mainstreaming arts and culture in global conversations, developing long-term evidence, sharing
the sustainable development space is the use of quantitative learning, exchanging and connecting, and creating inspiring
and qualitative indicators that are fit for purpose and bridge opportunities for and with people, institutions and places. In
the gap between culture and sustainable development. five years’ time, we will look back and reflect on the progress
These indicators cannot simply lead to the economisation of made to address local and global challenges through cultural
arts and culture but must demonstrate the value of arts and relations, and culture’s contribution towards the UN 2030
culture to societies and the environment, and the cultural Agenda.
value created by such programmes.
Since writing this report, COVID-19 has shaken the world as
Rosanna Lewis, Culture and Development global lead
we know it, and has particularly affected the arts and culture
sector. On the one hand, lockdown has shut down activity Ian Thomas, Head of Evidence
including artistic and cultural practice and mobility, failing
British Council
economies are affecting livelihoods and financial stability,
societies face health risks and wellbeing struggles, human
and cultural rights are being compromised, and the most
vulnerable are the worst affected. As stated by the UN, “the
COVID-19 pandemic […] will most likely increase poverty and
inequalities at a global scale, making achievement of SDGs
even more urgent”.113

40
Endnotes

1 Editors: Rosanna Lewis, Culture and Development global lead, British Council. Ian Thomas, Head of Evidence Arts, British
Council. Thom Louis, Culture and Development Programme Manager, British Council, and Christine Wilson, Head of Research,
British Council
2 The Nordicity Consulting Team was comprised of: Carly Frey (Project Lead), Managing Director, Nordicity West; Sophie
Hollows, Associate, Nordicity; Chad Rickaby, Consultant, Nordicity; Darren Touch, Associate, Nordicity; Stephen Hignell,
Associate Director, Nordicity. The external Specialist Advisors: Avril Joffe, UNESCO Cultural Governance Technical Expert, Head
of Cultural Policy and Management, University of the Witwatersrand; Holly Aylett, Associate Research Fellow, Birkbeck College;
Edna Dos Santos Duisenberg, International Consultant and Policy Advisor Creative Economy & Development.
3 “Social Development for Sustainable Development | DISD.” United Nations. Accessed March 31, 2019. https://www.un.org/
development/desa/dspd/2030agenda-sdgs.html
4 “Culture in the Sustainable Development Goals: A Guide for Local Action”. Report. Culture 21 committee, United Cities and
Local Governments (UCLG), May 2018.
5 “Post-2015 Dialogues on Culture and Development”. Report. UNESCO, UNFRA, UNDP, 2015.
6 Wiktor-Mach, Dobrosława. “What Role for Culture in the Age of Sustainable Development? UNESCO’s Advocacy in the 2030
Agenda Negotiations.” International Journal of Cultural Policy, 2018, 1-16. doi:10.1080/10286632.2018.1534841.
7 Global Report on Culture for Sustainable Urban Development”. UNESCO, October 2016, p238. Accessed March 31, 2019.
https://unesdoc.unesco.org/ark:/48223/pf0000245999/PDF/245999eng.pdf.multi
8 Wiktor-Mach, Dobrosława. “What Role for Culture in the Age of Sustainable Development? UNESCO’s Advocacy in the 2030
Agenda Negotiations.” International Journal of Cultural Policy, 2018, 1-16. doi:10.1080/10286632.2018.1534841.
9 “Culture, the Fourth Pillar of Sustainability”, Article, Culture 21 committee, United Cities and Local Governments, Accessed
March 16, 2020. http://www.agenda21culture.net/documents/culture-the-fourth-pillar-of-sustainability
10 The High-level Political Forum, United Nations’ central platform for follow-up and review of the 2030 Agenda for Sustainable
Development and the Sustainable Development Goals, was held at UNHQ, New York City, from 8-18th July 2019.
“High-Level Political Forum 2019.” United Nations. Accessed 15 July, 2019. https://sustainabledevelopment.un.org/hlpf/2019/
11 “The UK’s global contribution to the Sustainable Development Goals”. Report. Bond, June 2019. Accessed 18 June 2019.
https://www.bond.org.uk/sites/default/files/bond_the_uks_global_contribution_to_the_sdgs_online_full_report.pdf
12 Ibid, 4.
13 British Council submission document to the UK Voluntary National Review.
14 “Sustainable Development Goals – Baseline Study”. British Council, December 2016.
15 Ibid. “Cultural Diversity.” Website. UNESCO. Accessed May 21, 2019. http://www.unesco.org/new/en/social-and-human-
sciences/themes/international-migration/glossary/cultural-diversity/
16 “Cultural Diversity.” Website. UNESCO. Accessed May 21, 2019. http://www.unesco.org/new/en/social-and-human-sciences/
themes/international-migration/glossary/cultural-diversity/
17 “Global Report on Culture for Sustainable Urban Development”. Report. UNESCO, 2015;
18 J.P. Singh. “Culture and International Development: Towards an interdisciplinary methodology.” Commissioned by the British
Council and published by The Schar School of Policy and Government, George Mason University, February 2019. https://www.
britishcouncil.org/sites/default/files/final_manuscript_cultureintldev.pdf
19 Ibid.
20 “Global Report on Culture for Sustainable Urban Development”. Report. UNESCO, 2015.
21 “Culture in the Sustainable Development Goals: A Guide for Local Action”. Report. Culture 21 committee, United Cities and
Local Governments (UCLG), May 2018.
22 Joffe, Avril. “The Integration of Culture in Sustainable Development.” Re-shaping cultural policies: advancing creativity in
development, 2017, 167-183.
23 “The Convention on the Protection and Promotion of the Diversity of Cultural Expressions.” UNESCO. September 28, 2018.
Accessed April 25, 2019. https://en.unesco.org/creativity/convention
24 Joffe, Avril. “The Integration of Culture in Sustainable Development.” Re-shaping` cultural policies: advancing creativity in
development, 2017, 167-183.
25 “Global Report on Culture for Sustainable Urban Development”. UNESCO, 2016, p238. Accessed March 31, 2019. https://
unesdoc.unesco.org/ark:/48223/pf0000245999/PDF/245999eng.pdf.multi
26 Joffe, Avril. “The Integration of Culture in Sustainable Development.” Re-shaping cultural policies: advancing creativity in
development, 2017, 167-183.
27 “Post-2015 Dialogues on Culture and Development”. Report. UNESCO, UNFRA, UNDP, 2015.
28 UK Culture White Paper. Presented to Parliament by the Secretary of State for Culture, Media & Sport by Command of Her
Majesty. 2016. https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/510798/DCMS_The_Culture_
White_Paper__3_.pdf
29 “Arts, Culture and Development – The Tricky Balancing Act”. The Change Collective, 2018.
30 Cultural Heritage for Inclusive Growth. British Council. 2018, p7.
31 Cultural Heritage for Inclusive Growth, British Council. 2018.

41
32 “Transforming Our World: The 2030 Agenda for Sustainable Development: Sustainable Development Knowledge Platform.”
United Nations. Accessed March 31, 2019. https://sustainabledevelopment.un.org/post2015/transformingourworld
33 “Culture in the Sustainable Development Goals: A Guide for Local Action”. Report. Culture 21 committee, United Cities and
Local Governments (UCLG), May 2018.
34 Wiktor-Mach, Dobrosława. “What Role for Culture in the Age of Sustainable Development? UNESCO’s Advocacy in the 2030
Agenda Negotiations.” International Journal of Cultural Policy, 2018, 1-16. doi:10.1080/10286632.2018.1534841.
35 Ibid.
36 “Culture: A Driver and an Enabler of Social Cohesion”. Report. UNESCO, May 2012. https://www.un.org/millenniumgoals/pdf/
Think Pieces/2_culture.pdf
37 “Culture in the Implementation of the 2030 Agenda” Report. Culture 2030 Goal Campaign, 2019. http://www.
agenda21culture.net/advocacy/culture-2030-goal
38 “Culture: A Driver and an Enabler of Social Cohesion”. Report. UNESCO, May 2012. https://www.un.org/millenniumgoals/pdf/
Think Pieces/2_culture.pdf
39 Wiktor-Mach, Dobrosława. “What Role for Culture in the Age of Sustainable Development? UNESCO’s Advocacy in the 2030
Agenda Negotiations.” International Journal of Cultural Policy, 2018, 1-16. doi:10.1080/10286632.2018.1534841.
40 “Florence Declaration: Culture, Creativity and Sustainable Development: Research, Innovation, Opportunities”. UNESCO
Third World Forum on Culture and Cultural Industries, Florence, Italy, 2014. Accessed July 16, 2019. https://unesdoc.unesco.
org/ark:/48223/pf0000230394_eng.
41 Hosagrahar, Jyoti. “Culture: At the Heart of SDGs.” UNESCO. July 28, 2017. Accessed April 18, 2019. https://en.unesco.org/
courier/2017-april-june/culture-heart-sdgs
42 “Culture and Sustainable Development”. Webpage. United Nations, May 2019. Accessed July 16, 2019. https://www.un.org/
pga/73/event/culture-and-sustainable-development/
43 “UNESCO launches Culture|2030 Indicators publication” Webpage, UNESCO, December 18, 2019. Accessed 16 March,
2020. https://whc.unesco.org/en/news/2058
44 “Culture|2030 Indicators”, UNESCO, 2019 https://unesdoc.unesco.org/ark:/48223/pf0000371562
45 “The New European Consensus on Development - our world, our dignity, our future”. Joint statement by the European
Council and the representatives of the governments of the Member States meeting within the Council, the European
Parliament and the European Commission, June 8, 2017. Accessed July 16, 2019. https://ec.europa.eu/europeaid/sites/devco/
files/european-consensus-on-development-final-20170626_en.pdf
46 “Mission letter to Mariya Gabriel” European Commission, September 10, 2019. Accessed 16 March, 2020. https://
ec.europa.eu/commission/sites/beta-political/files/mission-letter-mariya-gabriel-2019_en.pdf
47 “Reflection Paper: Towards a Sustainable Europe by 2030” Report, European Commission, January 30 2019, Accessed 16
March, 2020 https://ec.europa.eu/commission/sites/beta-political/files/rp_sustainable_europe_30-01_en_web.pdf
48 “Draft Resolution of the Council of the European Union and the Representatives of the Governments of the Member States
meeting within the Council on the Cultural Dimension of Sustainable Development” Resolution, Council of the European Union,
November 8, 2019. Accessed December 10, 2019: https://data.consilium.europa.eu/doc/document/ST-13336-2019-INIT/en/
pdf
49 “OECD Conference of Culture and Local Development” Website, OECD. Accessed March 16, 2020. http://www.oecd.org/fr/
sites/oecdconferenceonculture/
50 Wiktor-Mach, Dobrosława. “What Role for Culture in the Age of Sustainable Development? UNESCO’s Advocacy in the 2030
Agenda Negotiations.” International Journal of Cultural Policy, 2018, 1-16. doi:10.1080/10286632.2018.1534841.
51 Joffe, Avril. “The Integration of Culture in Sustainable Development.” Re-shaping cultural policies: advancing creativity in
development, 2017, 167-183.
52 United Nations Sustainable Development Goals https://sustainabledevelopment.un.org/?menu=1300
53 “Post-2015 Dialogues on Culture and Development”. Report. UNESCO, UNFRA, UNDP, 2015.
54 “Culture in the Sustainable Development Goals: A Guide for Local Action.” Report. Culture 21 committee, United Cities and
Local Governments (UCLG), May 2018.
55 “Global Report on Culture for Sustainable Urban Development”. Report. UNESCO, October 2016.
56 Ibid.
57 https://www.britishcouncil.org/arts/culture-development/cultural-heritage
58 “Arts for health and wellbeing- An evaluation framework”. Report. Public Health England, January 2016. https://assets.
publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/765496/PHE_Arts_and_Health_
Evaluation_FINAL.pdf
59 “Active Ingredients”. Report. Aesop, September 2018. https://ae-sop.org/wp-content/uploads/sites/63/2018/09/Active-
Ingredients-Report-Sept-2018-Final-low-res.pdf
60 https://www.britishcouncil.org/sites/default/files/bop_report_final_print_nov_16.pdf
61 “Goal 4: Quality Education.” UNDP. Accessed April 26, 2019. https://www.undp.org/content/undp/en/home/sustainable-
development-goals/goal-4-quality-education.html

42
62 “Culture in the Sustainable Development Goals: A Guide for Local Action”. Report. Culture 21 committee, United Cities and
Local Governments (UCLG), May 2018.
63 Ibid. 64 https://creativeconomy.britishcouncil.org/projects/creative-enterprise-programme/ 65 “Post-2015 Dialogues on
Culture and Development”. Report. UNESCO, UNFRA, UNDP, 2015.
64 https://creativeconomy.britishcouncil.org/projects/creative-enterprise-programme/
65 “Post-2015 Dialogues on Culture and Development”. Report. UNESCO, UNFRA, UNDP, 2015.
66 Culture in the Sustainable Development Goals: A Guide for Local Action”. Report. Culture 21 committee, United Cities and
Local Governments (UCLG), May 2018.
67 Culture for the 2030 Agenda”. Report. UNESCO, 2018. Accessed March 31, 2019. http://www.unesco.org/culture/flipbook/
culture-2030/en/Brochure-UNESCO-Culture-SDGs-EN2.pdf
68 “The Power of Culture for Development”. Report. UNESCO, 2010.
69 “Post-2015 Dialogues on Culture and Development”. Report. UNESCO, UNFRA, UNDP, 2015.
70 “The Power of Culture for Development”. Report. UNESCO, 2010.
71 “Gender Equality - Heritage and Creativity”. Report. Foreword by Farida Shaheed Special Rapporteur. UNESCO, 2014.
Accessed 16 July 2019. http://uis.unesco.org/sites/default/files/documents/gender-equality-heritage-and-creativity-2014-
en_1.pdf
72 Bunting, Claire. “Public value and the arts in England: Discussions and Conclusions of the arts debate” November 2007.
Accessed June 20, 2019. https://www.creativenz.govt.nz/assets/ckeditor/attachments/1032/bunting_c_public_value_and_
the_arts_in_england.pdf?1410238063
73 https://thewowfoundation.com/
74 “Culture in the Sustainable Development Goals: A Guide for Local Action”. Report. Culture 21 committee, United Cities and
Local Governments (UCLG), May 2018.
75 “Culture 21: Actions - Commitments on the role of culture in sustainable cities”. Report. Culture 21 committee, United Cities
and Local Governments (UCLG), 2015.
76 Ibid.
77 “Growing the UK’s Creative Industries: what creative enterprises need to thrive and grow” Report. Creative Industries
Federation, 2018. Accessed 17 March, 2020. https://www.creativeindustriesfederation.com/sites/default/files/2018-12/
Creative%20Industries%20Federation%20-%20Growing%20the%20UK’s%20Creative%20Industries.pdf
78 “The Entrepreneurial Dimension of the Creative Industries”. European Union, 2010. Accessed June 20, 2019. http://kultur.
creative-europe-desk.de/fileadmin/user_upload/The_Entrepreneurial_Dimension_of_the_Cultural_and_Creative_Industries.
pdf
79 https://www.britishcouncil.org/programmes/dice.
80 “Goal 9: Industry, innovation and infrastructure”. United Nations Development programme. Accessed July 9, 2019. https://
www.undp.org/content/undp/en/home/sustainable-development-goals/goal-9-industry-innovation-and-infrastructure.html
81 “Culture in the Sustainable Development Goals: A Guide for Local Action”. Report. Culture 21 committee, United Cities and
Local Governments (UCLG), May 2018.
82 “The arts debate: summary and analysis of consultation responses”. Report. Arts Council England, 2007. Accessed
June 20, 2019 https://www.artscouncil.org.uk/sites/default/files/download-file/The_arts_debate_overview_design_
consultation%20responses.pdf
83 Ibid.
84 Crossick, Geoffrey, and Patrycja Kaszyńska. “Chapter 8. Arts in Education: A Note.” Understanding the Value of Arts &
Culture. Report. Arts and Humanities Research Council, March 2016.
85 https://www.britishcouncil.org.br/en/programmes/arts/transform
86 “2018 Revision of World Urbanization Prospects” Website. United Nations. May 2018. https://www.un.org/development/
desa/publications/2018-revision-of-world-urbanization-prospects.html
87 “Culture in the Sustainable Development Goals: A Guide for Local Action”. Report. Culture 21 committee, United Cities and
Local Governments (UCLG), May 2018.
88 Nocca, Francesca. “The Role of Cultural Heritage in Sustainable Development: Multidimensional Indicators as Decision-
Making Tool.” Sustainability 9, no. 10 (2017): 1882. doi:10.3390/su9101882;
89 Chanda, Kelvin C. “Invoking Co-management as a Tool in the Conservation and Sustainable Development of World Heritage
Properties in Africa.” UNESCO World Heritage for Sustainable Development in Africa, 2018. UNESCO pp 29-35.
90 “The Power of Culture for Development”. Report. UNESCO, 2010.
91 “Global Report on Culture for Sustainable Urban Development”. Report. UNESCO, October 2016.
92 Agapiou et al, 2015. ‘Impact of Urban Sprawl to cultural heritage monuments: The case study of Paphos area in Cyprus’
Journal of Cultural Heritage 16(5). Accessed June 20, 2019. https://www.researchgate.net/publication/272239981_Impact_
of_urban_sprawl_to_cultural_heritage_monuments_The_case_study_of_Paphos_area_in_Cyprus
93 “Post-2015 Dialogues on Culture and Development”. Report. UNESCO, UNFRA, UNDP, 2015.
94 https://www.britishcouncil.org/arts/culture-development/cultural-protection-fund

43
95 Afghanistan, Egypt, Iraq, Jordan, Lebanon, Libya, Occupied Palestinian Territories, Sudan, Syria, Tunisia, Turkey and Yemen.
96 ‘Sustainable, Resilient Supply Chains’ Website. WWF. Accessed March 18, 2020
97 ‘Fashion Revolution’ Website, Fashion Revolution. Accessed March 18, 2020. https://www.fashionrevolution.org/
98 ‘Fashion Fighting Poverty’ Website, Oxfam. Accessed March 18, 2020 https://www.oxfam.org.uk/shop/fashion-fighting-
poverty
99 ‘Precious Plastic’ Website, Precious Plastic. Accessed March 26,2020. https://preciousplastic.com/index.html
100 ‘Under Her Eye: Women and Climate Change’ Website. British Library. Accessed March 18, 2020. https://www.bl.uk/events/
under-her-eye-women-and-climate-change
101 https://design.britishcouncil.org/projects/crafting-futures/
102 Participating countries include Afghanistan, Argentina, Armenia, Azerbaijan, Bhutan, China, Georgia, India, Indonesia,
Kazakhstan, Malaysia, Mexico, Myanmar, Nepal, Panama, Pakistan, Peru, the Philippines, Sri Lanka, Thailand, United Kingdom
and Uzbekistan.
103 “Culture’s Contribution to Peace, Justice and Strong Institutions – SDG 16.” Report. British Council, November 2018.
https://www.britishcouncil.org/sites/default/files/j082_sustainable_development_goals_report_final_web.pdf
104 “Post-2015 Dialogues on Culture and Development”. Report. UNESCO, UNFRA, UNDP, 2015.
105 “Artivism in the Horn of Africa – Impact and Recommendations.” Report. British Council, 2019. https://www.britishcouncil.
org/sites/default/files/bc_horn_of_africa_-_digital.pdf
106 Active Citizens supports participant in the development of their abilities and skills to understand their community and
local context, identify local issues and to design social action projects to address them and to partner with government to find
solutions to the issues which are driving or exacerbating conflict. 107 “Culture in the Sustainable Development Goals: A Guide
for Local Action”. Report. Culture 21 committee, United Cities and Local Governments, May 2018.
107 “Culture in the Sustainable Development Goals: A Guide for Local Action”. Report. Culture 21 committee, United Cities and
Local Governments, May 2018.
108 http://www.tfanen.org/ (in French and Arabic)
109 “Agenda 21 for Culture OBS Good Practices Database” Website. Agenda 21 for Culture, United Cities and Local
Governments. Accessed March 18, 2020
http://obs.agenda21culture.net/index.php/en/good-practices/wow-women-world-karachi; Ibid.
http://obs.agenda21culture.net/index.php/en/good-practices/wow-women-world-kathmandu; Ibid.
http://obs.agenda21culture.net/index.php/en/good-practices/athens-city-resilience-through-culture-report; Ibid.
http://obs.agenda21culture.net/index.php/en/good-practices/ramallah-city-resilience-through-culture-and-education-report
110 “Global Report on Culture for Sustainable Urban Development”. Report. UNESCO, October 2016.
111 Crossick, Geoffrey, and Patrycja Kaszyńska. “Chapter 2. Cross-Cutting Themes.” Understanding the Value of Arts & Culture.
Report. Arts and Humanities Research Council. March 2016. pp. 30-31
112 “Global Report on Culture for Sustainable Urban Development”. Report. UNESCO, October 2016.
113 “UN Framework for the immediate socio-economic response to the COVID 19 crisis”. Website accessed on 8 July 2020.
https://unsdg.un.org/sites/default/files/2020-04/UN-framework-for-the-immediate-socio-economic-response-to-COVID-19.pdf

44
Bibliography

Aga Khan Development Network (2016) “Improving Lives through Culture”. AKDN

Agapiou et al. (2015) “Impact of Urban Sprawl to cultural heritage monuments: the case study of Paphos area in Cyprus”. Jour-
nal of Cultural Heritage 16(5).

Agenda 21 for Culture, United Cities and Local Governments “Agenda 21 for Culture OBS Good Practices Database” Website.
Accessed March 18, 2020

Arts Council England (2007) “The arts debate: summary and analysis of consultation responses”. London, UK. Arts Council
England.

Boer, B. (2017) “Culture, Rights and the Post-2015 Development Agenda” in Heritage, Culture and Rights: Challenging Legal
Discourses, A Durback, L Lixinski, eds. Hart Publishing.

BOP Consulting (2017) “Evidence Strategy for the Arts – Final Report”. British Council.

BOP Consulting (2018) “Active Ingredients”. Report. Oxfordshire, UK. Aesop.

Bond (2019) “The UK’s global contribution to the Sustainable Development Goals” London, UK. Bond.

Bragge, P. (2019) “Now what? Using Evidence to achieve the Sustainable Development Goals.” London. The Alliance for Useful
Evidence.

British Council (2018) “Cultural Heritage for Inclusive Growth.” British Council.

British Council (2019) “Artivism in the Horn of Africa – Impact and Recommendations.” Report. British Council.

British Library ‘Under Her Eye: Women and Climate Change’ Website. Accessed March 18, 2020

Bunting, C. (2007) “Public value and the arts in England: Discussions and Conclusions of the arts debate.” London, UK. Arts
Council England

Chanda, K. C. (2018) “Invoking Co-management as a Tool in the Conservation and Sustainable Development of World Heritage
Properties in Africa.” In UNESCO World Heritage for Sustainable Development in Africa. Paris, France. UNESCO. pp29 -35

Collingwood Environmental Planning (2016) “Sustainable Development Goals – Baseline Study.” London, UK. British Council.

Council of European Union (2019) “Draft Resolution of the Council of the European Union and the Representatives of the Gov-
ernments of the Member States meeting within the Council on the Cultural Dimension of Sustainable Development”

Crossick, G., Kaszyńska P (2016) “Chapter 2. Cross-Cutting Themes.” Understanding the Value of Arts & Culture. Report. Arts
and Humanities Research Council. pp. 30-31.

Crossick, G., Kaszyńska P. (2016) “Chapter 8. Arts in Education: A Note.” Understanding the Value of Arts & Culture. Arts and
Humanities Research Council. pp. 113-120.

Creative Industries Federation (2018) “Growing the UK’s Creative Industries: what creative enterprises need to thrive and
grow” Report. Creative Industries Federation.

Culture 21 Committee, United Cities and Local Governments (2015) “Culture 21: Actions - Commitments on the role of culture
in sustainable cities.” Fourth Global Report on Decentralization and Local Democracy. UGLG.

Culture 21 Committee, United Cities and Local Governments (2018) “Culture in the Sustainable Development Goals: A Guide
for Local Action” Barcelona, Spain, UCLG.

Culture 21 Committee, United Cities and Local Governments (2019) “Culture: Fourth Pillar of Sustainable Development.” Barce-
lona, Spain, UCLG.

Culture 2030 Goal Campaign (2019) “Culture in the Implementation of the 2030 Agenda” Report. Barcelona, Paris, Harare,
Sydney, Montreal, The Hague and Brussels. Culture 2030 Goal Campaign.
45
Duxbury, K., De Beulakaer (2017) “Cultural Policies for Sustainable Development: 4 strategic paths.” International Journal of
Cultural Studies. pp. 222.

European Commission (2019) “Mission letter to Mariya Gabriel” Accessed 16 March, 2020

European Commission (2019) “Reflection Paper: Towards a Sustainable Europe by 2030” Brussels, Belgium, European Commis-
sion.

Fashion Revolution. “Fashion Revolution” Website. Accessed March 18, 2020

Francis, H. (2002) “The power of culture for development,” Personnel Review, 28(1), pp. 1–448.
HKU. (2010) “The Entrepreneurial Dimension of the Cultural and Creative Industries.” Utrecht, Netherlands. Hogeschool vor de
Kunsten Utrecht

Hosagrahar, J. (2017) “Culture at the Heart of the SDGs.” The UNESCO Courier, April-June 2017 edition, UNESCO.

Joffe, A. (2017) “The Integration of Culture in Sustainable Development.” Re-shaping cultural policies: advancing creativity in
development, pp. 167-183. Paris, France. UNESCO.

Joint statement by the European Council and the representatives of the governments of the Member States meeting within the
Council, the European Parliament and the European Commission (Thursday 8 June 2017) “The New European Consensus on
Development - our world, our dignity, our future.”

McCarthy, K. F., et. al. (2005) “Reframing the Debate About the Value of the Arts.” Santa Monica, CA. RAND Corporation.

Nocca, F. (2017) “The Role of Cultural Heritage in Sustainable Development: Multidimensional Indicators as Decision-Making
Tool.” Sustainability 9, no. 10: 1882.

OECD. “OECD Conference of Culture and Local Development” Website. Accessed March 16, 2020.

Oxfam ‘Fashion Fighting Poverty’ Website. Accessed March 18, 2020.

‘Precious Plastic’ Website, Precious Plastic. Accessed March 26,2020.

Norma, D , Joss, T (2016) “Arts for health and wellbeing- An evaluation framework.” London, UK. Public Health England.

Research Paper No. 16/89 (2016). Sydney Law School. pp. 10, 13.

Sen, A. (1999) “Development as Freedom.” Oxford, UK. Oxford University Press. pp. 291.

Singh, J. P. (2019) “Culture And International Development: Towards An Interdisciplinary Methodology.” Arlington, USA. George
Mason University.

Singizi Consulting Africa (2016) “British Council: Creating Opportunities for South Africa’s Youth (COSY) Baseline/Endline Re-
port.” pp. 6.

The Change Collective (2018) “Arts, Culture and Development – The Tricky Balancing Act.” London, UK. British Council.

Twigg, B. et al. (no date) “The UK’s global contribution to the Sustainable Development Goals Progress, Gaps and Recommen-
dations.” pp. 1–86.

UK Culture White Paper (2016) Presented to Parliament by the Secretary of State for Culture, Media & Sport by Command of
Her Majesty.

UNCTAD/UNDP (2010) “Creative Economy Report 2010 – Creative Economy: A feasible development option.” UNCTAD/UNDP.

UNDP “Goal 4: Quality Education.” Website. UNDP. Accessed April 26, 2019.

UNDP “Goal 9: Industry, Innovation and Infrastructure.” Website. UNDP. Accessed July 9, 2019.

UNESCO (2010) “The Power of Culture for Development” Report. Paris, France. UNESCO.
46
UNESCO (2012) “Culture: A Driver and an Enabler of Social Cohesion.” Report. UNESCO.

UNESCO (2014) “Gender Equality - Heritage and Creativity.” Report. France. UNESCO.

UNESCO (2014) “Florence Declaration: Culture, Creativity and Sustainable Development: Research, Innovation, Opportunities.”
Programme and meeting document. UNESCO Third World Forum on Culture and Cultural Industries. Florence, Italy.

UNESCO (2016) “Culture Urban Future: Global Report on Culture for Sustainable Urban Development.” Paris, France, UNESCO

UNESCO (2018) “Culture for the 2030 Agenda.” Paris, France. UNESCO.

UNESCO (2019) “Culture|2030 Indicators” Paris, France. UNESCO.

UNESCO “Cultural Diversity.” Website. Accessed May 21, 2019.

UNESCO, UNFPA, UNDP (2015) “Post-2015 Dialogues on Culture and Development.” France, UNESCO.

United Nations “High-Level Political Forum 2019.” Website. Accessed July 15, 2019.

United Nations (2018) “2018 Revision of World Urbanization Prospects” Website. Accessed March 20, 2020

United Nations (2017) “Work of the Statistical Commission pertaining to the 2030 Agenda for Sustainable Development.”
United Nations General Assembly.

United Nations “Social Development for Sustainable Development | DISD.” Website Accessed March 31, 2019. https://www.
un.org/development/desa/dspd/2030agenda-sdgs.html

United Nations “Transforming Our World: The 2030 Agenda for Sustainable Development: Sustainable Development Knowl-
edge Platform.” Website. Accessed March 31, 2019. https://sustainabledevelopment.un.org/post2015/transformingourworld

United Nations (2019) “Culture and Sustainable Development”. Webpage. United Nations. Accessed July 16, 2019.

United Nations (1950) “United Nations Educational, Scientific and Cultural Organization.”
International Organization. pp. 326–327.

Wiktor-Mach, D. (2018) “What Role for Culture in the Age of Sustainable Development? UNESCO’s Advocacy in the 2030
Agenda Negotiations.” International Journal of Cultural Policy. pp.1-16.

WWF “Sustainable, Resilient Supply Chains” Website. Accessed March 18, 2020

47
 Programme website links

The website links in this list can be used to find more information about the programmes featured within the case studies.

Should you have any questions about this report or the featured programmes and case studies, contact the
Culture and Development team via [email protected].

Cultural Heritage for Inclusive Growth

Golden Thread

Creative Enterprise Programme

Women of the World

Developing Inclusive and Creative Economies (DICE)

Creating Opportunities for South Africa’s Youth (COSY)

Transform

Cultural Protection Fund

Crafting Futures

Artivism in the Horn of Africa

Tfanen Tunisia Creative Programme

48
Research carried out by Nordicity, commissioned by British Council
Edited by Rosanna Lewis, Thom Louis, Ian Thomas and Christine Wilson at British Council
Special thanks to all colleagues who took part in this report