Toolkit, step by step: an approach to heritage education

Toolkit,step by step: an approach to heritage education

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Toolkit, step by step: an approach to heritage education© Netherlands Institute for Heritage, September 2010

Netherlands Institute for Heritage (Erfgoed Nederland)Herengracht 474

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The Netherlands

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F +31 (0)20 716 7355

[email protected]

www.erfgoednederland.nl

Indonesian Heritage TrustJl. Veteran I No. 27 Jakarta 10110

Indonesia

T +62 21 703 06 222

F +62 21 351 1127

[email protected]

www.bppi-indonesianheritage.org

TextsCees Hageman

Astrid Weij

Hasti Tarekat

TranslationsBalance

Hasti Tarekat

Final editingEllen Snoep

Aline Knip

DesignUNA designers, Amsterdam

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3 Toolkit, step by step: an approach to heritage education

Foreword

Richard HermansDirector Netherlands Institute for Heritage

September 2010

Just what is heritage education and why is it interesting?

Heritage education makes a link between pupils and their

living environment and background, thus promoting

awareness of identity. Heritage education is education with and

about historical monuments, landscapes and archaeological

finds, libraries, museums and archives, and the sum total of

customs, traditions, stories, rituals, and habits that is referred

to as ‘intangible heritage’ or ‘living heritage’. The basis for

heritage education is to be found in cultural heritage, which

incorporates traces of various cultures from the past and

continues to be influenced in the present by new elements

within society. The strength of heritage education lies in

teaching children about their living environment, i.e. learning

within, from and about the setting in which one lives. Heritage

education and living environment education are closely linked

to geography and history, but they can also play a role in other

humanities subjects and the social sciences. Heritage education

involves both schools and heritage institutions. How does one

bring these together? That is the subject of this Toolkit, which

deals with the development process that is necessary for

setting up an effective heritage education project.

The Toolkit is one of the results of collaboration between

the Indonesian Heritage Trust (Badan Pelestarian Pusaka

Indonesia, BPPI) and the Netherlands Institute for Heritage

(Erfgoed Nederland). Between early 2008 and January 2010,

these two organisations collaborated on a heritage education

project in Yogyakarta and its surrounding area (Java,

Indonesia), focusing on local primary schools. The project was

a success. Long-term links were set up for collaboration with

the participating schools and a large body of materials and

activities also resulted. This was sufficient reason to make the

results available to others so that everyone can benefit from

the know-how generated. The experience gained in Indonesia

is illustrative in the context of this Toolkit. The main text

provides tips to assist interested parties that are considering

setting up a heritage education project. The step-by-step plan at

the back gives an overview of the various tips.

We look back fondly on the collaboration between the BPPI and

the Netherlands Institute for Heritage. We also look forward

to future initiatives that will allow the Institute to facilitate

international collaboration with a variety of partners, as

regards both heritage and education.

I would like to express our thanks to a number of people

involved in creating the Toolkit, in particular the design team

in Indonesia, the teachers involved, and the staff of the BPPI,

under the inspiring leadership of Dr. Laretna T. Adishakti (Sita)

and Ir. Catrini Pratihari Kubontubuh, MArch (Ari).

I would also like to thank Elisabeth Wiessner, Cees Hageman,

and Astrid Weij, who worked on the project from 2008 to 2010

on behalf of the Netherlands Institute for Heritage, and Hasti

Tarekat, who was indispensable to the collaboration. Finally,

I wish to thank the Indonesian Ministry of Education for its

enthusiastic support and the Dutch Ministry of Education,

Culture and Science, which made the project possible

financially.

I recommend the Toolkit to all those involved in cultural

heritage and education. I hope you will find the Toolkit

interesting, and I wish you every success with your heritage

education project.


Toolkit, step by step: an approach to heritage education

Introduction

This Toolkit for developing international heritage education projects offers guidelines for heritage institutions and schools that wish to convert their project ideas into an actual plan. The Toolkit sets out the development process from the initial idea to the results. It is based on both theoretical principles for project-based activities and the collaboration project Heritage Education for Schools in Indonesia, which was implemented between 2008 and 2010 by the Indonesian Heritage Trust (BPPI) and the Netherlands Institute for Heritage (Erfgoed Nederland). The theory on which project-based activities are based is derived from a large number of sources. In the present case, use was made of the Guidelines for Project-based Work [Handleiding Projectmatig Werken] produced by Leiden University’s Faculty of Humanities and the publication Beyond Heritage à la Carte [Voorbij Erfgoed à la Carte].

The Toolkit covers the main steps to be followed in setting up projects in general and heritage education projects in particular. The details of this process are covered in general and summarised, with tips also being given. Under the heading ‘Zoom in’, a brief account is given of the experience gained in Indonesia, in particular working with the partners in and round Yogyakarta (Java).

Detailing of the projects was determined in part by such variables as working conditions, the local colour as regards work, and the prevailing educational culture. Details are not therefore given of the project in Indonesia; rather, the Indonesian examples give colour to the Toolkit. The Toolkit concludes with a practical step-by-step plan for setting up and implementing a project. This provides a framework for project–based work and can be used by both heritage institutions and schools.


DefinitionsBefore starting, we need to define three terms: project-based work, cultural heritage, and

heritage education/teaching.

Project-based work

The definition of project-based work that applies is ‘a project is a sum total of activities

carried out by specialised groups within a temporary collaborative partnership that

focuses on a clearly defined final result that must be achieved within a restricted period

with restricted means, and having a definable beginning, end, and capacity.’

A description of the process for this sum total of activities is of a general nature and can

be applied to all approaches to project-based work, for example heritage education. One

important basic principle is that the process described is applied in situations in which

a project-based approach to work is not a matter of course. The purpose of the Toolkit is

therefore – emphatically – to contribute to arriving at a line of thinking shared by the

persons involved in working out plans. A shared line of thinking is necessary because

cultural differences between the parties may play a major role in differing expectations

and results as regards a joint project. It is a useful exercise – precisely because of

cultural differences – to arrive at a shared line of thinking because it allows one to get to

know one’s future colleagues and their ideas regarding cultural heritage and education.

Cultural heritage

Besides reaching agreement on the approach to the project, it is important to consider

the various different views regarding the concept of heritage within a specific cultural

context. It is necessary to gain a clear idea of what the collaborating parties understand

by ‘heritage’. What are their views on material heritage and intangible heritage?

Material heritage comprises museum collections, historical monuments, archives,

etc., while intangible heritage concerns such things as stories, traditions, and customs.

Intangible heritage often says something about material items. Does the project concern

a particular local heritage, or does it concern common or shared heritage?

The collaboration project Heritage Education for Schools in Indonesia – which involved

the Indonesian Heritage Trust and the Netherlands Institute for Heritage was aimed

at raising awareness of cultural heritage. The intention was to raise awareness among

elementary school pupils and the project concentrated on local heritage. The question

is: what heritage and whose heritage should be on the agenda?

Heritage and education

When setting up international heritage education projects, it is extremely important

to clarify the local preconditions before being able – or even being permitted – to

develop plans for teaching/learning. This demands that a clear analysis be made of how

education is organised locally. That analysis provides answers to questions regarding

the target groups, the number of pupils concerned, accommodation, rules, powers, the

relevant lesson plans, and the place that can be allocated to heritage education within

the curriculum, the support for innovation and change, and such difficult to define

concepts as ‘educational culture’. All of these must be clarified in order to produce

a realistic estimate of aims and results. Clarifying matters in this way can prevent

disappointment, and it can also help create the network necessary for ensuring the

success of the project.

The project is also a pilot for the introduction of heritage education in Indonesia, given that heritage education is as yet unknown in that country. It is expected that the pilot project in Yogyakarta will act as a model for heritage education practice in Indonesia – in terms of methods, structures, content, and teaching approach – and also as an encouragement for the Indonesian government to give heritage education a place in the national policy and curriculum.


Phases

We distinguish between four different phases in the design of a project.

The various different phases are explained in greater detail below.

1 The start of the initiative, the creation of a basis of support, and the elaboration of a project idea into a project identity.

2 The design of the project, paying attention to the project plan, the objectives, the collaborating partners, the management, the communication, and the tasks that are consequently specified.

3 Planning and financing.

4 Supervision of the process via monitoring and outcomes.


Phase 1: The start

Initiative

Always bear in mind who took the initiative for the project. Was it an interest group –

an authority or an NGO – that made the proposal on the basis of policy intentions, or

did the initiative arise from a specific need expressed by organisations working ‘in the

field’, for example schools or heritage institutions? This primarily determines the basic

principle of whether the project is demand-driven or supply-driven. Consideration

should also be given to who will deal with the results of the project in the long term.

The BPPI is a community-based organisation run entirely by volunteers. In this case, the pilot project was initiated from the bottom up because it was the BPPI that introduced the initiative and approached other parties to become involved, including government agencies at all levels.

Tip 1Top-down or bottom-up

Determine whether the project has been

proposed on a top-down or a bottom-up

basis. This is an important consideration for

implementing project plans as regards gaining

support for an idea. Set out this commitment

in a collaboration agreement signed by all the

interested parties.

Zoom in

The initiative for the Heritage Education for

Schools in Indonesia project came about more

or less by chance. The relationship between

the Netherlands Institute for Heritage (Erfgoed

Nederland) and the Indonesian Heritage

Trust (BPPI) arose from a contact between

an employee of the Netherlands Institute for

Heritage and a representative of the BPPI

who lives and works in the Netherlands.

That contact led to the idea of international

collaboration. Part of the Institute’s subsidy is

intended to fund plans for heritage education

for elementary schools in Indonesia. This

meant that Netherlands Institute for Heritage

could draw on experience gained when

working on network projects for heritage

education in the Netherlands. A jointly

developed project plan was the basis for closer

contacts between the Institute and the BPPI in

Indonesia. In December 2007, it was decided

to arrange for collaboration between the two

institutions. That collaboration took the form

of definitive adoption of the project plan,

arrangements for exchanges, a draft budget,

and a collaboration agreement between

the two organisations: a Memorandum of

Understanding (MoU). The idea for the project

derived from the desire, specifically on the

part of the BPPI, to implement a project to raise

awareness regarding heritage education for

elementary schools in Indonesia.


Phase 1: The start

Basis of support

The idea for a project can only produce the intended result if it enjoys sufficient support

on the part of the interested parties. The main question is whether the idea will help

meet a need or contribute to solving a problem. Is the situation concerned a unique one

or has an answer to the question already been sought and found in a different situation;

is it possible to acquire information about other initiatives; and can the experience

gained from previous initiatives contribute to developing the proposed project? It is

useful to consider which parties and potential partners can contribute to the ultimate

success of the project, for example teachers, school heads, pupils, employees of heritage

institutions, and perhaps the authorities? These partners already need to be involved

from the initiative phase so as to ensure that the project is a success.

The BPPI carried out an internal study in Indonesia to determine which schools might be interested in the pilot project. Ultimately, twelve elementary schools were chosen in Yogyakarta and the surrounding areas which represented various types of schools, for example:

1 A private school in the city centre attended mainly by children from the middle and upper classes;

2 A state school in the city centre which is subsidised by the government;

3 Schools with a religious approach, for example Islamic or Christian;

4 State schools in the suburbs attended mainly by children from the lower classes.

The BPPI visited each school and conducted intensive discussions with the directors and teachers in order to reach agreement on their involvement in the pilot project, how the pilot project should be implemented, and what the responsibilities would be of each party involved.

The second phase was training for the teachers involved. This was given by the BPPI, Netherlands Institute for Heritage, and the government agencies responsible for elementary education. The training sessions were conducted at the beginning and in the middle of the pilot project. The training at the beginning mainly involved an introduction to what heritage education actually is, how to implement it at schools, and how to prepare the heritage education teaching materials.

The BPPI also identified and involved other stakeholders:

1 The government agencies responsible for elementary education in the city (Yogyakarta), the province (DI Yogyakarta), and at national level (Indonesia) especially the Centre of Curriculum Development at the Department of National Education and the Department of Culture and Tourism.

2 The press, in this case local and national newspapers;

3 Local universities; 4 Local institutions such as the Netherlands

Cultural Centre; 5 UNESCO’s Jakarta office; 6 Government agencies from outside

Yogyakarta that are interested in replicating the heritage education project in their areas.

Tip 2Preliminary study

Determine the demand that forms the basis

for the project idea. Determine whether there

have been any comparable initiatives. This can

be done partly by means of desk research and

partly through interviews with participants

in similar projects. It can take the form of a

baseline survey.

Determine who the possible parties/partners

may be for developing the project.

Organise an exploratory meeting with the

aim of presenting the initiative and allowing

potential collaboration partners to comment

on it.

Based on the results of that meeting, set up a

steering committee and/or advisory group; this

should be a critical, active, and representative

group of people.

Zoom in

Fruitful collaboration between diverse

partners can only come about if they know

one another and are aware of similarities

and differences in their cultures (specifically

their educational cultures). This process of

getting to know one another and exploring

the options for collaboration was effectuated

during an initial working visit to Indonesia by

representatives of the Netherlands Institute

for Heritage. The point of the visit was to get

to know the BPPI, the government bodies

involved, and those responsible in Indonesia

for education and culture; it also focused on

involving the relevant partners with a view

to implementing the idea for the project and

getting to know the educational situation. Both

partners presented their aims and working

methods. The collaboration agreement was

worked out, a budget was drawn up, and there

were meetings between representatives of

the ministry of education and the ministry

of culture. There were also visits to heritage

institutions such as the National Museum and

the National Archive of Indonesia.

The collaboration agreement (i.e. the MoU) was

formally signed at the Dutch embassy in the

presence of the press. Finally, there was a visit

to Yogyakarta in order to get to know the BPPI

team and the project coordinators, the schools,

and the local partners, including universities.


Phase 1: The start

Project identity

The project plan is always worked out on the basis of an original idea. Creative input

means that ideas for projects have a tendency to expand to such an extent that the

original idea is lost sight of. It is therefore valuable to continually check the project

against the original idea during the course of the development process. The parties

involved can make it easier to identify with the project by clarifying, from the very

beginning, the need that the project is meant to meet and by highlighting that in the

working title for the project.

Tip 3A specific name

The name or working title of the project must

indicate what the project is actually about.

It is worth taking the necessary time and

trouble to decide on a clear working title –

one acceptable to all parties – at the earliest

possible stage. The title should be chosen with

the expert assistance of various parties – the

ministry, local government bodies, etc. – that

are not directly involved in the project by

asking them ‘What do you think of when you

hear…?’

Zoom in

The BPPI organised several meetings,

concluding that the most appropriate name

for the project would be ‘Heritage Education

for Schools in Indonesia.’ Although the pilot

project focused on elementary schools,

this was not mentioned in the title because

the BPPI hopes that at a later date heritage

education can also be implemented at high

schools and in higher education. Yogyakarta

is not mentioned either because it is expected

that this initiative will also be implemented

in other areas of Indonesia. The chosen

name is the most appropriate as regards the

continuation of heritage education in the

country. After the period of collaboration

with the Netherlands Institute for Heritage

(2008–2010) is over, the BPPI will continue the

heritage education programme in other areas

with support from other parties but will still

use the original name.


Phase 2: Elaboration

Designing the project

The project plan is of great importance when designing the project. It clarifies the need

that the project is meant to meet, whether it is supported and by which partners, what

the aims and benefits are, and which partners will help develop it on the basis of what

expertise. When writing project plans, there is a risk of providing too much detail. There

should be a summary setting out as specifically as possible what the plan includes

and what results it will achieve. Working out the project planning in detail is of course

important, but the main outline (the process) should remain clear.

Tip 4Formulate clearly

The design of the project should be formulated

clearly, from the start to completion. The

main outline should be kept in mind. Make a

summary and include it in the project plan as

a preamble.

Zoom in

In the course of working out the idea for the

project together with the members of the BPPI

working party in Yogyakarta, it became clear

that the ambitions exceeded the feasibility of

the objectives. The BPPI team was made up of

professionals who contributed voluntarily to

working out the project on the basis of their

own particular background. Voluntary efforts

based on specific expertise lead in many cases

to an expansion as regards the actual content

of the project. That would not really seem to

be a problem, but it immediately brings one up

against the limits of what is actually possible

from the point of view of quantity and quality.

After some discussion, it was decided that a

manual for the teachers involved should be

slimmed down.



The objectives

One important element in working out a project plan is to formulate the objectives for

the project. These should be as specific as possible in terms of the intended benefits.

Objectives are too often set out in the form of intentions. In fact, they should specify

the intended benefits. The acronym ‘SMART’ is often used in this context: an objective

should be specific, measurable, achievable, realistic, and time-bound.

The BPPI decided to concentrate only on children in classes aged 9 to 10. This decision was based on the consideration that children at this age have basic writing and reading skills and are not yet busy preparing for their final exams. At the final stage, the BPPI decided and was able to produce a manual for teachers and 21 modules for children; these were prepared jointly by the teachers and the BPPI’s volunteers.

Tip 5Specific objectives

Formulate objectives as specific results.

Rather than saying ‘We intend working on

the heritage education learning pathways for

elementary school pupils’ it is better to say

‘In two years time, there will be a heritage

education learning pathway for pupils aged

6 to 12.’

Zoom in

The BPPI team had in mind not only a learning

pathway for heritage education with the

associated heritage lessons; it also wanted to

increase teachers’ knowledge of their local

heritage. A manual was therefore developed

for the teachers but this did not yet include

the further didactic step of setting out specific

guidelines for teaching/learning activities.

In fact, the project had a double objective: an

educational design (teaching materials) for

actual educational practice and in-service

training for teachers (background information

about local heritage). The potential risk is that

the project as a whole will be felt to be top-

heavy. The challenge was therefore to design

the detailed version of the project (the process)

in such a way as to achieve both the objectives

(lessons and in-service training) within a

programme acceptable to the target group.



Restriction

Adopting the SMART approach leads to realistically formulated objectives for the

project, with ‘realistic’ being a synonym for ‘restricted’. Trying to do too much all at

the same time leads to frustration among both those commissioning the project and

those implementing it. Restricting the objectives ensures that the steps envisaged are

clear and that they can definitely contribute to more distant goals derived from more

extensive programmes.

Tip 6Not too much

Do not try to achieve too much all in one go

and do not hesitate to adjust objectives in

the course of the project on the basis of the

experience gained.

Zoom in

It took a while for the BPPI to realise that a

period of two years for the pilot project was

relatively short if all the goals that were

originally envisaged were to be achieved. The

BPPI was very enthusiastic about introducing

heritage education in Indonesia and therefore

set goals that were not actually feasible given

the available resources (time, money, labour).

During the pilot project, the goals were

adjusted in consultation with all stakeholders.


The partners

Planning a successful project requires efforts on the part of a variety of partners, for

example schools, cultural institutions, funding organisations, and authorities. Partners

can be involved in various phases of the project – the initiative, elaboration, monitoring

and evaluation – but also for management, advice, finances, and maintaining networks.

Getting parties interested in the idea for a project often starts on the basis of specific

motives regarding actual content. In the case of heritage education, it is ultimately a

question of the teachers who will work with materials and activities with their pupils,

based on the idea for the project. Their concern will be the actual content. Just as

important, or even more so, is the involvement of the school management.

Successfully working out a project depends mainly on having a clear structure that

indicates which parties will carry out which tasks and who will be responsible. This

means that the project coordinators must guide the process and monitor progress, but

that they must also keep track of how the actual content is worked out. Depending

on the scale for the project – whether it is for a particular city, region, or country – a

decision must be taken on whether one or more persons will be responsible.

Participation in a project and application of the results can only really be successful if

schools are behind the idea ‘across the board’. The party concerned here – the school

management – will be motivated not only by educational arguments but above all by the

opportunities for school development.


It is also advisable to involve partners in the project who are responsible for the

structure and quality of teaching at administrative level. This may mean administrative

organisations but also those bearing final responsibility at municipal, regional, or even

national level.

Besides involving partners on the basis of the necessary content-related expertise

(education and heritage), it is important to involve partners that can deal with

evaluation and implementation of the project and the products that it generates.

The Netherlands Institute for Heritage (Erfgoed Nederland) provided financial support and expertise for the pilot project while the BPPI worked to determine the best methods and materials for heritage education in the Indonesian context. Although this was a very challenging task, it was important for the BPPI to go through all the processes because only in this way could the BPPI gain the necessary first-hand experience and knowledge to ensure the sustainability of heritage education.

The BPPI and the schools agreed that a number of tasks would be delegated to the schools. The BPPI has a role as a resource institution for networking amongst schools, assisting in writing materials, and in the evaluation process. The task of the schools is to identify the subjects to be taught, to prepare the materials if necessary, and to utilise them in class.

Tip 7Collaboration agreement

Conclude a collaboration agreement with

all the parties at management level. The

agreement should set out all the reciprocal

expectations and obligations. The actual

conclusion of the agreement should take

the form of an official, ceremonial event.

Collaboration also needs to be ‘maintained’.

In addition to the development of materials

and their incorporation into the curriculum,

make sure that the progress of the project is

monitored; do this by appointing a monitor

for the development process. This can involve

ensuring that there are regular meetings for

the parties but also by visiting the schools with

the same frequency (see also phase 4).

Zoom in

The Netherlands Institute for Heritage and the

BPPI worked out the follow-up steps jointly

with a view to keeping a finger on the pulse

so as to convert project aims into manageable

programmes for those implementing the

project and for teachers. In the summer of

2008, representatives of Erfgoed Nederland

paid a working visit to the BPPI. In Yogyakarta,

the two organisations worked jointly on

the plan for in-service training for teachers,

planning for the project at school level, and

increasing the level of support for the project

at the level of local interested parties and

those bearing responsibility in the context

of elementary education in Yogyakarta. This

created the basis for a five-day conference

towards the end of the year for the twelve

schools that had become involved. A

programme for the conference was drawn

up, visits were paid to the twelve schools,

and there were discussions with school

managers and the civil servants responsible

for education in Yogyakarta. Presentations

were also given for interested parties within

the BPPI’s local network at Fort Vredeburg

and for groups of archaeology students at

the university (Faculty of Cultural Sciences,

Gadjah Mada University).



Communication

In order to involve all the parties and to keep track of the progress of the project,

it is advisable to decide at the very beginning what form internal and external

communication should take. In addition to organising conferences, working visits, and

school visits during which the parties meet one another, it is a good idea to regularly

send out an electronic newsletter describing the progress of the project. A newsletter of

this kind is a classic communication tool, and utilising social media and websites is also

an obvious thing to do.

Tip 8Regular communication

Make sure that there is a regular medium – a

newsletter, a functional website, a forum,

articles in magazines – describing experience

with projects.

Zoom in

A number of publications were produced

during the course of the heritage education

pilot project:

1 The BPPI collaborated with a local

cultural magazine (GONG) which

published two supplements about the

development of the pilot project; these

were in both Indonesian and English.

2 The BPPI also published the pilot

project on its website in both

Indonesian and English.

3 In collaboration with the Netherlands

Cultural Centre (Karta Pustaka) in

Yogyakarta, the BPPI organised an

exhibition and demonstration of

heritage education which was open to

the public.

The pilot project was covered sufficiently by

the mass media, both in Indonesia (locally and

nationally) and in the Netherlands. Journalists

were present at the training sessions for the

teachers, the exhibition, and the international

seminar at the end of the pilot project.


Phase 3: Planning and funding

Scheduling

Developing and implementing heritage education projects takes a great deal of time.

It is essential to have a realistic schedule and to stick to it. When schools and heritage

institutions collaborate, significant differences become apparent as regards organisation

and the work rhythm of the partners. If other parties are also involved, collaboration

becomes even more complex and the importance of a schedule that is clear to all

concerned becomes even more important. When developing heritage education projects

for schools, it is the schools’ annual timetable that forms the basis. Activities such as

organising working party meetings, holding evaluation discussions, and trying out draft

materials must fit in with the school’s schedule so as to prevent too high demands and

ultimately overloading.

Tip 9Calendar for the year

The important thing is not to attempt too much

and not to go too fast. Draw up a calendar for

the year showing the project activities. Make

clear who will be engaged in what activities at

what time. This will make clear whether the

objectives are being met or whether changes

need to be made.

Zoom in

Like all schools, the participating schools in

Indonesia must stick to a tight schedule in

order to achieve their curriculum targets.

Heritage education was therefore incorporated

into the existing curriculum rather than being

given as an independent subject. Teachers

and the BPPI together decided which subjects

were appropriate for the inclusion of heritage

education. The BPPI also assisted the teachers

with the preparation of some materials. The

teachers wrote the texts, which were then

edited and printed by the BPPI.


Phase 3: Planning and funding

Funding

The costs involved in developing products and encouraging the process always give

rise to concern. What sources of funding are available? What can be done to interest

potential funding organisations? Besides a substantive project plan, it will be necessary

to produce a clear picture of the costs for the various components of the plan. Make

a clear distinction between costs that concern the process – coordination, meetings,

evaluation, and communication – and production costs (for designing and printing

materials). An indication should also be given of the investment made by project

partners in developing the project in the form of their own particular efforts. It should

be noted that acquiring funds for a project is in fact pretty much a field for specialists.

Tip 10Realistic budget

Drawing up a realistic budget for the project

costs and finding the money form a separate

assignment and should be specified separately

in the project plan. It is important to remember

that all work in the form of hours can also be

expressed in monetary terms and that a great

deal can be achieved by means of individual

efforts, even with only a small budget for

materials.

Zoom in

The fact that the Netherlands Institute for

Heritage provided financial support was

a boost to starting the heritage education

pilot project for a period of two years. After

the conclusion of the project, it will be up to

the BPPI to secure the necessary funding to

continue the initiative. Fortunately, the project

itself and the results achieved led to a number

of parties being interested in collaborating

with a view to continuing the initiative.

These are UNESCO’s Jakarta office, a private

company, and local government bodies.


Phase 4: Monitoring

Monitoring and evaluation

If the process of project development is to be successful, there needs to be regular

monitoring of progress by a monitor. The monitor constantly tracks progress, notes

significant problems, and makes proposals to the project coordinators for solving those

problems. Regular contact between the monitor and the various parties involved in the

development process allows developments to be adjusted in good time.

Having a monitor also makes it possible to plan evaluations at fixed points during the

development process. It is important to consider how developments will in fact be

evaluated in cooperation with the various parties, for example by means of interviews,

group discussions, or in writing. It is advisable to make the results available to the

relevant parties as quickly as possible. The monitor and the evaluation are not

objectives per se. Their purpose is to ensure progress in the development process; they

must not become an additional burden on the collaborating partners.

Monitoring and evaluation are not intended to control matters; they keep track

of developments in an atmosphere of interest and they contribute to continuing

involvement in the development process on the part of all parties.

Tip 11Interim reporting

The experience generated by monitoring

should be published regularly in the form of a

report that is made available to all the partners

(see also tip 8). This will ensure that those

concerned remain involved with the project;

it also makes it possible to learn from one

another’s experience.

Zoom in

The project management in Yogyakarta

made one person available throughout the

development process to stay in contact

with the schools. Representatives of the

participating schools were regularly brought

together for meetings and there were also

visits to the individual schools. The aim of all

this was to ensure continuing commitment to

the overall project, to pool experience, and to

adjust the aims of the project where necessary.

For the individual contacts with the schools

and the discussions that were conducted there

with the teachers and management, use was

made of a standardised list of points to be

considered; this was based on the approach

during similar network projects in the

Netherlands.


Phase 4: Monitoring

Outcomes and result

A project will ultimately lead to actual products. In the case of heritage education,

these will be teaching/learning resources, guidelines for teachers, learning pathways

that demonstrate a heritage education programme for a school, and ultimately – on

the basis of monitoring and evaluation – a complete overview of the products, the

programme, and the process. For heritage institutions, the project will lead to a scenario

for developing heritage education projects. The actual results and products can be

presented to all concerned at a final meeting to round off the project.

Tip 12Organise celebrations

Achieving interim objectives and the final

results are highlights within a project. That

fact should not be forgotten, and meetings

should be organised not only for those directly

involved but also for other interested parties

such as funding organisations, representatives

of the authorities, and other potentially

interested parties with a view to follow-ups or

further implementation.

Zoom in

The project in Yogyakarta concluded with

an international conference to which

representatives of national and local

government were invited, together with

potentially interested parties, participants,

representatives from UNESCO’s Jakarta

office, and representatives of the Netherlands

Institute for Heritage. Prior to the conference

– which involved celebrations around the

presentation of the results – the project

was evaluated with the participants, local

educators, and interested parties from other

parts of Indonesia, in particular West Sumatra,

Bali, and Ternate. Subsequently, there was

a large exhibition at the Indonesian-Dutch

cultural centre in Yogyakarta showing the

results of the project for a broader public from

the education sector. Regular workshops took

place during the exhibition dealing with topics

included in the heritage project.


Step-by-step planfor a heritage education project


Step 3: Decide on an interesting working title or name for the project.The name or working title of the project must indicate what the

project is actually about. It is worth taking the necessary time

and trouble to decide on a clear working title – one acceptable

to all parties – at the earliest possible stage. The title should

be chosen with the expert assistance of parties that are not

directly involved in the project by asking them ‘What do you

think of when you hear…?’

Step 1: Determine where the demand comes from.Determine whether the project has been proposed on the

basis of a top-down approach or a bottom-up request. This is

an important consideration for implementing project plans as

regards gaining support for an idea. Set out this commitment in

a collaboration agreement signed by all the interested parties.

You should specifically aim for support (awareness raising)

among those who will ultimately implement the project (in

this case teachers) and methods by which the intended result

can be achieved (capacity building). Do those involved actually

want the project and can they implement it?

Step 2: Determine what need is to be provided for by the project initiative.Determine the demand that forms the basis for the project idea.

Determine whether there have been any comparable

initiatives. This can be done partly by means of desk research

and partly through interviews with participants in similar

projects. It can take the form of a baseline survey.

Determine who the possible parties/partners may be for

developing the project.

Organise an exploratory meeting with the aim of presenting

the initiative and allowing the potential collaboration partners/

parties to comment on it.

Based on the results of that meeting, set up a steering

committee and/or advisory group; this should be a critical,

active, and representative group of people.

Step 4: Determine a clear line of development.The design of the project should be formulated clearly, from

the start to completion. Make a summary and include it in the

project plan as a preamble.


Step 7: Determine the level at which collaboration agreements need to be concluded and with whom.Conclude a collaboration agreement with all the parties

concerned at management level. The agreement should set

out all the reciprocal expectations and obligations. The actual

conclusion of the agreement should take the form of an official,

ceremonial event. This should be a separate event involving

all those concerned (see also step 12). Collaboration also needs

to be ‘maintained’. In addition to the development of materials

and their incorporation into the curriculum, make sure that

the progress of the project is monitored; do this by appointing a

monitor for the development process. This can involve ensuring

that there are regular meetings for the parties but also visits to

the schools with the same frequency (see also phase 4).

Step 5: Determine the intended specific results of the project.Formulate objectives as specific results.

Rather than saying ‘We intend working on the heritage

education learning pathways for elementary school pupils’

it is better to say ‘In two years time, there will be a heritage

education learning pathway for pupils aged 6 to 12.’

Step 6: Determine who will carry out interim evaluation and when.Do not try to achieve too much all in one go and do not hesitate

to adjust objectives in the course of the project on the basis of

the experience gained. Make sure you have a specific contact

person, i.e. the person who will carry out the evaluation. That

person plays a crucial role in the project, and should be one of

the project coordinators.

Step 8: Determine how progress on the project will be communicated.Make sure that there is a regular medium – a newsletter, a

functional website, a digital forum, articles in magazines –

describing experience with projects.


Step 11: Determine what means of communication will be used so as to provide regular information about the project for all concerned.The experience generated by monitoring should be published

regularly in the form of a report that is made available to all

the partners. This will ensure that those concerned remain

involved with the project; it also makes it possible to share and

learn from one another’s experience.

Step 9: Determine how the progress of the project is to be monitored.The important thing is not to attempt too much and not to go

too fast. Draw up a calendar for the year showing the project

activities. Make clear who will be engaged in what activities

at what time. This will allow you to determine whether the

objectives are being met or whether changes need to be made.

Step 10: Determine how the project financing is to be expressed in hours and costs.Drawing up a realistic budget for the project costs and finding

the money form a separate assignment and should be specified

separately in the project plan. It is important to remember that

all work in the form of hours also means money and that a

great deal can be achieved by means of individual efforts, even

with only a small budget for materials.

Step 12: Determine when and how results will be presented (both internally and externally).Organise celebrations! Achieving interim objectives and the

final results are highlights within a project. That fact should

not be forgotten, and meetings should be organised not

only for those directly involved but also for other interested

parties such as funding organisations, representatives of the

authorities, and other potentially interested parties with a view

to follow-ups or further implementation.

Phases

1 The start of the initiative, the creation of a basis of support, and the elaboration of a project idea into a project identity.

2 The design of the project, paying attention to the project plan, the objectives, the collaborating partners, the management, the communication, and the tasks that are consequently specified.

3 Planning and financing.

4 Supervision of the process via monitoring and outcomes.

Toolkit, step by step: an approach to heritage education

Steps

1 Determine where the demand comes from.

2 Determine what need is to be provided for by the project initiative.

3 Decide on an interesting working title or name for the project.

4 Determine a clear line of development.

5 Determine the intended specific results of the project.

6 Determine who will carry out interim evaluation and when.

7 Determine the level at which collaboration agreements need to be concluded and with whom.

8 Determine how progress on the project will be communicated.

9 Determine how the progress of the project is to be monitored.

10 Determine how the project financing is to be expressed in hours and costs.

11 Determine what means of communication will be used so as to provide regular information about the project for all concerned.

12 Determine when and how results will be presented (both internally and externally).

Tips

1 Top-down or bottom-upDetermine whether the project has been proposed on a top-down or a

bottom-up basis. This is an important consideration for implementing

project plans as regards gaining support for an idea. Set out this

commitment in a collaboration agreement signed by all the interested

parties.

2 Preliminary studyDetermine the demand that forms the basis for the project idea. Determine

whether there have been any comparable initiatives. This can be done

partly by means of desk research and partly through interviews with

participants in similar projects. It can take the form of a baseline survey.

3 A specific nameThe name or working title of the project must indicate what the project is

actually about. It is worth taking the necessary time and trouble to decide

on a clear working title – one acceptable to all parties – at the earliest

possible stage. The title should be chosen with the expert assistance of

various parties – the ministry, local government bodies, etc. – that are not

directly involved in the project by asking them ‘What do you think of when

you hear…?’

4 Formulate clearlyThe design of the project should be formulated clearly, from the start to

completion. The main outline should be kept in mind. Make a summary and

include it in the project plan as a preamble.

5 Specific objectivesFormulate objectives as specific results. Rather than saying ‘We intend

working on the heritage education learning pathways for elementary

school pupils’ it is better to say ‘In two years time, there will be a heritage

education learning pathway for pupils aged 6 to 12.’

6 Not too muchDo not try to achieve too much all in one go and do not hesitate to adjust

objectives in the course of the project on the basis of the experience gained.

7 Collaboration agreementConclude a collaboration agreement with all the parties at management

level. The agreement should set out all the reciprocal expectations and

obligations. The actual conclusion of the agreement should take the form

of an official, ceremonial event. Collaboration also needs to be ‘maintained’.

In addition to the development of materials and their incorporation into

the curriculum, make sure that the progress of the project is monitored; do

this by appointing a monitor for the development process. This can involve

ensuring that there are regular meetings for the parties but also by visiting

the schools with the same frequency (see also phase 4).

8 Regular communicationMake sure that there is a regular medium – a newsletter, a functional

website, a forum, articles in magazines – describing experience with

projects.

9 Calendar for the year The important thing is not to attempt too much and not to go too fast.

Draw up a calendar for the year showing the project activities. Make clear

who will be engaged in what activities at what time. This will make clear

whether the objectives are being met or whether changes need to be made.

10 Realistic budgetDrawing up a realistic budget for the project costs and finding the money

form a separate assignment and should be specified separately in the

project plan. It is important to remember that all work in the form of hours

can also be expressed in monetary terms and that a great deal can be

achieved by means of individual efforts, even with only a small budget for

materials.

11 Interim reportingThe experience generated by monitoring should be published regularly in

the form of a report that is made available to all the partners (see also tip 8).

This will ensure that those concerned remain involved with the project; it

also makes it possible to learn from one another’s experience.

12 Organise celebrationsAchieving interim objectives and the final results are highlights within a

project. That fact should not be forgotten, and meetings should be organised

not only for those directly involved but also for other interested parties

such as funding organisations, representatives of the authorities, and

other potentially interested parties with a view to follow-ups or further

implementation.

Documents

Toolkit, step by step: an approach to heritage education