Written by UFADI
Star InactiveStar InactiveStar InactiveStar InactiveStar Inactive
 

Our mission is to make accessible to the greatest number Haitian capital works.

 

For that we will:

  • Conduct a policy of safeguarding, protecting and presenting cultural heritage in all its components and encouraging the creation of works of art and spirit.
  • Leading culture in the media field. In particular, ensure the development and dissemination of audiovisual creation and encourage the dissemination of educational and cultural programs.
  •  Elaboration and implementation of this policy concerning technologies, media and networks used in the field of communication.

It will be necessary to promote the development of artistic practices and teachings and, together with other interested institutions, contribute to the development of arts and cultural education for children and young adults throughout their training cycles. In Haitian culture, we have all these structures of the arts namely: painting, sculpture, literature (poems, declamation, theater), music, rara.

 

The rara:

A socio-cultural event that comes after the Carnival period especially marked by the festivities of rara recognized in the town of Léogâne, but this festival is particularly practicable in the four corners of Haiti with the massive participation of the inhabitants surrounded to the activities of popular manifestation. The rara contributes to the fulfillment of the human being and participates in the transformation of society through their rhythms and messages broadcast, a festival that is an integral part of the Leogane economy by attracting many visitors to this event.

 

 

 

Through this section, we will try to draw a panorama as complete and representative as possible of the culture of Haitian arts. It also contributes to the emancipation of youth in many ways.

This will allow them to cover tuition fees as well as the opportunity to learn to play certain instruments. It will take at least 1,500,000 gourdes for the expense of preparing for the parade of the so-called RARA BAND, many of them are facing financial difficulties despite the broad contribution of the diaspora, so, regarding culture and evolution of youth in cultural development and others, the Ministry of Culture and the Ministry of Government resigned and engendered an act of corruption.

Despite the great cultural and creative Haitian history, it is clear that these industries are confronted with various constraints including the imperfect knowledge of the sector, the weakness of institutions, the absence of genuine public policies, the degradation of tangible and intangible

 heritage. etc. More specifically, the Haitian audiovisual sector remains below its potential.

WVWVWVWVWVWVWVWVWVVWVWVWVWVWVWVWVWVWVWVWVWVWVWVWVWVWVVWVVWWVVWVWVWVW

 

 

In addition, the organization will fully participate in the definition and implementation of the policy of the field of decentralization, as was done by former president Michel Joseph Martelly who decentralized the carnival period in all cities from the country. A festivity that can increase the economy through the local and international tourists that return to the country for these two festivities; the three days of mardi-gras and Lent. These local cultural initiatives are encouraged and the links between the cultural policies of the State and those of the developed territorial communities.

 

 

 

 

 

The development of cultural industries and new technologies of diffusion of the creation of craftsmen. The recording studios are in full expansion, as evidenced by the holiday seasons of the end of years. The show is mixed for dance and theater. What does it mean to understand? The music, the ball in particular exports quite well in the USA and in the Caribbean, in particular in the cities with strong Haitian agglomeration.

The country has, for the moment, neither theater nor literary club, while the scriptural production increases considerably. There are an impressive number of broadcasting companies in the country, including nearly 200 radio stations and more than 400 television stations.

 

NB: * We will fight for an academy of culture for the young Haitian can do the best, because the Haitian works are awarded abroad.

 

  • Implement actions to ensure the influence in the world of culture, Haitian artistic creation and the Creole language.
  • Prepare and implement actions that contribute to the dissemination, use and enrichment of the Creole language as well as the
  •  preservation and enhancement of the languages ​​of Haiti.
  • Contribute finally to the cultural action of 
  • Haiti generally abroad and to actions related to Haitian cultural establishments abroad.
  • Cooperate in the fight agai
  • nst discrimination and corruption in the field of Haitian culture Through the pooling of resources and contacts, institutions work with people-relays intervening in the social field.

 A structure that today serves cancer for the Haitian community.

 

 

Despite episodic success, Haitian cinema is struggling to meet international standards that would allow its exploitation in foreign markets. In short, the cultural and creative industries are not in a position to realize their potential for lack of adequate public policies related to infrastructure, production facilities, training of human resources for the protection of intellectual property.

The sector is torn between two institutions: the Ministry of Culture and the Ministry of Tourism, both of which claim the guardianship of the creative industries by the great diversity of these industries which include activities that touch on both the creation, the production and marketing of cultural and intangible content in order to take advantage of the creative industries and to benefit the tourism sector.

 

We seek to understand them better by establishing the order of magnitude of its potential and its relation to the rest of the economic activity. The end result is to arrive at a clear idea of ​​their impact and the way in which public authorities can to create an environment conducive to their growth and competitiveness.

1. Assembly and operationalization of structures for collecting and processing statistical data,

2. Establishment of a system of classification of activities, techniques of collective management of the institutional aspects of copyright and related rights, good practices and various technical support. Hence the justification of the two following projects:

  • Systematic protection of Haiti's flagship products, starting with cut iron, by geographical indication and trademark.
  • Capacity building of stakeholder institutions to intervene in the formulation and implementation of public policies related to the cultural and creative industries sector.
  • Formulate ideas for the systematic protection of Haiti's specific economic wealth generated in the form of flagship products by the cultural and creative industries and other productive sectors,
  • Start with the cut iron of Haiti. It is articulated around actions aimed at:
  • sensitize and train representatives of public and private stakeholders on aspects related to the protection of Haitian products, trademarks and international commercial contracts.
  • Establish a road map for the establishment of protection for the valorization of Haitian products by combining it with a marketing and communication strategy for the promotion of Haitian products.
  • provide support for Haitian marketing and international recognition as well as for a competitive positioning of Haitian products in international markets.

Project ideas should be geared towards strengthening national capacities in the formulation and application of public policies related to the cultural and creative industries sector.

  • Development of appropriate methodologies for capturing information on cultural activities.
  • Collection and processing of cultural and creative statistical data and development of indicators.
  • In-depth knowledge of cultural and creative areas, economic importance and growth potential.
  • Classification of relevant economic activities.
  • Development and deployment of policy and strategy tools promoting entrepreneurship and the development of cultural industries.
  • Actions to be carried out without risk of interinstitutional overlap
Category: