1. Highlights (Tops)

Clear successes are visible across nearly all participating organizations. The most significant positive developments include:

 

• 1.1. Strong Motivation and Participant Growth: Students demonstrate high levels of passion, motivation, and a willingness to learn. Progress is evident in concerts, creative presentations, and performances.

​

• 1.2. Artistic and Substantive Quality: Positive feedback was received regarding percussion lessons, visual arts in galleries, and theater/puppetry performances. Folklore participation was highlighted for its cultural value and community engagement.

​

• 1.3. Successful Community Engagement: Events such as “Derragai” at Centro di Bario Noord were highly valued. Open days attracted significant interest, and community-based art activities have created a "spin-off effect," increasing local involvement and visibility.

​

• 1.4. Strong Partnership Collaboration: Increased cooperation with institutions such as IPA, Traimerdia, Centro di Bario, Schol Dun’un Man, and various schools. The Leerorkest (Learning Orchestra) is performing exceptionally well, with enthusiastic children and a solid organizational foundation.

​

• 1.5. Innovation and Inclusion: Funari has introduced photography for the blind and visually impaired—a major step in inclusive arts education. Additionally, the Music Hub program is experiencing high demand and positive response.

​

2. Challenges

Despite the program's impact, organizations face several structural challenges:

​

• 2.1. Lack of Materials and Resources: Participants often do not own instruments for home practice. There is a general shortage of materials for music, theater, costumes, and after-school activities, as well as a need for better technical equipment (audio, lighting, studios).

​

• 2.2. Limited Personnel Capacity: There is a shortage of qualified teachers and workshop facilitators. Boards and volunteers lack the time for structural tasks, and there is a specific need for professional expertise when working with target groups with disabilities.

​

• 2.3. Over-demand and Group Size: High interest has led to groups becoming too large, which can result in a loss of instructional quality.

​

• 2.4. Organizational Hurdles: Challenges include time management, scheduling difficulties, and inconsistent cooperation with certain schools.

​

• 2.5. Marketing and Outreach: Organizations struggle to reach and engage children and youth effectively. There is a lack of marketing strategy, and theater specifically requires extra promotional effort to regain popularity.

​

3. Learning Needs

The following development needs have been identified as direct input for a future training program:

​

• 3.1. Project Development & Fundraising: Writing grant proposals for local and international funding; high-quality reporting and project accountability.

​

• 3.2. Organizational Growth & Sustainability: Ensuring long-term project viability, financial administration, and building larger professional networks.

​

• 3.3. HR & Recruitment: Finding and retaining qualified teachers/leaders and training staff to work with participants with disabilities.

​

• 3.4. Artistic & Content Skills: Organizing exhibitions, creating attractive programmatic content, and adapting teaching methods to diverse target groups.

​

• 3.5. Outreach & Marketing: Digital marketing skills, branding, and launching national campaigns to increase youth participation.

​

• 3.6. Logistics & Production: Event planning, production assistance, and cost-effective costume and set design.

​

4. Recommendations for a Training & Capacity Building Program

Based on the collected input, we recommend a structured, modular training program:

​

4.1. Project Development "Writer’s Camp"

An intensive 2 or 3-day workshop where organizations:

• Learn to write grant applications for Dutch and international funds.

• Receive guidance on Theory of Change, project design, and budget building.

• Draft concrete applications for immediate submission.

​

4.2. "From Project to Program" (Sustainability)

Modules focusing on making projects structural rather than incidental, including governance, financial administration, impact measurement, and building long-term partnerships with schools and neighborhood centers.

​

4.3. HR & Talent Management for the Creative Sector

Training on recruitment, volunteer management, and inclusive didactics. CEDE ARUBA could play a role in facilitating a shared "teacher pool" to address staff shortages.

​

4.4. Pedagogical Toolbox for Arts & Culture

Workshops on classroom management (e.g., teaching hyperactive or easily distracted children), differentiated instruction, and methods for collecting feedback from youth.

​

4.5. Marketing & Outreach Lab

A series on branding, social media strategy, and youth recruitment, including the development of a national campaign for cultural participation.

​

4.6. Logistics, Production & Event Management

Practical training on curating exhibitions, producing concerts, and creative budget management for sets and costumes.

​

4.7. Knowledge Sharing & Peer Support (InterVision)

Regular sessions for organizations to share successes, identify common themes, and strengthen collective advocacy.

​

5. Conclusion

The LET'S ACT program shows clear progress, characterized by strong artistic output and high participant motivation. However, to ensure long-term success, there is a pressing need for professionalization in project development, fundraising, and HR.

​

By implementing these recommendations— specifically the Writer’s Camp and the Pedagogical Toolbox— LETS ACT can significantly strengthen the quality and sustainability of the cultural ecosystem in Aruba.