Скачать или смотреть Creative and cultural industries in South America: Case of four countries

Panel Chair: Ana Flávia Machado

Panellists: Argentina: Lía Barrese, Brasil: Alice Demattos Guimarães, Ana Flávia Machado, Gabriel Vaz de Melo e Rodrigo Michel Cavalcanti, Chile: Andrea Báez Montenegro, Eugenia Sepúlveda Albarran, Colombia: Nora Elena Espinal Monsalve

00:00 Introduction
03:00 Culture & creative industries in ARG - Lía Barrese
21:25 Chile - Andrea Báez Montenegro
34:00 Culture & creative industries in BR - Alice Demattos Guimarães, Ana Flávia Machado, Gabriel Vaz de Melo e Rodrigo Michel Cavalcanti
48:50 Squeezing creativity - Culture & creative industries in Columbia - Nora Elena Espinal Monsalve

Panel Abstract: The creative and cultural industries (CCIs) find in countries with expressive cultural diversity and innovative capacity a favorable environment for their development. In South America, even if its countries does not present strengthened innovation systems, the existence of social technologies and cultural diversity historically based on the traditions of indigenous people, Afro-descendants and Europeans, especially Spanish, Italians and Portuguese, favored the consolidation of a setting rich and with heterogeneous cultural background, as well as ICC activities. Seeking to portray this context, the aim of this panel is to bring evidence and debates on four countries, namely: Argentina, Brazil, Chile and Colombia, in terms of income generation, employment and specific policies for their CCIs, covering the period between 2010 and 2019. Additionally, greater space and visibility is sought for the discussion of the South American creative economy and its singularities in innovation in comparison with other regions.

Nowadays, ICCs account for 2.6% of the Argentinian economy, a proportion that has maintained a light weight for the longest since 2004, while cultural sectors represented 2% of the economy. Similarly, ICCs represents a 1.8% of the private sector in the country, being the audiovisual sector the leader with a third of this fraction. The ICCs are well located in different enclaves in various parts of the country, but the diverse sectors are heavily concentrated in the main urban centers, having in the City of Buenos Aires its most significant epicenter.

In the case of Brazil, it is estimated that the activity absorbs around 5 million workers, with a predominance of the segments of handicrafts and popular arts, audiovisual, gastronomy and music. Between 2005 and 2014, promotional policies for the sector were implemented but, for political reasons, later suspended. However, albeit the current lack of support in 2019, the CCIs was responsible for approximately 2.61% of the Brazilian GDP in 2017.

In Chile, the participation of the creative economy only reaches 4 thousand million dollars. Among the number of workers, according to UNCTAD, there are 170,000 associated workers. These data differs from what is presented in the national plan with 409,000 workers, representing 6% of the country’s labor force. In terms of GDP, Chile has been growing from 1.6% at the beginning of the program up to 2.2% in 2018, with an annual 4% target in 2025. From the perspective of economic policy, promoting the creative economy has captured the attention of those responsible for making public-private decisions, which represents an economic sector that contributes to the sophistication of the national productive matrix. Since 2015, with the support of CORFO, the National Strategic Program “Chile Creativo”, which works under public-private governance, there has been advances in implementing a roadmap that improves and articulates the creative-cultural sector, with a focus on the music, editorial, design and audiovisual subsectors (Report on Strategic Programs and Initiatives Committee, CPIE-CORFO).

In Colombia, the policy for entrepreneurship and cultural industries is formulated in 2010, establishing that the role of the state must be to provide incentives for private investment and create legal or administrative measures to eliminate the dysfunctional factors that affect the operation and interrelation of the production line of each CCI. In 2017, Ley 1834 was enacted, which extends the reach of the Cultural Satellite Account by incorporating all sectors associated with the CCIs, which combine creation, production and the commercialization of goods and services based on digital content of a cultural nature, and those that provide protection in the framework of the author’s rights. According to the National Statistics Department (DANE), in the last years the creative economy has had a growing trend with an added value of 3.2% in its participation between 2014 to 2019.

However, this proportion is lower than goal proposed by the national government which was 5.1% annual average. Therefore, this panel intends to gather experiences and results from the creative economy of a region where studies are scarce within the scope of the cultural economics literature.