Many people today view England’s cultural power naturally, as if it were a spontaneous phenomenon. None of this. It was planned for the cultural power of the country.
The “Creative Industries Team“(The Creative Industries Task Force), established in 1998 in the UK, has been a global landmark in bringing culture closer to development agendas. On this occasion, Land of the Beatles, Vivienne Westwood and Banksy mapped the activities of the sectors under consideration as part of the creative industries As a result, the “Creative Industries Mapping Document” was published, which positioned the sector as the sector that emerges from creativity, skill and ability to generate employment and income.
In the same year, to overcome the Asian crisis, the South Korean government significantly increased the budget of the Ministry of Culture and created a special section dedicated to popular culture, which was soon called K-Pop. In 2005, $1 billion was allocated to the sector, and in 2012, PSY’s “Gangnam Style” was already taking over the world, paving the way for the pop phenomenon BTS, a music group alone that moved more than $3 billion in the economy. country.
The more money is circulated, the more jobs, income, and public and private investments the cultural sector has in South Korea. The four 2020 Oscars for Bong Joon Ho’s “Parasite,” including Best Picture, and “Round 6,” the most-watched series in Netflix history, are examples of such effectiveness.
The list is extensive and can include the experience of Portugal, which has become one of the most sought-after destinations by young creative people in the world, and Colombia, which has adapted concepts of the creative economy to the realities of Latin America and created the basis for the so-called “orange economy”.
The truth is that culture and creativity prove to be generators of value and opportunity, even in the midst of global crises. The creative economy is more flexible, dynamic and connected to the digital world, and has a great potential for transformation and adaptation. In addition, it has a low environmental impact and cooperates with the civilizational commitment of our generation to search for sustainable development alternatives.
In this context, it is indisputable that Brazil, recognized for its ecological and cultural diversity, as well as its competence in creating the largest popular party on the planet, had to choose this path long ago.
Our dear country, which has been affected in recent years by undemocratic measures and continuous attacks on the cultural sector, can take a historical turn by putting its culture at the service of economic and social development through a national strategic plan that delves into the enormous creative potential. From every Brazilian state to create thousands of jobs. It is necessary to overcome the false contradiction between the economy of culture and the value of artistic expressions. Betting on the creative economy does not mean reducing the need for public investment in the sector, but rather the opposite.
It is time to seek a virtuous cycle that unites the artistic class, producers, directors, activists, and all those involved in the cultural field. Our music, audiovisual, dance, theatre, visual arts, gastronomy, fashion, design, architecture and handicrafts make up a strong and recognized brand in the world.
Brazilian culture can be a prosperous, sustainable and democratic way out of the country’s crisis. And we can do it all in style, as Anitta did at the world’s largest music festival, Coachella, mixing funk, samba, capoeira, green and yellow and the beautiful variety of Brazilian youth with “Garota de Ipanema”. “Let’s go” combines Stepinho batidão, folk suffering, disrespectful pisadinha and sertaneja with tropical, samba circuit, viijoada and carnival to help save Brazil.
Directions/Discussions
Articles published jointly do not reflect the opinion of the newspaper. Its publication follows the purpose of stimulating debate on Brazilian and global problems and reflecting the different directions of contemporary thought.
“Friendly zombie guru. Avid pop culture scholar. Freelance travel geek. Wannabe troublemaker. Coffee specialist.”
