The process, which involved consultations with other Ministries and other cultural entities in the country, started in 2019 in the former Secretariat of Culture. Over the course of that year, a plan was drafted for the consultations and participation of various sectors. Once Alberto Fernandez took over the presidency in December 2019, and the officials were appointed to the new Ministry of Culture of the Argentine Republic (as a focal point of the 2005 Convention), a work method and a schedule were established.
After that, we got in touch with other national agencies to get their reply to specific consultations on their area of expertise, for instance the National Ministry of Education and the Secretariat of Public Media. At the same time, we expanded the consultation scope to include participation by the Federal Culture Council, an interjurisdictional body under the National Agency for Federal Integration and International Cooperation of this Ministry, made up of the highest authorities of culture from the 23 Argentine provinces and the City of Buenos Aires.
As is widely known, in early 2020, the emergence of the COVID-19 pandemic had an immediate and profound impact on the various sectors of the cultural industry, forcing all cultural agencies to take emergency measures to help creators, producers and other workers in culture. To some extent, this led to a slow-down in the exchange of information and the communication flow, a foreseeable consequence of home lockdown.
Still, thanks to our Ministry of Culture’s commitment to UNESCO, most of the institutions and provinces we consulted responded enthusiastically and mentioned important measures, which are included in this report. In turn, UNESCO postponed the report submittal deadline, which afforded us time to stick to the schedule set for the consultations and exchanges within and between ministries in order to complete this important report.
Finally, it should be highlighted that civil society organizations were consulted transversally, as they are involved in several of the actions being conducted jointly by this National Ministry of Culture and such organizations.
Humankind is going through hard times. It is a time for reflection and action. As we took over this administration in December 2019, the Ministry of Culture was reinstated as such after having lost its grade. This is indicative of the vital role culture plays for this government.
We are working on the reconstruction of the social and cultural fabric, by systematizing our registration and recording process in a way that will allow us to recognize artists, creators and other workers in culture, as well as businesses, collectives and cultural spaces throughout the Argentine territory, enhancing a set of tools that will help to strengthen cultural programs in the long term in every sector. We strive to participate in the revitalization of economy, promoting and encouraging the development of cultural industries in our country and driving the growth of the various sectors with a view to internationalization and export.
At the same time, under the premise that this Ministry’s goal is to recognize the culture of diversity, we have taken steps at the federal level to provide financial support to artists, cultural centers, theaters, movie theaters, grassroots organizations, community projects, territory-based social organizations, indigenous communities, forums and assemblies, among other cultural stakeholders.
The emergency situation caused by the COVID-19 crisis has required us to collect thorough information about the economic and social impact of this sanitary crisis, something we have been doing since early 2020, leading the “COVID-19: Economic Impact on Cultural Industries” regional study, with the support and participation of cultural agencies from the Expanded Mercosur countries and Mexico, UNESCO Montevideo’s Regional Office, the Inter-American Development Bank (BID), the Ibero-American General Secretariat and the Organization of Ibero-American States for Education, Science and Culture.
|Type d'organisation||Organisation||Site web|
Ministry of Culture of the City of Buenos Aires
Culture Program of the Province of San Luis
Objectif 1 - Soutenir des systèmes de gouvernance durable de la culture
Secteurs culturels et créatifs
Argentine Cultural Information System
Report “Youths and Cultural Consumption” (Survey ENCC 2017)
Cultural School Competitions
For the 2020 Edition, the following issues should be considered:
Establish talent clinics, with a registry. Continuity should be encouraged.
Declare Cultural Schools Competitions as part of the Cultural Heritage at the national level
Establish an authorship registry for each production.
Plan a pedagogical path as Postgraduate Studies, in coordination with the Teacher Training Schools.
Publish the book with the collection of stories recreated during the Cultural School Competition 2019.
Generate content for the YouTube channel.
Carry out virtual follow-up to ensure the artistic content is updated.
- Expansion of the training space for public and private cultural managers throughout the country;
- Strengthening of the networks among managers in all regions, so that they do not fade away over time, and generate new networks instead.
- Continuity of promotion of projects produced between provinces and regions;
- Promotion of direct contact with cultural managers in each region of the country;
- New activities in regions that had not been reached through the Cultural Campus, such as southern Patagonia and the Central Andean region (Cuyo).
Audiences and Communities (PAC by its acronym in Spanish)
Among the future challenges for the program, the following ones have been proposed:
- Develop a federal audience plan that puts into practice the topics and tools developed during its implementation;
- Work in the development of audience plans and programs, together with organizations and cul-tural projects at the federal level;
- Complement the current perspective of the PACs with political, territorial and federal dimen-sions;
- Include proposals for the promotion and incentive of cultural consumption to accompany stimulating the supply side;
- Boost spaces for creative development by the audiences themselves;
- Incorporate the PACs perspective in the conception and development of federal cultural policies.
SPOTT (Public System of Theater Technicians and Craftspersons)
Future challenges for the program include:
- Include training in craft theatrical trades (shoemaking, costume design, carpentry, etc.), leveraging factory theaters as nodes or partners.
- Intensify training in practical crafts in formats like workshops in the fields of stage fundamentals.
- Enhance exchanges between beneficiaries through concrete actions and meetings in various factory theaters in the country by increasing the commitment of participating partner theaters.
- Multiply the effect of training so that program beneficiaries can act as trainers in future cohorts and generations of participating technicians and techniques (train the trainers).
- Include more content linked to best practices and stage safety.
- Add content and training on gender-based violence in work settings.
FESTIVALS OF BUENOS AIRES
USD 2,300,000 (US dollars)
These festivals help position our artists and showcase the cultural wealth of the City of Buenos Aires for audiences to enjoy. They have been on the local agenda for more than ten years.
In turn, they are at the forefront of cultural experimentation and contribute to the generation of new trends that promote culture aimed at new audiences.
A survey conducted in 2019 showed that 80% of attendees are satisfied or very satisfied with the cultural offerings of the city's festivals.
USD 2,200,000 (US dollars)
SOCIAL INTEGRATION PROGRAMS
USD 197,650 (US dollars)
MICA – Argentine Cultural Industries Market
Venues: Cultural Center for Science, National Bicentennial House, Rojas Cultural Center, Matienzo Cultural Club
More than 3,500 people were present across the four venues, with 1,323 attending the National Bicentennial House. They participated in the networking and business rounds, as well as other market activities. More than 4,500 networking and formal business rounds were conducted, as well as 2,000 informal meetings.
There were more than 80 MICA activities (training sessions, discussions, workshops, conferences): 14 music showcases; seven performing arts showcases; MICA Fair with 16 exhibition spaces for skilled artisans; 270 international guests including market buyers, a delegation from Uruguay and Chile and the Mexico al Sur committee, among others, and 211 producers from different provinces across the country.
Venue: Cultural Center for Science
3,000 people attended the C3 at MICA. More than 150 activities were conducted including round tables, conferences, workshops, showcases, master classes and laboratories; 1,500 entrepreneurs participated in 4,000 business rounds.
Venue: Kirchner Cultural Center
There were 60,000 attendees (general public); 3,540 Argentine entrepreneurs, who offered their products to 460 buyers from the country and from abroad; 35,000 business rounds; 7,000 attendees saw the live shows at La Ballena Azul auditorium over four evenings --the shows were also live-streamed-; 25 live music and theater showcases, with 2,000 spectators including producers, buyers and the general public; 16 live music concerts (showcases); nine works of performing arts; 42 conferences; six master classes; 13 regional meetings and producers' workshops; four shows at La Ballena Azul; two shows at La Cupula; 11 ongoing exhibition rooms; three audiovisual projections; a 2,600-m2 producers fair every evening and 15 activities for children.
250 participants from the following countries attended the event:
Australia | Bolivia | Brazil | Cameroon | Canada | Chile | Colombia | Costa Rica | Cuba | Denmark | France | Germany | Guatemala | Italy | Japan | Mexico | Paraguay | Peru | South Africa | Spain | State of Israel | United States| Uruguay | Venezuela.
Number of meetings per sector
Design: 60 buyers, 300 sellers, 1,900 meetings
Music: 110 buyers, 1,200 sellers, 4,800 meetings
Performing arts: 100 buyers, 800 sellers, 4,000 meetings
Audiovisual media: 90 buyers, 600 sellers, 2,900 meetings
Publishing: 60 buyers, 450 sellers, 2,500 meetings
Videogames: 40 buyers, 140 sellers, 1,900 meetings
Call to the Creative Cities Network program
2016-2019 USD 800,000
We must highlight the cities' commitment to participate in the courses and workshops proposed for the municipal management area.
Progress was made in mapping the municipalities' cultural stakeholders and local culture organizations and endeavors, and this information was used to feed the SInCA databases and Cultural Map.
MICSur – Southern Cultural Industries Market
Diversité des médias
Argentine Museum Registry
USD 4,000 in 2020
The RMA has gathered information relevant to the sector that can be accessed by the museum community (workers, professionals, cultural managers); state management officials specialized in cultural and heritage management; the academic community (students, teachers, researchers); tourism organizations and the general public interested in the subject. Information also circulates in international circles, through the Ibero-American Museum Registry.
The recommendation is to strengthen dissemination of the information in order to increase the participation of museums across the country.
Online registration for the National Exhibition of Visual Arts (SNAV)
CINE.AR, free public movie screens under INCAA (National Institute of Film and Audiovisual Arts). CINE.AR Television Channel and Video on Demand Platform CINE.AR PLAY
National Survey on Cultural Consumption (ENCC 2017 by its acronym in Spanish)
CONar and MEMORar
Perform an ongoing upgrade and maintenance of the systems, and extend the network of members.
National Plan for Digital Inclusion in Popular Libraries - Created by Resolution 409/2009
Promote networking of popular libraries with other existing public and private networks
Promote the different uses of Library Management Software
Expand the scope of the Technical Assistance nodes and the Training actions
Continue providing support in terms of connectivity and equipment
Expand and improve the services provided by the agency's portal
Triennial Digitization Plan
Own budgetary resources - FONPLATA financing (execution underway)
The evaluation of this Digitization Plan has been productively successful and has turned into a workflow that organizes the task, through optimization of the document circuit, processes and procedures.
It is worth mentioning that the reengineering carried out have had an immediate impact on data entry, after mandatory inspection by the area of preventive conservation, under the Department of Preservation. Then the documents proceed to the Center for Microfilming and Digitization, based on the selection criteria established in the "BNMM Digitization Policies" file. Capturing the images and editing them make up a strict chain of processes resulting in the end product: digital objects in PDF format.
The final stage of the process that comprises the enhancement of digital documents occurs when the objects are uploaded onto the online catalog in compliance with the current regulations established by our Intellectual Property Law No. 11723.
Despite the operational difficulties caused by the COVID-19 pandemic, the Digitization Plan continues being implemented as the volume of images captured is large enough. Therefore, the Library's staff has continued editing remotely since March 12, when the Library had to be temporarily closed down.
Partenariat avec la société civile
Cultural Hot Spots Program
The budget available for the 2016 call was USD 1.733.000 of which USD 1.120.000 went to financial support and USD 613.000 to training and the organization of the National Meeting. In 2017, the budget was USD 483.870,97 of which USD 232.258,06 went to financial support and USD 251.612,90 to regional trainings and meetings.
During 2018 and 2019, there were no calls, but some funds were earmarked for training and regional meetings: USD 48.780,50 in 2018, and USD 50.000 in 2019.
The 2020 call had an allocated sum of USD 1,253,918.49 exclusively for direct transfer financial support.
In addition to the general issues detailed in the previous answers, we want to highlight that, in terms of impact measurement, between mid-2018 and the end of 2019, the Cultural Hot Spots Program developed and promoted a training process aimed at training organizations that are part of the Network of Hot Spots in conceptual and methodological aspects associated with this topic.
IMPACT ASSESSMENT. We took the following question as our starting point: How can we measure the impact of our organizations?
The main objectives of the work were to:
* Raise awareness of the importance of evaluation in the development of community culture organizations.
* Create and disseminate an evaluation tool adapted to the institutional characteristics and needs of the Network of Cultural Hot Spots (Guide to Impact Assessment).
* Oversee a group of organizations in the process of recognition and implementation of this tool.
In order to achieve these objectives, the following activities were carried out:
* 6 regional meetings in which nearly 200 organizations participated (2 in the City of Buenos Aires/Greater Buenos Aires, 1 in Tucuman, 1 in Corrientes, 1 in Mendoza, 1 in Cordoba).
* Around 20 visits, interviews and face-to-face meetings with teams from 12 organizations with which we have worked.
The process was rich and elicited the interest of organizations that recognize the importance of reviewing their work and learning from their own experiences to improve their management, by identifying, measuring and transmitting with greater precision the personal, institutional and community transformations that occur as a result of their work. However, organizations assume that evaluation requires time and dedication, a sustained exercise of systematic recording that should enable them to analyze their actions.
There is full awareness that culture is an essential aspect in the construction of our everyday life and it is understood as the way of seeing and transforming the world in every neighborhood and territory. That commitment and those contributions are aimed at improving the quality of life at the communities and fostering social transformation, which is both (a) tangible (material resources and concrete productions, preservation of heritage) and (b) intangible, linked to social parameters.
i. Infrastructure and neighborhood meeting spaces (neighborhood centers, multipurpose rooms, theaters, cultural centers, significant recycled/repurposed buildings, popular libraries, radios, etc.).
ii. Materials and equipment made available to the community (musical instruments, computers, stage designs, costumes, various equipment, vehicles, etc.).
iii. Financial income (through private donations, sale of services/shows, national and international contributions for various projects, production and sale of various products at street markets and other venues, etc.).
iv. Popular economy (streamlining of production circuits, distribution and consumption in thousands of popular neighborhoods throughout the country).
i. Personal development (skill deployment, channels of participation and expression, development of skills and attitudes, shaping of reference values, construction of subjectivity and identity).
ii. Personal and group support (in situations of crisis, social vulnerability, neglect, homelessness, personal and community conflicts).
iii. Development of collective processes and projects in association (youth groups, family associations, "murgas" (bands of street musicians and dancers), orchestras, theatrical groups, work teams, various associative actions).
iv. Strengthening of local identities (territorial, gender, generational, indigenous peoples, etc.).
Finally, direct employment (formal and informal). Some specialists estimate that the employment created and deployed within social organizations throughout Argentina represents a significant percentage of the total number of jobs in the country.
What remains to be done is to sustain and expand the culture of evaluation among organizations, so that there is more systematization, dissemination and recognition of the positive impact they generate, thus increasing social visibility and support for organizations that build community culture day by day in Argentina.
The Bicentennial Houses Network
A cultural network was set up to exchange knowledge and resources, foster synergies and promote the flow of knowledge, experiences and work tools.
Municipal Funds for the Arts and Social Transformation (FMAyTSs)
Objectif 2 - Parvenir à un échange équilibré de biens et services culturels et accroïtre la mobilité des artistes et des professionnels de la culture
Mobilité des artistes et des professionnels de la culture
“Becar Cultura” Program (Culture Grants Program) – Aid Line
2016: 32 grants (airfare). No budget data.
2017: 70 grants (airfare).
About USD 322,000 (US dollars).
2018: THIS AID LINE WAS SUSPENDED
2019: THIS AID LINE WAS SUSPENDED
The suspension of the Aid Lines has reduced the possibilities to access support for artists who need it, with the consequent increase in difficulties to participate in training activities that require traveling abroad and cannot be found among the local training offerings. Finally, there is also a drop in knowledge transfer activities, which the beneficiaries of the Aid Lines used to access and later passed on to local communities.
Travel and Promotion Grants
Échange des biens et services culturels
USD 3,500,000 UDS
During 2019, the Ministry of Culture of the City of Buenos Aires created more than 15,000 cultural proposals throughout the city, both in public cultural spaces and in co-managed private/communal venues. More than 600 activities were scheduled in parks and streets to promote access to cultural assets in every neighborhood of the City of Buenos Aires. At the end of 2019, we had improved cultural accessibility in our neighborhoods, as planned by means of a decentralized agenda, especially focusing on the south of the city. Most of the activities planned by the Ministry of Culture in 2019 were performing arts activities, followed by audiovisual, musical performances and visual arts.
Law on International Circulation of Works of Art
Expand the scope of the current legislation to new expressions in contemporary visual arts
“Becar Cultura” Program (Culture Grants Program) - Exchange Grants Line
2016: 15 full scholarships. No budget information.
2017: 27 full scholarships. USD 161,000 (US dollars) approximately
2018: 35 full scholarships. USD 175,000 (US dollars)
2019: 14 full scholarships.approximately USD 84,000 (US dollars)
The expansion of bilateral agreements and the planning of communications in advance of the call were positive factors to expand diversity of artists and disciplines involved, thus federalizing the program within the national scope. Conversely, the budget drop was in detriment of the aforementioned activities.
2016-2019: USD 1,212,989.23 (one million two hundred twelve thousand nine hundred and eighty nine dollars and 23/100)
Traités et accords
Framework agreements on specific cultural issues were signed. Memorandum of Understanding for the establishment of a platform on creative economy
Shared costs per activity performed
Technical Secretariat for Cultural MERCOSUR (STMC)
As a result of a continuous evaluation process, it was decided to move forward in the current year to update Cultural MERCOSUR regulations in order to account for changes at all levels (technological, social, etc.) that impact culture and the regional integration process. As a result of this update, a new Work Program for the FY 2020-2022 is expected to be issued by the end of 2020.
Objectif 3 - Inclure la culture dans les cadres de développement durable
Politiques et plans nationaux de développement durable
The State in Your Neighborhood
Data Year 2019: USD 8.815
During 2019, 1,500 activities were held for young audiences and attendance amounted to 1,500,000 people. The Clave 13/17 festival had 2,000 people registered to participate in the program and 300 of those were selected. Throughout the year, Clave 13/17 is a meeting point designed by and for boys and girls between 13 and 17 years of age that is developed on the basis of co-creative work by the CCR team, a committee of ten teenagers and the local arts community.
The Biennial of Young Art is the platform for young artists in the City of Buenos Aires, receiving support for production, residencies, training, and the possibility of interacting with peers within the community, attracting new audiences to young art in the City of Buenos Aires. In 2019, 500,000 young people from all over the country enrolled for the Biennial and 100 projects were selected to receive support.
A comprehensive plan to accompany, inspire and enhance the creativity of children in the City of Buenos Aires in every neighborhood and for every stage of childhood: infants, toddlers, 4-7 and 8-12 year-olds.
The Usina del Arte Cultural Center, in the south of the City, expands with a schedule of activities designed for the whole family, with special emphasis on musical proposals, visual arts and gastronomy.
Every week, there are great cultural festivals, guaranteeing access to hundreds of thousands of neighbors. There are various quality and accessible programs.
Every year, on average, 1,200,000 residents attend these activities to enjoy 950 musical performances, 650 training sessions in visual arts and music, and 45 gastronomic events.
In 2019, the most outstanding contents of the year were offered in the winter holiday program: 120,000 children attended different events along 15 days together with their families, and "La Nochecita" had 90,000 attendees.
532,655 children between 0 and 12 years of age who live in the City of Buenos Aires
338,530 households with children under the age of 12
480 artists for children who worked to generate a diverse children's cultural agenda
In 2019, 340 independent cultural spaces benefited from subsidies to improve their infrastructure (buildings), and 1,052 artists and cultural managers were also benefited.
SOCIAL INTEGRATION PROGRAMS
USD 890,000 (US dollars)
In 2019, Art in Neighborhoods had 160,000 attendees in 1,350 activities (280 workshops; 270 neighborhood events; 650 cultural outings; 150 training activities in cultural management). The program took place in 40 vulnerable neighborhoods around the City of Buenos Aires.
In 2019, a Cultural Pass satisfaction survey was conducted, and the following results were obtained: 80% of users would recommend the program; 35% experienced new cultural offerings thanks to the card. Among user improvement proposals, we can mention the need for shops closer to the home and the suggestion to incorporate gastronomy options into the pre-established set of offerings.
Coopération internationale pour le développement durable
The Ministry promotes coordination with other administrations, international organizations and civil society associations through conventions, letters of intent and agreements. In this regard, a collaboration agreement was recently signed with the Secretary-General of the World Organization of United Cities and Local Governments (UCLG). The City of Buenos Aires currently co-chairs the Culture Committee at the UCLG, and is one of its most active members in the organization, having hosted the 3rd UCLG Culture Summit in April 2019, which was attended by more than 500 people from 100 cities.
In addition, in 2019, celebrating the 25th anniversary of Berlin and Buenos Aires as sister cities, more than 15 cultural activities were carried out in both cities, as well as special events planned for the occasion.
IDEAS – Thinking the World Together (2018)
* Engage citizens in the discussions proposed around the G20 themes and Affinity Groups.
* Propose original approaches, as well as contemporary and diverse points of view on topics of general interest.
* Contribute to generating a cross-cutting and multidisciplinary debate.
* Encourage the participation and insertion of the different stakeholders of our community in the cultural spaces for debate in this forum.
* Strengthen the ties for exchange and cooperation with the Ministry of Culture and organizations of the civil society, companies, other local, provincial and national government agencies, as well as foreign diplomatic representatives.
* Generate enriching dialogues and high-level exchanges between international and Argentine leaders.
* Continue to position Argentina as a plural country where citizens and organizations engage in relevant debates on fundamental issues on the international agenda.
PROGRAMS OF THE IBERO-AMERICAN CULTURAL SPACE
Objectif 4 - Promouvoir les droits de l’homme et les libertés fondamentales
Égalité des genres
National Survey on Cultural Consumption (ENCC 2017 by its acronym in Spanish)
Law No. 27539 on Female Quota and Access for Women Artists to Musical Events
Article 8 subsection d) of Law No. 27539 provides for the monitoring and preparation of an annual public and national report on female participation in live music shows and events, so that the results should be reported to the public on March 12, 2021. However, just one month after the INAMU passed the abovementioned regulations and they came into effect, a partial report was published on its website. As of September 15, 2020, 21 claims for possible non-compliance were received by INAMU, while 9 Seals of Compliance with the quota were granted to 9 events that submitted their pertaining affidavits.
Federal Gender Agenda
The application of this labor policy continues as part of a 4-year action plan (2018-2022).
Art in Prisons
Approximately UDS40,000 per year
Afro Heritage and Culture Program
Today the Afro community in Argentina and Latin America is organized and consolidated through the connection with its grassroot organizations and networks of activists, academia, creators, artists and individuals at national and international levels. Thanks to them, significant advances were reached that strengthened the Afro movement in the political, social, cultural and legislative spheres. The Afro community in Argentina is very diverse and although there are common mottos in favor of affirmative and reparation actions, as well as against structural racism and the historical denial of contributions to the social, economic and cultural construction of the country, it supports a number of claims and demands in line with its development and origins. Within this context, in order to achieve greater impact on public policies and uphold the progress achieved by the Afro-Argentine and Afro-descendant community within the framework of the International Decade of Afro-descendants, the recommendation/conclusion is to reinstate a national program for Afro Heritage and Culture within the Ministry of Culture of Argentina.
Modification of the Regulations of the National Exhibition of Visual Arts (SNAV by its acronym in Spanish)
Accessible TNC Program (TNC stands for Teatro Nacional Cervantes, or Cervantes National Theater)
The CERVANTES NATIONAL THEATER, a public institution, is the only national theater in Argentina. Currently managed by Ruben D'Audia, it has the purpose of guaranteeing and facilitating access to culture, specifically to the performing arts, for audiences that are as large as possible. This translates into various management policies, ranging from setting an affordable ticket price for its performances and shows, to inclusion work and training of new audiences, through activities coordinated with social and cultural organizations. The intent is to facilitate attendance of people who do not usually attend the theater, either due to their social, economic or geographical situation, for example, participants of cultural institutions from vulnerable neighborhoods, as well as members of the LGTTBI+ collective, or senior citizens, to name just a few.
Likewise, the focus has been on working together with various educational institutions in order to facilitate loyalty programs, training aimed at audiences that do not usually attend the theater, and attendance of people with different disabilities through the abovementioned actions.
In the understanding that access to culture is a right for everyone, we are convinced of the need to coordinate and articulate actions to make a public theater that is inclusive, plural and accessible.