Dr. Marco Antonio Rojo is an economist and professor and researcher at the Universidad Internacional Iberoamericana (UNINI-Mexico) , an institution that is part of the university network in which FUNIBER participates.
In an interview, he explains more about the topic he will address in the next webinar, analyzing the challenges for the recovery of a sector severely affected by the pandemic.
funiber-marco-antonio-rojo
Dr. Marco Antonio Rojo, economist and professor at UNINI-MX
What does culture represent for a country's economy?
Culture is everything to a country. If we look at it from a very general point of view, culture includes the language, traditions, habits and customs, the resources available, the idiosyncrasy and worldview of the different societies that inhabit the world, etc. This is how one culture is distinguished from another and it may happen that one type of culture is linked to the progress or decline of a nation. For example, culture can influence the way we see technology, or collaboration with others, it can even be related to the way we tolerate adversity or show weakness in the face of tragedies. In Economic Theory, culture is often identified as one of the determinants of long-term economic growth or what we know as fundamental determinants. Culture is presented as an explanatory factor of the economic performance of nations just as the State or natural resources, geography or institutions do. Currently, culture is often considered a key sector that contributes to the Gross Domestic Product (GDP) and is identified with the main activities that promote culture in each nation.
Do situations such as the current pandemic reveal the economic fragility of this sector?
The cultural sector is key to an economy, however, it has been financially unprotected throughout its history, more visibly in developing countries. One of the controversies in economic science is the productive contribution and the economic benefits that it brings and that could justify allocating a greater amount of resources to it. Obviously, this economic vision is very limited, because there are non-economic benefits that are obtained from the cultural activities that are carried out and that indirectly contribute to the female database good social, political and economic performance of a country. Possibly, the challenge of the economic agents of the cultural sector lies, among others, in showing (measuring) the economic and non-economic benefits of the performance of cultural activities that allow attracting investment, whether private, public, local or international. The pandemic has revealed, on the one hand, the importance of the cultural sector and, on the other hand, how vulnerable this sector is in financial matters to external effects.
Have there been any initiatives for investment and sponsorship of culture?
By their nature, cultural activities tend to seek socialization, dissemination, and in general to cause the greatest social impact. The pandemic has hit this sector with initiatives such as the closure of public spaces, but the creativity of the sector has turned to seeking means such as social networks and a greater presence in virtual spaces. In some cases, in developed countries such as the United States, the presence of the government has been seen in protecting the cultural sector and supporting it financially, particularly because there is a more solid network of collaboration between civil associations and also initiatives from the private sector and foundations that have looked after the cultural sector to lessen the great impact it has had due to the health crisis.
What aspects will be addressed in the webinar Economics of culture. Economic recovery of the cultural sector in the post-pandemic ?
In the webinar, attendees will be able to gain a better understanding of the importance of the cultural sector in the economy. They will be able to identify the main performance indicators of this sector and how it contributes productively to the performance of a nation. They will also be able to see the impact that the current economic and health crisis has had, from an international and comparative perspective, reviewing different experiences and highlighting the best strategies that have been carried out to rescue this sector affected by the pandemic. Without a doubt, this meeting will allow our students to understand the foundations of this problem and together identify some alternatives that will allow us to overcome this crisis. Today, more than ever, there is a need for people who are specialists in the cultural field and who offer alternative solutions, who understand how the sector works and who creatively raise their hand to provide better decision-making.
