What weight was granted by coordinator José Ángel Gurría. A PRI dinosaur alive and well next to the girl who is the candidate of the Frente Amplio por México (FAM) for the Presidency of the Republic. It reads: “Antonio Crestani, among others, participated in the Culture table.” Just like that, he is, without a doubt, an excellent cultural figure.
Those who contributed to the preparation of the document “Towards a Government Program 2024-2030” launched in mid-October, who knows their fate, were sent to the last page.
They are them, them and the rest mentioned in the presentation words: “We are talking about hundreds of people who offered their work and talent in an enthusiastic and honorary way. We are talking about the best women and the best men in Mexico, grouped into thirteen different work groups. These are former officials, academics, politicians, experts and members of Civil Society organizations, who have in common the fact of being recognized as great specialists in their respective topics.”
It is also stated that “During the preparation process of both the preliminary version and this final version, and given that Civil Society has had a very important participation in said process, elements were taken from the work ‘Nobody Left Behind’, from “Unid@s, as well as from other public sources.”
Those who were able to be cited in the presentation come as follows: “Finally, we would like to make special recognition to Luis Herrera-Lasso, without whose support and intellectual leadership it would not have been possible to successfully complete this work, as well as Anakaren Iniestra, for his invaluable contribution to the logistical and digital viability of the project.”
To each their own affairs. As in all the topics of the program, the subtopics of the case are presented in the Culture topics. The “Priority lines of action”, the “State cultural policies”, the “Mainstreaming of the cultural project”, the “Measurement of cultural policies”, the “Budget and fiscal stimuli” and “Mexico in the world”.
As in cultural life thousands of ideas are orphaned, they are captured in what could be the electoral platform of the Galvanesque FAM. Let’s quote some of them. Firstly, the myth of “Progressively increasing the sector’s budget until reaching, at the end of the six-year term, the equivalent of 1% of Programmable Public Expenditure (GPP)”.
Then the recycling of “Urge state and municipal governments to approve equivalent changes in their local laws to grant culture formal treatment as a strategic sector, with clear rules, and create new fiscal support mechanisms for cultural industries” .
Also the endless pending of “Rethinking the administrative structure of the sector to expand its coverage, in order to serve the most marginalized communities, especially indigenous populations; to establish efficient and broader programs in collaboration with other institutions; to provide a more effective response to professional groups and those of a popular, urban and rural nature; as well as to achieve planned participation with civil society.”
For the same reason the amulet that “The State must propose a fiscal framework that stimulates donations and investment in infrastructure in the world of culture. To achieve this, it will be a priority to conceive and enact the Cultural Patronage Law.”
Furthermore, revenge: “It is essential to redesign and reactivate the funds and trusts that financed programs in areas of culture, education, science and technology. This will make it possible, among other benefits, to raise private and international funds, from social organizations and resources from the three levels of government.”
Likewise, the confusion due to not being up to date: “Renew the program of indicators of cultural activity and promote the statistical study of the impact of culture on sustainable development.”
At the closing of this possible count of the cultural in “Towards a Government Program 2024-2023”, under the leadership of Chief Gurría, cultural diplomacy was given a generic “Provide a decisive boost to the presence of Mexican culture in the world”.
Much appreciated Antonio Crestani and “among others” who accompany you: how was all this achieved?