In summary, our fundamental question is as follows: to what extent is the emergence of crowdfunding in these countries characterized by the replication of dominant Western logics or, on the contrary, by hybridizations and unforeseen alternatives? This chapter contains three sections which ofer some responses to this question. The first gives a brief survey of the diferent categories of players present in the field of crowdfunding (and particularly crowdfunding for cultural production), and their distinctive strategies and logics. The second provides a clearer understanding of the discourses produced and/or propagated by the players involved in crowdfunding and its potential development. The third section addresses a specific aspect of the discourse and practice of the players in crowdfunding: eforts at ‘pedagogy’ and ‘education’ aimed at local populations.
The Diferent Categories of Players Present in the Regions
A survey of cultural crowdfunding in Latin America and sub-Saharan Africa allows us, firstly, to identify a category of endogenous actors. The most emblematic representatives of these are the South Africa-based Thundafund, which remains financially independent, and Ideame, the principal Latin American actor, which is now established in seven countries, including the US. This platform claims to be a regional replica of the American model, while afirming its specificity by espousing a form of local legitimacy: it presents itself as a
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Cultural Crowdfunding: Platform Capitalism, Labour and Globalization