{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"171eb612-d523-4536-900d-5453dce83960","title":"Cultural Crowdfunding Platform Capitalism, Labour And Globalization","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"171eb612-d523-4536-900d-5453dce83960","id":"171eb612-d523-4536-900d-5453dce83960","uuid":"171eb612-d523-4536-900d-5453dce83960","title":"Cultural Crowdfunding Platform Capitalism, Labour And Globalization","normalized_title":"culturalcrowdfundingplatformcapitalismlabourandglobalization","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":128,"navigation_url":"https://workshop.closeclaw.top/ai/book/171eb612-d523-4536-900d-5453dce83960","title_url":"https://workshop.closeclaw.top/ai/title/Cultural%20Crowdfunding%20Platform%20Capitalism%2C%20Labour%20And%20Globalization","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/171eb612-d523-4536-900d-5453dce83960/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/171eb612-d523-4536-900d-5453dce83960/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/171eb612-d523-4536-900d-5453dce83960","page_url":"https://workshop.closeclaw.top/api/ai/books/171eb612-d523-4536-900d-5453dce83960/page","search_url":"https://workshop.closeclaw.top/api/ai/books/171eb612-d523-4536-900d-5453dce83960/search"},"page":{"printed_page":92,"pdf_page":100,"physical_index":100,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"de9a8c123b4f15a5b9b13544cde7dbac9964d5358d01ab22dec892341953d8a4"},"chapter":"Cultural Crowdfunding: Platform Capitalism, Labour and Globalization","content":"This has not however prevented the central government from supporting and funding a training programme on the use of social financing platforms, as discussed in the next section. In response to our question about support for projects that may benefit from social financing, a representative of the Ethiopian tourism ministry (which is responsible for culture) mentioned two businesses that export craft goods to the North American and European markets, one financed by the World Bank, the other by bilateral agreements under the aegis of UNESCO. But he noted that, unfortunately, once this support ended such activity would decline through a ‘lack of strategy’ on the part of the cultural producers. By his own admission, an absence of any coordinated policy in this domain has resulted from a lack of statistics and applicable indicators on cultural production: ‘Without that, we can’t produce data to connect to other economic indicators’, he told us, avoiding the question. This elliptical response shows how little interest such issues still provoke in most sub-Saharan African countries. In Senegal, the position of political decision makers remains just as confused, despite the optimism of one of our interviewees, the entrepreneur Christian Palouki:\n\nThe Senegalese state has begun to get involved in the digital and the cultural sector. They have launched a program called PSE (Plan Sénégal Émergent) whose objective is to allow Senegal to enter the digital era. They’re currently developing various mechanisms that will allow us to develop digital, to get us on board.\n\nIn Latin America, the discourse of political decision-makers is also marked by a certain enthusiasm, and in certain cases is based on public policies of support or legitimation, recognizing for example that the region is ‘fertile soil for the implantation of crowdfunding, since systems of community and collaborative financing already exist’, as suggested in the report Economia colaborativa en América latina mentioned above. Thus, we see local and national initiatives to extend the practice toward less well-of segments of the population: Argentina’s ‘mercado de industrias creativas’ (MICA–’creative industries market’) programme, which uses public support to help potential and current project creators; the ‘día del crowdfunding’ (‘crowdfunding day’) in Mexico; and the ‘semana del crowdfunding’ (‘crowdfunding week’) in Chile which, in particular, has provided training for project leaders in partnership with the platform Ideame. All of these initiatives are characterized by a marked political desire to leave behind the ‘European’ style public management of cultural financing, instead making space for individual initiatives. Paradoxically, we observe a displacement (also seen in Europe) of public funds towards events that supposedly herald the aforementioned ‘creative economy’, with the aim of avoiding a model felt to be too top-down, and at the same time we observe a prominent discourse advocating the greater autonomy and responsibility for cultural workers. In Brazil, a system of tax credits has been established which allows companies to reallocate a percentage of their income to intermediary bodies which then finance social and cultural projects—precisely one of the niches occupied by the social financing platform Benfeitoria.\n\n92\n\nCultural Crowdfunding: Platform Capitalism, Labour and Globalization","previous_page":91,"next_page":93}