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Comprehensive Policy of the Orange Economy Col O Mbia Colombia

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Comprehensive Policy of the Orange Economy Col O Mbia Colombia COMPREHENSIVE POLICY OF THE ORANGE ECONOMY COL O MBIA COLOMBIA Iván Duque Márquez President of the Republic Marta Lucía Ramírez Blanco Vice President of the Republic National Council of the Orange Economy Carmen Inés Vásquez Camacho Minister of Culture Alicia Arango Olmos Minister of the Interior Alberto Carrasquilla Barrera Minister of Finance and Public Credit Ángel Custodio Cabrera Báez Minister of Labor José Manuel Restrepo Abondano Minister of Trade, Industry and Tourism María Victoria Angulo González Minister of National Education Karen Cecilia Abudinen Abuchaibe Minister of Information and Communication Technologies Luis Alberto Rodríguez Ospino Director of the National Planning Department (DNP) Juan Daniel Oviedo Arango Director of the National Administrative Department of Statistics (DANE) Carlos Mario Estrada Molina Director of the National Learning Service (SENA) Carolina Romero Romero General Director of the National Directorate of Copyright (DNDA) Sandra Gómez Arias President of the Territorial Development Fund (FINDETER) Ministry of Culture Carmen Inés Vásquez Camacho Minister of Culture Felipe Buitrago Restrepo Vice Minister of Creativity and the Orange Economy José Ignacio Argote López Vice Minister of Development and Heritage Julián David Sterling Olave Secretary General Javier Machicado Villamizar Diana Cifuentes Gómez Document coordination Advisory committee Adriana González Hassig, Carlos Dueñas Montaño, Gabriel Arjona Pachón, Juan Felipe Parra Osorio, María Cristina Díaz Velásquez Expanded CNEN Claudia Blum De Barberi Minister of Foreign Affairs Ernesto Lucena Barrero Minister of Sport Mabel Gisela Torres Torres Minister of Science, Technology and Innovation Susana Correa Borrero Director of the Administrative Department for Social Prosperity Federico Eduardo Hoyos Salazar Presidential Advisor for the Regions Hassan Amin Abdul Nassar Pérez Presidential Advisor for Communications Víctor Manuel Muñoz Rodríguez Presidential Advisor for Economic Affairs and Digital Transformation Clara Elena Parra Beltrán Presidential Advisor for Competitiveness and Public-Private Governance Juan Sebastián Arango Cárdenas Presidential Advisor for Innovation and Youth, Colombia Joven Alejandra Carolina Botero Barco Presidential Advisor for Governance and Execution José Andrés Romero Tarazona Director General of the Directorate of National Taxes and Customs (DIAN) Juan Pablo Liévano Vegalara Superintendent of Corporations Andrés Barreto González Superintendent of Industry and Trade (SIC) Ignacio Gaitán Villegas President of iNNpulsa Camilo Fernández de Soto Camacho Managing Director of Colombia Productiva José Andrés O’meara Riveira Director of Colombia Compra Eficiente Flavia Santoro Trujillo President of Procolombia Javier Díaz Fajardo President of Bancóldex Raquel Garavito Chapaval Managing Director of Fontur Juan Miguel Villa Lora President of Colpensiones Manuel Acevedo Jaramillo President of the Colombian Institute for Student Loans and Technical Studies Abroad (ICETEX) Ángela Mercedes Ospina De Nicholls Director of the Presidential Cooperation Agency (APC) Ana María Fríes Martínez Managing Director of Artesanías de Colombia Acknowledgements David Melo Torres, César Parra Ortega Andrea Martínez Moreno María Cristina Díaz Editing and editorial production Instituto Caro y Cuervo Copy-editing Directorate of Populations T ranslation of the part-title pages Álvaro José Moreno English translation Lorena Iglesias English copy-editor Andrés Oviedo Art direction Karen Gordillo | Laura Cifuentes | Andrés Cano Graphic style, layout and table design Bogotá, D.C. 2020 ISBN 978-958-753-340-8 República de Colombia Ministerio de Cultura Viceministerio de la Creatividad y la Economía Naranja Carrera 8 No 8 – 55 Teléfono (571) 3424100 Bogotá D.C. [email protected] www.mincultura.gov.co Copyright Ministerio de Cultura, 2019 Contents 1. INTRODUCTION 8 PILLARS OF A SUSTAINABILITY POLICY FOR CULTURE AND 2. CREATIVITY 12 2.1. Sustainable development as an objective of the policy for culture and creativity 12 2.2. Culture and the guarantee of rights 14 2.3. A broad view of the Orange Economy 15 2.4. The recognition of multiple values ​​in culture and creativity 22 2.5. The multiple horizons of cultural and creative organizations 23 2.6. The cultural and creative sector as an ecosystem 31 2.8. Why write about the conceptual bases of a policy for the cultural and creative economy? 34 3. POLICY LINES 37 3.1. LINE 1. INFORMATION 39 3.1.1. Some noteworthy precedents 40 3.1.2. Information from the public sector for all agents of the cultural ecosystem 41 3.1.3. Information for decision-making in the private sector and the role of universities in generating sectoral knowledge 42 3.1.4. The state of information and knowledge about the creative industries 44 3.1.5. From the economy of culture to cultural rights and human development 45 3.2. LINE 2. INSTITUTIONS 49 3.2.1. The constitution and operation of formal institutions 50 3.2.2. The importance of financing instruments in the cultural and creative industries 51 3.2.3. Scenarios and spaces for coordination 52 3.2.3.1. Coordination with the territories 54 3.2.4. Costs, productivity and innovation in the creative sector 55 3.2.5. High risks and long returns: a transversal feature 56 3. LINE 3. INFRASTRUCTURE 61 3.3.1. The social construction of territories 61 3.3.2. The creative and productive vocations of the territories and their relationship with infrastructure 62 3.3.3. Public goods, Orange Development Areas and sustainability of creative infrastructure 64 3.4.1. Motivations for entrepreneurship in the cultural and creative sector 70 3.4.2. Managing projects, managing companies 72 3.4.3. Understanding the context, the market and its trends 73 3.5. LINE 5. INTEGRATION 77 3.5.1. Who makes integration possible? 77 3.5.2. Challenges for a lasting and meaningful integration 78 3.6. LINE 6. INCLUSION 84 3.6.1. Creativity as a fundamental capacity 85 3.6.2. Creativity in childhood and youth 86 3.6.3. Creativity and professional training in the cultural and creative field 88 3.6.4. Education for work and human development and the creative capacity (ETDH) 90 3.6.5. Creative capacity and informal education 90 3.6.6. Crafts, roles and occupations related to the arts and cultural heritage 92 3.6.7. Skill development as expansion of the creative capacity 93 3.7. LINE 7. INSPIRATION 98 Creativity and its products 98 3.7.1. The vitality of creativity and its products 98 3.7.2. Protection of creations based on intellectual property 99 3.7.3. The concentration of production and consumption as a challenge 100 3.7.4. Proposals, quality and innovation 101 2.2.REFERENCES 104 1. 2.2.2.2. 1.1. INTRODUCTION This document seeks to establish the bases for the development of a cultural and creative economy policy, and a framework for the design of its strategies and the implementation of its activities. These guidelines were built alongside diverse actors, organizations and institutions throughout the country and they acknowledge the place where they come from and the historical moment that calls upon them. The time and place for a cultural and creative policy The first institutional deliberations on the economic dynamics of the cultural sector in Colombia took place a couple of decades ago. The conversations and diagnoses conducted at that time by the Ministry of Culture, a handful of international agencies and a few associations from the emerging Colombian cultural industry carried important results. Such initiatives as the promotion laws for the film and public spectacle sectors, the creation of working groups to support cultural entrepreneurship within the Ministry of Culture, the National Planning Department and other institutions and, later, a CONPES document (3659 of 2010) that defined the parameters of a national policy for the promotion of the cultural industries in Colombia, have created a framework of actions that continue to have a clear impact. To the upsurge in sector dynamism, proven among other factors by the activity of numerous cultural associations, the increased production of creative goods and services, and the proliferation of large-format creative industry events like festivals and fairs, we can add the growing representation of Colombian content creators on foreign platforms and markets. But the institutional mission has also encountered great challenges: undeniable capacity gaps within the sector, culturally isolated regions and lack of circulation circuits, as well as a public policy for the creative industries that until now has not been able to coordinate the work of numerous government entities. These are just a few of the many needs and issues whose solution is prioritized today as part of the implementation of the Orange Economy as a state-wide policy. Creating a framework of actions not only faces the challenge of proposing more and better mechanisms to strengthen the sector, but also must heed the call to make decisions after a responsible and informed consideration. A policy for culture and creativity must come from an ecosystemic understanding of a complex sector, in order to encompass the enormous diversity of agents in the country, their values, the types and degrees of market penetration they’ve reached, among other factors. The cultural and creative economy policy must also be designed to go beyond the growth of income and employment; it must seek more than the necessary diversification and updating of the country’s economic model; it must consider the different dimensions of the sustainability that surround the activities that it intends to support, as was clearly established by the 2030 Agenda for Sustainable Development. The challenge is nothing less than to think of culture as a force for construction in present Colombia, a country with COMPREHENSIVE POLICY OF THE ORANGE ECONOMY POLICY COMPREHENSIVE the need to establish creative, social and productive ties from a differential approach, the recognition of the other and the territories. 8 The scope of the bases for a cultural and creative policy In accordance with the foregoing, this first document seeks to establish a conversation between the cultural and creative sector and the country.
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