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Much less sensational than the riots that took place on the streets by traders in full economic crisis due to the health emergency, certainly not folkloristic like the demonstrations of deniers and no vaxes, yet also culture is fighting its great little battle.
From the externalization of resilience by museums and institutions that virtually stage events, exhibitions and events every day, through the social campaign #ShareCulture by UNESCO to promote access to culture in this historical period. anything but simple, ending with the protest of the entertainment workers who, as they can, show their desperation.
Yet little is said about all this. Travel magazines, perhaps, share the resilience initiatives of cultural institutions, someone launches appeals to save theaters and other places that are symbols of art and culture around the world that risk never reopening their doors to the public.
A minor problem
Yet the problem does not seem so relevant in the eyes of others, as evidenced by the fact that this sector, evidently considered superfluous, is perpetually at the top of the list of closure decrees. The greatest, perhaps, to pay the price silently.
And the requests of the people of show business workers were useless, they who specified that these places, despite the great beauty that characterize them, are not meeting points. Specifying how the organizers are able to achieve the same security measures put in place in stores, from the appropriate entry and exit routes to respecting the spacing.
Added to this is a study conducted by Agis, the Italian General Association of Entertainment, which has brought to light a reality within theaters and places of more than safe culture. In fact, it was found that about 350 thousand people who went to concerts and shows in theaters during the reopening, only one of them was infected. The study refers to the reports received from the ASLs that recorded only one case of Coronavirus infection.
Before the pandemic
Although it is established that cultural activities play a fundamental role in our society, the confirmation of how insignificant they are in the eyes of those who govern the country has its origins in unsuspecting times. In short, it poor access and lack of enjoyment of these it is not just a pandemic issue.
Cultural activities have always been at the top of the lists of budget cuts when the accounts do not add up, because, in fact, they are not considered essential services, but superfluous and accessory. This is why we should not be so surprised by the situation facing the sector in full crisis given by the health emergency.
According to the Federculture annual report drawn up in 2018, which analyzed the investments of the last decade, it emerged that there was a decrease in public funding, towards the sector, of about 700 million. On the contrary, however, the community has begun to invest in culture again as the report itself demonstrates. In short, participation in artistic, theatrical, musical and cultural events recorded a 3% increase, demonstrating that therefore, the request for access to beauty and knowledge exists, but is not accepted by those in charge.
The society of the superfluous
However, another paradox emerges from the Federculture report regarding the interest of the community in culture. It has been estimated that 40% of Italians are culturally inactive, a fact that confirms that almost half of the population renounces theater, cinema and classical music, for example.
In all this, our government, despite its promises, has never intervened with a plan dedicated to the education of culture. Yet, looking at the flip side, culture doesn’t seem as superfluous as data leads us to think. A clear example is given by cultural and scientific television programs which, despite being less and less, often obtain excellent ratings, more than trashy programs that seem to have a monopoly on TV.
The common good for the resilient society
The cultural problem in Italy exists and is preceding the pandemic crisis we are experiencing. The whole of society is on the brink and psychologists and scientists agree that the greatest consequences of the arrival of the pandemic will be felt in the years to come.
But it is precisely in this apparently catastrophic context that art and culture become the breath of fresh air that gives relief. Just take a look at what has been happening on social networks for a year now to understand how important the positive and resilient message is that only culture can give to an entire community that has been isolated for months.
The songs and dances made from the balconies of Italy have demonstrated this, but also all those virtual activities organized by museums, theaters and cultural institutions which, forced to close, have opened the virtual doors of the buildings for mass access.
Unesco itself is encouraging established World Heritage sites to do the same: it is for them that the World Heritage Journeys in Europe platform has been made available, the same platform that offers all of us the opportunity to explore the heritage sites of humanity in Europe. Of course there are more than real problems. From the official website of the United Nations Regional Information Center we learn that only 47% of the population has access to the internet, and the gap mainly concerns developing countries.
Furthermore, there are also gender differences on access to culture. According to the OECD, in fact, more than 20 million women do not have access to a smartphone with an internet connection, compared to the male counterpart, thus increasing the gender gap also at a cultural level.
But the truth is now, more than ever, humanity needs culture because it is she who makes us resilient and gives us hope, and it is again she who reminds us that we are not alone. In fact, in recent months, sharing has taken place above all through the culture transmitted by artists and creators, the same ones who are suffering the most important backlash.
At a time when we are physically forced to remain separate, and to survive, culture reduces distances and keeps us connected, and above all alive. Because she is indispensable.
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