Precise indications suggest that culture has a favorable impact on citizenship and the well-being of residents, and hence, eventually, on the economy of a country. A compelling cause to rethink our cultural policies in order to democratize them and better disperse the cultural offer across the area.
To begin with, while it is popular to stress the advantages of culture, which are usually difficult to quantify, we recommend measuring culture's contribution to the economy via trust, well-being, and its good influence on citizenship.
Because the relationship between municipal efforts in this area and these elements is strong (with, all else being equal, a drop in the rate of abstention when the municipality increases its effort in favor of culture), a "Territories of culture" plan that restores the balance between cultural expenditure in Paris and Ile-de-France and that of the rest of the country is essential. In this regard, it should be highlighted that, of the 460 million euros already spent on the recovery plan, we have valued the effort made in Paris and Ile-de-France at 38.40 euros per person, compared to 1.40 euros in the other municipalities listed. This disparity runs counter to the cultural pass's goals of improving young people's access to culture across the area.
Digital opportunity for culture
Second, we frequently discuss the importance of having national champions, which is undeniable. However, culture is an integral part of the fabric of SMEs. According to our statistics, the financial status of the most vulnerable SMEs prior to the crisis deteriorated much more than that of the rest of the sector. Their assistance (particularly withdrawal from the State-guaranteed debt) is still required.
Third, the cultural world frequently sees digital technology as a source of hardship (less monetization of works, illicit practices, etc.). We demonstrate that it must be viewed as an opportunity. According to this viewpoint, the cultural world need a true digital strategy comprised of increased capabilities in administrations and cultural establishments, a mediation body for contract compliance, an ambitious creative policy based on the digital tool, and so on.
Fourth, while assistance for creation does predominate in cultural aid, a balance of support for creation and encouragement for improved dissemination is required. It's a tremendous disaster if it doesn't happen. This necessitates greater monitoring of the future of works as well as medium and long-term support for artists.
In addition to these four perspectives, we examine the crisis's emphasis on digital cultural activities and platformization of culture. However, a platform makes sense only at the European level. Let us not try to recreate what already exists: we urgently need to expand our influence at the European level, beginning with Arte, a Franco-German platform that is already multilingual and collaborates with a number of Union member countries, by increasing its budget and seizing the opportunity presented by the French presidency of the Union.