Menu of training tools with the aim of contributing to the professionalization of cultural agents at the federal level. This training is held in different parts of the country, with a weekly format, and caters for creators, managers, producers and cultural entrepreneurs. The proposal includes a menu of workshops, seminars, presentations, shows and free interventions that provide resources for cultural management, public education, cultural accessibility and reading promotion, among other activities. Some of the seminars were Training in Public Cultural Management, Training for Theatre Technicians and Craftspersons (SPOTT Program), and workshops for the promotion of reading. Cross-cutting resources included workshops on Cultural Accessibility, Cultural Entrepreneurship and Public Studies, as well as seminars in coordination with other organizations, including SInCA, INAMU and CONABIP.
The Cultural Campus enabled us to:
- Provide a space for the training of public and private cultural managers throughout the country;
- Create networks that bring together operators in different regions, which were unknown to each other;
- Promote new projects at the local and inter-regional level;
- Have direct contact with cultural managers in each region of the country;
It included activities for children from public schools in each city where it was held.
9 editions in 9 different cities.
3,543 attendees in total.
66 training activities
17 activities open to the public.
USD30,000.
| Name of partner | Type of entity |
|---|---|
The provinces of Corrientes and Salta. The municipalities of the cities of Neuquén, Pergamino, Tandil, Pinamar, Quilmes and Trenque Lauquen. The Ministry of Science and Technology and the National Cervantes Theatre. The types of entities engaged in the im
| Civil Society Organization (CSO)
|
- Expansion of the training space for public and private cultural managers throughout the country;
- Strengthening of the networks among managers in all regions, so that they do not fade away over time, and generate new networks instead.
- Continuity of promotion of projects produced between provinces and regions;
- Promotion of direct contact with cultural managers in each region of the country;
- New activities in regions that had not been reached through the Cultural Campus, such as southern Patagonia and the Central Andean region (Cuyo).