August 2024 Zine 15 : simplebooklet.com

The Good News? Orlando Is on the Right PathAfter analyzing five case studies from the book TheCulture Fix: Creative People, Places and Industries,published by the OECD, the common success factorsare almost the same ones that United Arts, OrangeCounty, and the City of Orlando are starting to investin: support for entrepreneurial activities and thecreation of vibrant public spaces essential tocatalyzing the development of thrilling cities anddistricts, making them hubs for creativity, culturalexpression, and social inclusion. “The Canvas Cultural Plan – Orange County’s first intwo decades – will align arts and culture with thepriorities of the City of Orlando and Orange County,with the intent of fostering greater opportunity andsustainability for all.” This is developing now, althoughwe will probably see the results in the next decade.Similarly, the enormous investment by the DeVosFamily Foundation, in partnership with the DeVosInstitute of Arts Management at the University ofMaryland, through their Capacity Building: CentralFlorida initiative, will make a significant impact. Thistwo-year technical assistance and planning intensivesupports 20 arts and culture organizations throughoutCentral Florida, and Open Scene is proudly abeneficiary. Since 2001, the DeVos have served morethan 2,000 organizations in over 30 diversecommunities across the United States.That’s how you grow something good—by buildingcapacity, planting confidence, planning for well-being,and having a clear direction. Let’s keep investing inmore love and more art!¿La Buena Noticia? Orlando Está en el CaminoCorrectoDespués de analizar cinco estudios de caso del libroThe Culture Fix: Creative People, Places andIndustries, publicado por la OCDE, los factorescomunes de éxito son casi los mismos en los queUnited Arts, el Condado de Orange y la Ciudad deOrlando están comenzando a invertir: el apoyo a lasactividades emprendedoras y la inversión en generarespacios públicos vibrantes son esenciales paracatalizar el desarrollo de ciudades y distritosatractivos, convirtiéndolos en centros de creatividad,expresión cultural e inclusión social.“El Plan Cultural Canvas – el primero del Condado deOrange en dos décadas – alineará las artes y lacultura con las prioridades de la Ciudad de Orlando yel Condado de Orange, con la intención de fomentaruna mayor oportunidad y sostenibilidad para todos.”Esto se está desarrollando ahora mismo, aunqueprobablemente veremos los resultados en la próximadécada.De manera similar, la enorme inversión de laFundación DeVos, en asociación con el Instituto deGestión de Artes DeVos de la Universidad deMaryland, a través de su iniciativa Capacity Building:Central Florida, tendrá un impacto significativo. Estaasistencia técnica intensiva de dos años capacita a 20organizaciones de arte y cultura en Florida Central, yOpen Scene se enorgullece en ser una de esasbeneficiarias. Desde 2001, el DeVos ha servido a másde 2,000 organizaciones en más de 30 comunidadesdiversas en los Estados Unidos.Así es como se cultiva algo bueno: construyendocapacidad, sembrando confianza, planificando elbienestar, y teniendo una dirección clara. ¡Sigamosinvirtiendo en más amor y más arte!11OPEN ZINE| ARTS & CULTURE

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Additional data.*State or Special jurisdiction2024 Enacted2025ProjectedPercent ChangeAlabama$6,606,197$6,833,0743.4%Alaska$736,300$917,20024.6%American Samoa$231,000$231,0000.0%Arizona$2,000,000$2,000,0000.0%Arkansas$1,425,904$1,577,86110.7%California$39,344,000$37,392,000-5.0%Colorado$2,023,000$3,273,00061.8%Connecticut$1,497,298$1,497,2980.0%Delaware$4,879,100$4,906,8000.6%District of Columbia$50,077,000$42,159,00015.8%Florida$43,252,101$742,293-98.3%Georgia$1,566,412$610,79461.0%Guam$543,750$772,86642.1%Hawaii$10,330,534$10,333,3560.0%Idaho$982,800$933,400-5.0%Illinois$11,986,300$20,876,50074.2%Indiana$5,197,761$5,197,7610.0%lowa$1,150,000$1,150,0000.0%Kansas$1,021,173$1,521,17349.0%Kentucky$1,952,700$1,920,700-1.6%Louisiana$2,112,377$2,175,1763.0%Maine$1,108,640$1,008,893-9.0%Maryland$32,749,746$34,086,9664.1%Massachusetts$25,000,000$25,895,0003.6%Michigan$8,850,000$8,850,0000.0%Minnesota$55,195,000$58,508,0876.0%Mississippi$10,495,803$6,545,682-37.6%Missouri$10,032,046$10,948,7989.1%12Issue No.15

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To read more about this, visit our blog at www.OpenScene.org/blog | Para leer más sobre esto, visita nuestro blog en www.OpenScene.org/blogSources (retrieved on different dates in August 2024) | Fuentes (revisadas en distintos días del mes de Agosto 2024)https://www.americansforthearts.org/https://www.arts.gov/sites/default/files/74.pdfhttps://artreview.com/we-have-saved-culture-france-boosts-2022-culture-budget-to-4-billion-euros/https://fundar.org.mx/pef2022/presupuesto-federal-para-cultura/#:~:text=aprobado%20de%201.2%25-,3.,del%20presupuesto%20aprobado%20en%202021.https://www.giarts.org/sites/default/files/2023/February/GIA_PublicFundingForTheArts_2022_web.pdfhttps://thecitypaperbogota.com/culture/colombia-to-invest-us1-8-billion-this-year-in-cultural-reactivation/https://www.oecd-ilibrary.org/sites/991bb520-en/1/3/10/index.html?itemId=/content/publication/991bb520-en&_csp_=25e0b9f49c18c1dc4aca61a51754cf0b&itemIGO=oecd&itemContentType=book#section-d1e30970https://www.orangecountyfl.net/CultureParks/Canvas.aspxhttps://www.statista.com/statistics/1181331/japan-government-expenditure-on-art-and-culture-by-category/#:~:text=Governmental%20spending%20on%20art%20and%20culture%20in%20Japan%20FY%202022%2C%20by%20category&text=In%20the%20fiscal%20year%202022,Japanese%20yen%20on%20cultural%20facilitiesState or Special jurisdiction2024 Enacted2025ProjectedPercent ChangeMontana$1,116,392$1,134,0401.6%Nebraska$2,600,377$2,628,7791.1%Nevada$2,261,397$2,422,6708.0%New Hampshire$1,406,566$1,417,5980.8%New Jersey$32,355,000$32,355,0000.0%New Mexico$1,718,100$1,690,000-1.6%New York$101,885,000$103,450,0001.5%North Carolina$12,289,672$12,289,6720.0%North Dakota$1,293,510$1,293,5100.0%Northern Marianas$280,254$280,2540.0%Ohio$25,563,000$25,563,0000.0%Oklahoma$3,730,030$3,952,3256.0%Oregon$2,026,570$2,020,000-0.3%Pennsylvania$10,583,000$10,660,0000.7%Puerto Rico$15,608,327$14,831,000-5.0%Rhode Island$1,892,758$1,995,2115.4%South Carolina$11,540,843$9,608,696-16.7%South Dakota$1,107,666$1,407,57327.1%Tennessee$12,238,000$12,898,1005.4%Texas$14,309,718$14,319,3580.1%Utah$7,391,700$10,189,80037.9%Vermont$968,940$973,8480.5%Virgin Islands$374,437$374,000-0.1%Virginia$4,600,207$4,590,172-0.2%Washington$6,535,643$7,445,00013.9%West Virginia$997,446$811,500-18.6%Wisconsin$1,078,000$1,083,0000.5%Wyoming$977,649$1,077,77310.2%TOTAL$611,077,144$575,646,577-5.8%13OPEN ZINE| ARTS & CULTURE

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Create DangerouslyProduced by Open Scene in collaboration with the Haitian American Art Network, will explorecultural identity and the impact of post-colonialism, with a special focus on the challenges andcontributions of Black Latino immigrant artists.Main Speaker: The acclaimed Edwidge Danticat! Known for her powerful storytelling and advocacyfor Haitian culture, Danticat’s impactful works have earned her prestigious awards and a place as aleading voice in literature and diaspora discourse.Moderator: Dr. Akosoua Fadhili AfriKa, Associate Professor in the Department of Modern Languages& Literatures at the University of Central Florida, writer, and educator. She is a dedicated advocatefor French Caribbean literature and identity. Guest Artist: Patrick Noze, Born in Haiti in the province of Jeremie 'City of Poets'. He was introducedto the world of art years before achieving International success, by way of his father, Robert Noze. Date: September 4, 2024 Time: 6:00 PM Location: Art & History Museum of Maitland Germaine Marvel BuildingRSVP: www.OpenScene.orgFORUM ALERT!15OPEN ZINE| ARTS & CULTURE

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“Maecenas” were people of great economic orpolitical power, who financed and supported creators(artists, scientists, writers, etc.), allowing them todevelop their work without having to worry about theirsubsistence. The term “Maecenas” comes fromGaius Cilnius Maecenas, a wealthy advisor and friendof the Roman Emperor Augustus, who was a greatpatron of the arts and literature in ancient Rome.The concept of patronage has been fundamental inthe history of art and culture, especially during theRenaissance. During this period, families such as theMedici in Florence, the Sforza in Milan, and the Popesin Rome were important patrons. Thanks to their support, some of the most importantworks in art history were produced. The Medici, forexample, directly supported numerous artists andplayed a key role in the flourishing of the ItalianRenaissance. Some of the artists who received hissupport include Leonardo da Vinci, Michelangelo,Sandro Botticelli and Raphael.Los mecenas fueron personas de gran podereconómico o político, que financiaban y apoyaban acreadores (artistas, científicos, escritores, etc.),permitiéndoles desarrollar su trabajo sin tener quepreocuparse por su subsistencia. El término“Mecenas” proviene de Cayo Cilnio Mecenas, un ricoconsejero y amigo del emperador romanoAugusto, quien fue un gran patrocinador de las artes yla literatura en la antigua Roma.El concepto de mecenazgo ha sido fundamental en lahistoria del arte y la cultura, especialmente durante elRenacimiento. Durante este período, familias como losMédici en Florencia, los Sforza en Milán, y los Papasen Roma, fueron importantes mecenas.Gracias a su apoyo, se produjeron algunas de lasobras más importantes de la historia del arte. LosMédici, por ejemplo, apoyaron directamente anumerosos artistas y jugaron un papel clave en elflorecimiento del Renacimiento italiano. Algunos delos artistas que recibieron su apoyo incluyen a:Leonardo da Vinci, Miguel Ángel, Sandro Botticelli yRafael.Gisela Romero in her studio.18Issue No.15

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Patronage was not only an act of philanthropy, butalso served to raise the prestige and influence ofpatrons in society. By supporting artists and thinkers,these individuals not only contributed to the culturaldevelopment of their time, but also strengthened theirpersonal power and legacy. Patrons shaped theartistic culture of the Renaissance by engaging artiststo fulfill their commissions.In the 21st century, “Maecenas” are better known as“Patrons”; or “Donors” and have evolved, adapting tonew economic and cultural dynamics, but their roleremains essential for the development of arts, scienceand innovation. Modern patrons include both wealthyindividuals and corporations, foundations, and digitalplatforms that support creators in various ways.In the 21st century, patronage has changed, and it isno longer common for patrons to support individualartists in the direct and personal way that families likethe Medici did during the Renaissance. Today, supportfor culture and the arts tends to be moreinstitutionalized, diversified, and often directed towardspecific or collective projects rather than individualartists. The money for the arts is directed toinstitutions who in turn distribute the moneythroughout their structure (institution staff, curators,gallery owners, designers, museographers, art critics,etc.) This entire complex and multifaceted networkhas ceased to last to the creator from an economicpoint of view.Increasingly, the artist needs to work on somethingelse to be able to survive, leaving creation aside forthe need to make money. For artists to create theyneed stimulation, time, introspection, connection withtheir own and other people’s emotions, tranquility,silence, space, materials. Without financial security itis difficult to create.El mecenazgo no solo era un acto de filantropía, sinoque también servía para elevar el prestigio y lainfluencia de los mecenas en la sociedad. Al apoyar aartistas y pensadores, estos individuos no solocontribuían al desarrollo cultural de su época, sinoque también fortalecían su poder y legado personal.Los mecenas dieron forma a la cultura artística delRenacimiento al involucrar a artistas para quecumplieran sus encargos.En el siglo XXI los mecenas son más conocidos como“Patronos”; o “Donantes” y han evolucionado,adaptándose a las nuevas dinámicas económicas yculturales, pero su función sigue siendo esencial parael desarrollo de las artes, la ciencia y la innovación.Los mecenas modernos incluyen tanto individuosadinerados como corporaciones, fundaciones yplataformas digitales que apoyan a creadores dediversas maneras.En el siglo XXI, el mecenazgo ha cambiado y ya no escomún que los patronos apoyen a artistas individualesde la manera directa y personal que lo hicieronfamilias como los Médici durante el Renacimiento. Hoyen día, el apoyo a la cultura y las artes tiende a sermás institucionalizado, diversificado y muchas vecesdirigido a proyectos específicos o colectivos en lugarde a artistas individuales. El dinero para las artes vadirigido a instituciones quienes a su vez reparten eldinero en su estructura (Personal de la institución,curadores, galeristas, diseñadores, museógrafos,críticos de arte, etc.) Toda esta red compleja ymultifacética ha dejado de último al creador desde elpunto de vista económico.Cada vez más el artista necesita trabajar en otra cosapara poder subsistir dejando de lado la creación por lanecesidad de obtener dinero. Para crear hace faltaestímulo, tiempo, introspección, conexión conemociones propias y ajenas, tranquilidad, silencio,espacio, materiales. Sin una seguridad financiera esdifícil crear.19OPEN ZINE| ARTS & CULTURE

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A few days ago, I spoke with a painter who told methat she spent eight hours and sometimes more in asupermarket organizing cans, washing vegetables,collecting cash at the register, cleaning and dealingwith customers who were upset about the cost ofgroceries due to inflation. My painter friend has notpainted for months. She arrives tired at a free spacethat an institution provided her with but that she hasnot been able to take advantage of because she fallsasleep.Someone will surely say that being an artist is anapostolate, that whoever is sincere will continue to bean artist, even if she or he are hungry, but we needfinancial help because artists pay bills and debts withmoney, not with applause, nor with spaces, norwith walls of cultural institutions packed with piecesthat are sold from time to time.That’s why my question, thinking about the newgenerations of artists, especially visual artists:Where are the “Maecenas”?Hace unos días conversé con una pintora que medecía que pasaba ocho horas y a veces más en unsupermercado organizando latas, lavando vegetales,cobrando en la caja, limpiando y lidiando con clientesmolestos por el costo de los alimentos debido ala inflación. Mi amiga pintora tiene meses sin pintar.Llega cansada a un espacio gratuito que leproporcionó una institución pero que no ha podidoaprovechar porque se duerme.Alguien seguramente dirá que ser artista es unapostolado, que quien lo es sinceramente seguirásiendo artista, aunque pase hambre, peronecesitamos ayuda financiera porque los artistaspagamos las cuentas y las deudas con dinero, no conaplausos, ni con espacios, ni con paredes deinstituciones culturales abarrotadas de piezas que sevenden de vez en cuando. Por eso mi pregunta, pensando en las nuevasgeneraciones de artistas, especialmenteartistas visuales:¿Dónde están los mecenas?21OPEN ZINE| ARTS & CULTURE

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The Creole garden is a metaphor used in Creoleliterature to describe the cultural diversity of ourregion. Indeed, the Caribbean basin is a place ofcultural mixtures encompassing all the world'sinfluences and origins, whether indigenous, African,European, Indian, or others. The concept of the Creolegarden is rooted in the reality of domestic spaceswhere various types of medicinal plants, fruit trees,protective plants, vegetable gardens, and variousflowers and bushes are cultivated, functioning insymbiosis and harmony around the family home. Thefamily garden, with all these plant species coexistingharmoniously, becomes a reflection of the cultural,spiritual, and physical space of Guadeloupe. It is thefoundation of the theory of the Creole gardenpromoted by many thinkers and writers from theCaribbean and beyond. The theory of the Creolegarden in West Indian literature is often used as amotif to illustrate how different cultural traditionscould coexist, interact, and enrich each other whilerespecting one another.Moreover, by using the motif of the Creole garden as awitness to the salvific value of creating a Caribbeanworld through the Creole word but also through itsanchoring in its Creole space, Guadeloupean authorspresent themselves as linguistic, cultural, and spiritualarchitects. They indicate to us that the use of Creole, avehicle of information, just like the creative space ofthe Creole garden, would lead to the production of anenergy that would give rise to the rooting ofGuadeloupeans in the creative Caribbean space ofCreole expression. This rooting would allow themanifestation of a Creole "self" in the creative spaceof the Creole garden, a source of authenticnourishment for the people.How can one be Guadeloupean? Perhaps we should cultivate our garden!24Issue No.15BY DOCTOR AKOSUA FADHILI AFRIKAIn her novel *The Bridge of Beyond*, SimoneSchwarz-Bart presents the character Reine SansNom, who teaches Télumée, her granddaughter, thevital importance of cultivating a garden. Reine SansNom's garden includes vanilla pods, coffee beans,pigeon peas, banana trees, root vegetables, oranges,Congo cane, and marigolds. These fruits andvegetables represent the wealth of Guadeloupe. Thevanilla pods characterize the essence and spiritualityof the island; the coffee, its strength and intensity;the Congo cane, its tenderness and flexibility; andthe beans and root vegetables represent its diversity,its rootedness, and its abundance. These fruits andvegetables aptly illustrate Guadeloupean culinaryand cultural Creole identity. Most of these fruits andvegetables, like the inhabitants found there, weretransplanted to the island from other continents andare a symbol of the multicultural nature of our Afro-descendant societies. By tending to her garden withits multiple origins, Reine Sans Nom encouragesTélumée to believe in the vision of a multicultural,spiritual, and harmonious world. Francophone Caribbean literature offers a rich paletteof reflections on nation-building, revealing thedifferent facets of the quest for identity throughpersonal, linguistic, and cultural experiences, usingthe Creole garden as a prototype.PARA LEER LA VERSIÓN EN ESPAÑOL VISITA WWW.OPENSCENE.ORG/BLOG

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Le jardin créole est une métaphore utilisée dans lalittérature créolophone pour décrire la diversitéculturelle de notre région. En effet, le bassin caraïbéenest un lieu de mélanges culturels englobant toutes lesinfluences et origines mondiales qu’elles soientautochtones, africaines, européennes, indiennes etautres. Le concept du jardin créole prend donc sesracines dans la réalité des espaces domestiques oùsont cultivées diverses variétés de plantes médicinales,d’arbres fruitiers, de plantes protectrices, de jardinspotagers et diverses fleurs et buissons, fonctionnant ensymbiose et en harmonie autour de la maison familiale.Le jardin familial avec toutes ces espèces végétalescoexistant de manière harmonieuse devient le reflet del’espace culturel, spirituel et physique guadeloupéen. Ilest à la base de la théorie du jardin créole promue parde nombreux penseurs et écrivains de la Caraïbe etd’ailleurs. La théorie du jardin créole dans la littératureantillaise est souvent utilisée comme motif pour illustrercomment différentes traditions culturelles pourraientcoexister, interagir et s’enrichir tout en se respectantmutuellement.De plus, en utilisant le motif du jardin créole commetémoin de la valeur salvatrice de la création d’un mondecaribéen par le verbe créole mais aussi par son ancragedans son espace créole, les auteurs guadeloupéens seprésentent comme des architectes linguistiques, culturelset spirituels. Ils nous signalent que l’usage du créole,vecteur d’information, tout comme l’espace créatif dujardin créole, entrainerait la production d’une énergie quidonnerait naissance à l’enracinement des guadeloupéensdans l’espace créatif caribéen d’expression créole. Cetenracinement permettrait la manifestation d’un « moi »créole dans l’espace créatif du jardin créole source denourriture authentique pour le peuple. 25OPEN ZINE| ARTS & CULTURE¿Comment peut-on êtreGuadeloupéen? ¡Il faudrait peut-être cultiver notre jardin!Dans son roman Pluie et Vent sur Télumée Miracle,Simone Schwarz-Bart nous présente le personnagede Reine sans Nom qui enseigne à Télumée sa petitefille, l'importance vitale de cultiver un jardin. Le jardinde Reine sans Nom comprend des gousses devanille, des grains de café, des pois d’Angole, desbananiers, des légumes racines, des oranges, de lacanne Congo et des œillets d’Inde. Ces fruits etlégumes représentent la richesse de la Guadeloupe.Les gousses de vanille caractérisent l'essence et laspiritualité de l'île ; le café, sa force et son intensité ;la canne Congo, sa tendresse et sa flexibilité ; et lesharicots et les légumes racines représentent sadiversité, son enracinement et son abondance. Cesfruits et légumes illustrent bien la créolité culinaire etculturelle guadeloupéenne. La plupart de ces fruits etlégumes, tout comme les habitants qu’on y trouve,ont été transplantés sur l'île depuis d'autrescontinents et sont un symbole du caractèremulticulturel de nos sociétés afro-descendantes.Reine sans Nom, en prenant soin de son jardin auxorigines multiples, encourage Télumée à croire en lavision d’un monde multiculturel, spirituel etharmonieux.La littérature caribéenne francophone offre unepalette riche de réflexions sur la construction dupays, révélant les différentes facettes de laquête identitaire à travers des expériencespersonnelles, linguistiques, et culturelles,utilisant comme prototype, le jardin créole. DOCTEURE AKOSUA FADHILI AFRIKA

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I am a universal being, a citizen of the world. I continuously invent and reinvent myself. I identify themultiple identities that constitute me, discover,understand, and take pride in them.Paraphrasing Maalouf, whom I deeply admire, whatmakes me who I am, and not someone else, is thatexperience of living on the borders of two or morecountries, of two or more languages, of variouscultural traditions. All that richness and diversity isprecisely what defines my identity. My identity bringsme closer to the vastness of the world, it doesn’talienate me.In this issue of Open Zine, we want to continuefocusing on the universality of our content. We aim tobe a space for diverse voices to talk about whatconcerns us, about what is happening in our city, ourcountry, and our world.We have decided to transition to a format that allowsyou to read this content for what it is: a magazineabout arts and culture.Open Zine invents itself, reinvents itself, and presentsthe reader with content that fuels curiosity and invitesreflection.I hope you enjoy going through the pages of this newedition. Read, listen, see, feel, enjoy!Editors Letter6Editor-in-ChiefIssue No.15Soy un ser universal, ciudadana del mundo. Me invento y reinvento continuamente. Identifico lasmúltiples identidades que me constituyen, lasdescubro, las comprendo, y me enorgullezco de ellas.Parafraseando a Maalouf, a quien admiroprofundamente, lo que me hace ser yo, y no otrapersona, es esa vivencia en las lindes de dos o máspaíses, de dos o más idiomas, de diversas tradicionesculturales. Toda esa riqueza y diversidad esprecisamente lo que define mi identidad. Mi identidadme acerca al mundo en su vastedad, no me aliena.En este número de Open Zine, queremos seguirenfocándonos en la universalidad de nuestrocontenido. Deseamos ser un espacio para diversasvoces, hablar de lo que nos inquieta, de lo que ocurreen nuestra ciudad, nuestro país, nuestro mundo.Hemos decidido transicionar a un formato que tepermita leer este contenido como lo que es: unarevista sobre arte y cultura.Open Zine se inventa, reinventa, y presenta al lectorcontenido que alimenta la curiosidad e invita a lareflexión.Espero que disfrutes recorriendo las páginas de estanueva edición. Lee, escucha, ve, siente, disfruta!PALM TREES STANDING TALL* PALMERAS ERGUIDAS*

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*A palm tree is a symbol of resilience,adaptability, and strength. It stands tall, oftenin challenging environments like deserts oralong coastlines, enduring harsh conditionswhile remaining graceful and steady.Just as the palm tree thrives in variousenvironments, our universal identityembraces the richness of multiple cultures,languages, and traditions, staying groundedin its core while reaching out to the vastnessof the world.*La palmera es un símbolo de resiliencia,adaptabilidad y fuerza. Se mantiene erguida,a menudo en entornos desafiantes comodesiertos o costas, soportando condicionesadversas mientras permanece firme.Así como la palmera prospera en diversosentornos, nuestra identidad universal abrazala riqueza de múltiples culturas, idiomas ytradiciones, permaneciendo arraigada en suesencia mientras se extiende hacia lainmensidad del mundo.OPEN ZINE | ARTS & CULTURE7

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Florida's budget for 2025 has been slashed by 98.3%due to cuts from Governor Ron DeSantis, adevastating blow to the state's cultural and creativesectors (CCS). Yes, it is bad and ugly. This is alarmingnot only for Florida but also for the United States,which is lagging globally in recognizing the criticalimportance of public investment in CCS.Funding for cultural and creative sectors is widelyunderstood as an investment with substantialeconomic and social benefits. The Organisation forEconomic Co-operation and Development (OECD) andnumerous cultural observatories emphasize thatpublic support for CCS is vital for preserving culturalheritage, fostering innovation, and driving economicgrowth. In contrast, the U.S. relies heavily on privateinvestment, with public support playing a secondaryrole, leading to a complex financial ecosystem thatoften falls short.The successful transformation of "average"communities into vibrant cultural and creativedestinations—exemplified by cities like New York,London, and Paris—requires a multifaceted approach.It starts with policymakers actively embracingmulticulturalism as an asset -a common factor amongthe world's greatest arts and culture hubs-, preservingand adaptively reusing historical or industrial spaces,and sustaining active collaboration betweengovernment, private investors, and culturalstakeholders. To unlock the potential of multiculturalcities like Orlando, strategic urban planning,community engagement, and targeted support forcreative industries are essential.The Bad, The Ugly… and The Good!8Issue No.15BY THAMARA BEJARANOINFOGRAPHY BY THAMARA BEJARANO

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El presupuesto de Florida para 2025 ha sido reducidoen un 98.3% debido a los recortes del gobernador DeSantis, un golpe devastador para los sectoresculturales y creativos (CCS) del estado. Sí, es malo yfeo. Esto es alarmante no sólo para Florida, sinotambién para los Estados Unidos, rezagado a nivelmundial en reconocer la importancia crítica de lainversión pública en los CCS.La financiación de los sectores culturales y creativoses ampliamente entendida como una inversión conbeneficios económicos y sociales sustanciales. LaOrganización para la Cooperación y el DesarrolloEconómicos (OCDE) y numerosos observatoriosculturales enfatizan que el apoyo público a los CCS esvital para preservar el patrimonio cultural, fomentar lainnovación y promover el crecimiento económico. Encontraste, Estados Unidos depende en gran medidade la inversión privada, con el apoyo público jugandoun papel secundario, creando un ecosistemafinanciero complejo que a menudo se queda corto encubrir las necesidades del sector cultural.La exitosa transformación de comunidades"promedio" en destinos culturales y creativosvibrantes—ejemplificada por ciudades como NuevaYork, Londres y París—requiere un enfoquemultifacético. Comienza con los responsables políticos entendiendoen profundidad al multiculturalismo como un activo(factor común entre los mayores centros de arte ycultura del mundo), la preservación y reutilizaciónadaptativa de espacios históricos o industriales, y elmantenimiento de una colaboración activa entre elgobierno, los inversionistas privados y las partesculturales interesadas. Para desbloquear el potencialde ciudades multiculturales como Orlando, esesencial la planificación urbana estratégica, laparticipación comunitaria, y el apoyo dirigido a lasindustrias creativas.Lo Malo, Lo Feo… y Lo Bueno“Hundreds of Florida artsgroups scramble forfunding after DeSantisvetoes grants”-NPR“Modelo motosierra:Florida se queda sinsubvenciones para el arte yla cultura”-Clarín9OPEN ZINE| ARTS & CULTUREPOR THAMARA BEJARANOINFOGRAFÍA POR THAMARA BEJARANO