The historical process of the internationalisation of the arts
Historically, the internationalisation of the arts has been linked to the need to project talent and cultural proposals abroad, in a process closely linked to the economic globalisation of the late 20th century. This approach, which initially focused mainly on profitability and expansion in international markets, sought to expand business models to improve the economic inefficiency of artistic proposals and the precariousness of cultural workers. Over time, however, a broader vision has emerged in which culture is valued not only for its numbers, but also for the richness of the cultural identities, creativity and values it represents. This diversity of perspectives has led not only to the expansion of circuits in international markets, but also to cooperation and exchange projects that have enriched the global cultural landscape and enabled genuine understanding between communities, nations and territories.
Post-pandemic transformation
The experience of the pandemic forced a rethink of old models. Far from being an obstacle, COVID-19 served as a catalyst for rethinking the production, circulation and consumption of culture. The crisis highlighted the need to go beyond mere ad hoc geographical mobility and adopt a strategic vision that integrates new variables and approaches. The redefinition of internationalisation materialised in the inclusion of new internationalisable projects such as education, creation and co-creation, research and transnational cooperation, which allowed the perspective to be broadened beyond physical and temporal borders. The advance of digitalisation and the widespread use of new technologies have opened up unprecedented opportunities for artists and cultural organisations. Streaming, augmented and virtual reality, together with the growing use of digital tools, have made it possible to reach global audiences without losing the local identity that defines each artistic proposal.
Environmental challenges
Climate change is forcing a rethink of travel and the logistics of artistic touring. The trend towards longer stays rather than short, frequent trips and the preference for more sustainable modes of transport respond to growing environmental awareness and the need to reduce the carbon footprint of the cultural sector.
Deglobalisation and protectionism
However, the current climate of de-globalisation and border closures, brought about by protectionist and anti-immigration policies in a growing number of countries, poses additional challenges. Restrictive trade policies and fear of migratory phenomena can lead to a reduction in the circulation of cultural works and projects, limiting the opportunities for artists and cultural managers to benefit from a freer and more dynamic exchanges.
Valuing the local in a global context
This panorama invites us to value and promote the local. The richness of local cultures is a differentiating factor in an international market in danger of shrinking, where authenticity and identity are strategic assets for penetrating international scenarios. In this sense, a commitment to diversity and the protection of cultural identities becomes an act of resistance to Anglo-Saxon hegemony, which also enriches the global offer and encourages innovation in artistic production.
New strategies for the internationalisation of culture
Redefining cultural internationalisation requires a strategy based on four dimensions: political, environmental, identity and management.
The political dimension
To contribute, through culture and the arts, to the construction of a more open world in which people and culture can circulate freely. From our field, we must be able to raise awareness in our local environment, while at the same time bearing witness on the international arena that fear and misinformation about those who come from other places impoverishes our societies and us as individuals far more than the redistribution of resources from countries with greater economic development. Culture has the power to break down barriers, to foster understanding and to promote a more fairer society enriched by diversity.
The environmental dimension
In order to reduce the environmental impact of the cultural sector, it is essential to implement environmental protocols for tours and projects where mobility is a key factor. This includes adopting sustainable transport practices, using resources efficiently and reducing waste, as well as fostering partnerships with suppliers and venues that share this commitment. In addition, raising awareness of the importance of these measures among staff and audiences reinforces the role of culture as a driver of change in the environmental transition. Mobility in the arts must evolve towards a more conscious, responsible and innovative model that guarantees its viability without compromising the environmental balance.
The identity dimension
In a global context where dominant cultures tend to standardise what is offered, relying on the diversity and authenticity of local cultures is an act of enrichment and resistance. Promoting and protecting local identities is not only a cultural imperative, but also a strategy for differentiation in a shrinking international market. Local culture must therefore become a driver of innovation and international competitiveness.
Project management dimension
Diagnostics and strategic plans must be integrated into internationalisation. It is essential to plan cultural projects more rigorously and to support them with diagnoses that make it possible to identify opportunities and risks. The pandemic has taught us that adaptability and innovation are essential to overcome crises and open up new avenues. The incorporation of digital tools, together with new funding models, the creation of international networks and strategic alliances, has become a fundamental pillar to ensure the viability and growth of cultural projects.
It is also essential that both the public and private sectors work together to build a cultural ecosystem that fosters knowledge sharing and transnational cooperation. Culture, understood as a bridge that connects different realities and fosters mutual understanding, has the potential to break down barriers and reverse the negative effects of protectionism and xenophobia. Training in technical skills, such as mastery of new technologies, languages and marketing strategies, must go hand in hand with preparation that fosters appreciation and respect for cultural diversity.
Towards a future of sustainable and inclusive artistic mobility
In conclusion, the pandemic has marked a turning point in the way we understand the internationalisation of the arts. Far from stopping the creative flow, the pandemic has prompted a profound reflection on traditional models, inviting us to combine tradition, innovation and diversity in an inclusive strategy. This new vision of artistic mobility not only promotes the projection of local proposals onto global stages, but also highlights the importance of a strategic and sustainable approach. The challenge is to strengthen the bonds of international cooperation to build a more open, dynamic and greener cultural world, as opposed to populist policies that close borders and promote fear and mistrust of what comes from outside.