The proposal to dissolve long-standing cultural institutions, such as the National Fund for the Arts (founded 65 years ago), other more recent ones such as the National Theater Institute (1997), in addition to the drastic cuts to the activity of Incaa, Inamu , Conabip, and the design of new rules for the publishing industry, caused, without distinction of ideologies, an earthquake in national culture.
Oscar Barney Finn, filmmaker, screenwriter and stage director with a vast career, expressed to this newspaper his indignation not only in his capacity as a man of culture, but also as a former member, on two occasions, of the FNA board, an “institution that “It has served in an invaluable and transparent way to support so many creators in this country,” he said. “I was a member of the board in two administrations that were opposite in lines of thought, such as that of Amalita Fortabat and that of the economist Héctor Valle, but we always debated in harmonious coexistence, he was exemplary. The Fund was a model as a cultural management body in other countries, such as Canada and Australia. What to say in this distressing hour? How can we not remember their exhibitions, their competitions, their scholarships, their wonderful editions of classics, new books, history? The Fund was improved year after year. From the management of Fortabat to that of Valle, it opened to the interior, it became fully a federal organization. I can’t figure out why they are trying to close it. It is inconceivable in the light of reason because nothing is saved by doing so, it is an autonomous entity. Argentine culture cannot passively resign itself to accepting it, to losing so many years of work in this way.”
“This is a disaster,” said Javier Daulte. “It is eliminating institutions or organizations created with a clear, identity-based and singular purpose. There is no theater institute anywhere in the world that deals with alternative theaters and artists. That is why Buenos Aires has the strength that places it as the third theater capital worldwide. The FNA or the Incaa cannot disappear, if there are irregularities they must be corrected and cleaned up, but never eliminated.” Roberto Peloni indicated: “Defunding or eliminating organizations and instruments that are part of the promotion and protection of the cultural industry recognized throughout the world is extremely worrying. I feel an anguish similar to the pandemic,” and Carlos Belloso added: “It is an overpowering of the Legislative Power that it exercises together with the other two powers. This omnibus law, beyond the theater or the FNA, overwhelms democracy, the republic and the institutions. We must go to each deputy and each senator to demand that they not vote for this law that attacks the people by turning the Executive Branch into a dictatorship.”
Other testimonies collected by this newspaper: “It is regrettable and sad that a country is left without these entities that have supported Argentine culture for many years. Theater, cinema, books make us better people, I cannot imagine that these things will weaken and a deep darkening of society will begin. Not to mention the artists who would be forced to stop practicing our profession.” (Mariano Dossena) “If it is not stopped and Congress does not intervene, we are facing a dictatorial government, it cannot be that what took so many years to achieve will be torn down. They better vote against” (Osmar Núñez). Corina Fiorillo expressed: “We must continue defending independent theater in Argentina, it is unique among the three best in the world, the INT or the FNA cannot be closed and we must all continue betting that culture is our identity. “We want to continue creating culture in freedom.” For Eva Halac, “A government that talks about the need for cultural change and the application of laws that cancel or defund cultural organizations indiscriminately punishes the potentially beneficiary population. A cultural change that does not encourage the debate of ideas but rather the cancellation seems to be the result of resentment. “It seems fallacious to me that with that budget we can buy food for families without resources.” And Florencia Aroldi added: “It is so painful and we are going to defend it as we always did. We are children of Teatro Abierto, I was there and when they planted the bomb I went to the Picadero, at the age of 7. At that time, the dictatorship wanted to eliminate the Argentine theater, but it went badly because the big businessmen gave up their halls in Corrientes. I hope something similar happens now.”
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
