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| Consejo de la Cultura Metropolitana | |
|---|---|
| Name | Consejo de la Cultura Metropolitana |
| Native name | Consejo de la Cultura Metropolitana |
| Formation | 2000s |
| Type | Public cultural council |
| Headquarters | Santiago, Chile |
| Region served | Santiago Metropolitan Region |
| Leader title | Director |
| Parent organization | Consejo Nacional de la Cultura y las Artes |
Consejo de la Cultura Metropolitana is a regional cultural council based in Santiago, Chile that coordinated cultural policies and programs across the Santiago Metropolitan Region. It interfaced with national bodies such as the Consejo Nacional de la Cultura y las Artes and municipal authorities including the Municipality of Santiago and Municipality of Providencia to support festivals, heritage sites, and creative industries. The council collaborated with academic institutions like the University of Chile and the Pontifical Catholic University of Chile and with cultural venues such as the Centro Cultural Palacio de La Moneda, Teatro Municipal de Santiago, and Museo Nacional de Bellas Artes.
The council emerged amid decentralization debates following policy reforms associated with the Concertación administrations and the legislative framework influenced by the 1990 Chilean transition to democracy. Its formation was shaped by consultations involving figures from the Ministerio de Educación (Chile) and the Ministerio de las Culturas, las Artes y el Patrimonio. Early initiatives connected to cultural planning referenced precedents like the Comisión Nacional de Cultura and models from international organizations such as UNESCO, European Cultural Foundation, and Inter-American Development Bank. Key moments included partnerships with festivals like Festival Internacional Santiago a Mil, collaborations with institutions such as the Biblioteca Nacional de Chile, and responses to events like the 2010 Chile earthquake that affected heritage assets including Iglesia de San Francisco (Santiago) and the Plaza de Armas, Santiago. Leadership often featured professionals with backgrounds linked to the Chilean Institute of Culture and artists associated with movements referencing Nueva Canción Chilena, Violeta Parra, and Pablo Neruda legacies.
Its governance combined representatives from regional municipalities such as Municipality of Las Condes, Municipality of Ñuñoa, and Municipality of La Florida with delegates from state bodies like the Servicio Nacional del Patrimonio Cultural and agencies similar to the Corporación de Cultura y Turismo de Santiago. Committees addressed sectors represented by organizations such as the Sociedad Chilena del Derecho de Autor, Centro Cultural Gabriela Mistral, and networks like Red de Salas de Teatro de Chile. Administrative units coordinated projects with universities including the Universidad de Santiago de Chile and the Universidad Diego Portales, and liaised with professional associations such as the Asociación de Productores de Festivales and Colegio de Arquitectos de Chile for heritage and urban cultural policy. Advisory councils included experts from institutions like the Museo de la Memoria y los Derechos Humanos and the Facultad de Artes, Universidad de Chile.
The council promoted programs in collaboration with national entities such as the Sistema de Incentivos a la Cultura (Fondart), and coordinated cultural promotion alongside municipal initiatives like the Plan de Desarrollo Comunal. Its remit encompassed promotion of performing arts venues such as Teatro Biobío and Teatro del Lago, support for visual arts institutions including the Centro Cultural Estación Mapocho and Museo de Arte Contemporáneo (Santiago), and stewardship of heritage assets overseen by the Dirección de Bibliotecas, Archivos y Museos (historically). It facilitated access to funding instruments like the Fondo del Libro y la Lectura and partnered with broadcasting outlets including Televisión Nacional de Chile and Radio Universidad de Chile to disseminate cultural programming. The council also engaged with international cultural diplomacy actors including the British Council, Goethe-Institut, and Alliance Française.
Programs included support for festivals such as Santiago a Mil, Lollapalooza Chile, and neighborhood initiatives akin to Barrio Yungay cultural regeneration. Projects ranged from museum exhibitions at institutions like the Museo Chileno de Arte Precolombino to public art installations near landmarks like Cerro Santa Lucía and Costanera Center interventions. Educational collaborations involved the Instituto Nacional and arts training centers like the Escuela de Arte de la Universidad Católica, while creative economy programs linked to entities such as the ChileFilm Commission and the Asociación de Industrias Creativas aimed to support film, design, and digital media startups. Conservation efforts partnered with heritage trusts and NGOs like Consejo de Monumentos Nacionales and international funders such as the World Monuments Fund.
Funding combined public allocations from bodies such as the Ministerio de Hacienda (Chile and national cultural budgets, grants from Fondart, municipal co-financing by the Corporación Municipal de Cultura, and sponsorship from private institutions including the Fundación Andes, Fundación da Arte, and corporations active in cultural patronage such as BancoEstado and Compañía Minera. The council administered competitive grant cycles similar to those of the Fondo Nacional de Desarrollo Cultural y las Artes and leveraged partnerships with philanthropic organizations like the Ford Foundation and Open Society Foundations for targeted programs. Resource management involved auditing and oversight with agencies comparable to the Contraloría General de la República, and procurement processes aligned with regulations of the Servicio de Impuestos Internos.
It maintained formal links with national museums including the Museo Histórico Nacional, academic partners such as the Universidad Diego Portales Facultad de Artes, and international cultural networks like IberCultura Viva and the Mercociudades Cultural Forum. Collaborations extended to private cultural foundations including the Fundación Cultural de Providencia, media partners like Canal 13 (Chile), and sectoral platforms such as the Red de Teatros de Chile and Asociación Chilena de Festivales. The council also coordinated disaster recovery and heritage reconstruction with entities like the UNDP and the International Council on Monuments and Sites (ICOMOS).
Advocates credited the council with expanding access to cultural programming across municipalities including Puente Alto and Maipú, boosting tourism at sites like the La Moneda Palace and increasing participation in events such as Semana del Libro. Critics argued it sometimes favored established institutions like the Teatro Municipal de Las Condes or larger festivals including Lollapalooza Chile over grassroots arts groups operating in neighborhoods like La Legua and Pudahuel. Debates referenced broader policy tensions present in reforms involving the Ley de Derechos Culturales and discussions in the Cámara de Diputados de Chile about decentralization, accountability, and cultural equity.
Category:Cultural organisations based in Chile