In Piedmont the live show receives almost 15 million euros in ministerial allocationsand in 2022 he staged over 9 thousand performances for 1.3 million spectators that they spent almost 24.5 million euros. Cinema fares less well: 5.2 million viewers in 2023 with 36.6 million euros of takings. But in short, we are talking about a sector that is not exactly a niche one.
Thus, in view of the regional elections, theAgis, the association that brings together live entertainment operators, as usual asked the presidential candidates to sign the commitment “to put culture at the center of the growth and development policies of the Region”. Agis’ requests are always the same: short times in paying contributions and more money to be distributed with the three-year program for culture. And then the recognition of entertainment workers, national and international promotion, assistance in participating in tenders, support for cinemas.
As always, the candidates say yes, sure, no, and they promise and commit and adhere to all requests, proposals and requests. Yesterday too there was the ritual meeting. Almost all the candidates for the governor’s seat were present: Pentenero of the centre-leftOn Saturday of the M5S, Frediani of Piedmont Popolare. It’s a shame that the announced winner was absent “due to institutional commitments”: Cirio he sent to represent him Tronzanohis budget councilor.
Then, despite the unanimous adhesion, everyone puts their own identifying touch on it.
Disabato deplores the rarity of the “tables of culture” – as we know, the Cinquestelle have a passion for the tables – and naturally hopes that there will be tenders and money for everyone, not just for the “series A realities”.
Frediani retraces his ten years in the Regional Council, claiming participation in various “culture tables”. She also confirms that we need more funds for culture and decent work contracts. Easy, just find the money.
Pentenero underlines that they created the framework law on culture, that Covid has made people understand the importance of culture, that an attentive administrator must enhance culture, and other obvious things. In concrete terms, he throws out the idea of ”an economy of trust”, essentially helping operators by paying all contributions immediately.
The one who expands the least – there is no need, the polls already tell him very well – is Tronzano: he assures that they want to maintain the framework law on culture but listening to the cultural tables (him too), then he throws it on the financing for « cinema supply chain” and – the coup de grace – announces that everyone must work hard to find private funds because “the public ones are finished”. The bystanders blanch. And they pray that the man from Cirio understands “finite” in the sense of “not infinite”; not that there really isn’t a euro left in the till.
