It is ja gairebé un tòpic, quan hom s’ approaches the debate on the audiovisual media crisis and refers to the young creators of digital contingut with a vague future promise, for the s’ha d’bet. Quan parlem del cas del català, a banda, hi enters the speech cendrós about the death of language. Usually, the proposal seems to be an individual cooptation: posing our faces on old structures with an older audience, which only makes the creators – quite reasonably – reorganize their lives by focusing on their efforts in the traditional communication environment , which pays off and not uncertain in the digital environment of the future for which you have accessed the lloc. Però això ens returns to the original problem, fins i tot agreujant-lo, confirming the initial suspicion that no hi ha futur fora dels mitjans traditonals.
The world of feta music in Catalan will have a similar debate for two decades – if the language has gates in a world with large audiences – that will resolve material reality. The circle of large program groups for concerts and festivals in Catalan, promoted by the administrations, has allowed many groups and professional musicians to collect their fees with a minimum of concerts per year: això it is possible thanks to support structures for local administrations and bodies that produce music in bring small and medium-sized places that they don’t otherwise program; a textile ore that does not exist in other Territoris de l’Estat. Owning music in Catalan has not amassed a great fortune, but yes, sous dignities are paid and it is possible to achieve a level of professionalism that is difficult for singers in Spanish or English to achieve, rather than a small minority . Hui per hui, quasi ningú diu que fer Music in Catalan petrol ports or that the sector is in crisis.
In contrast, when it comes to digital creation – podcast, streaming, video creator – everyone donates pro fet that només hi has a possible marketing strategy that is that of the Anglophone and Spanish-speaking creators: the accumulation of viewers for the engròs . A model for monetization – especially with publicity – can be seen with the name viewers and viewers, followers in xarxes; It is evident how it affects the Catalan market, which by definition is a més petit market. The thing is, if not fa, with the debate about music and piracy fa vint anyes. Llavors Semblava Impossible imagines that people pay for continguts that they can find for free on the internet: hui, digital platforms like Netflix, Spotify and companies have generated a social habit of recurring payment per continguts, posant èmfasi in accessibility and in the Recommendations. Filmin’s case is the example of being able to find marketable Ninxole when building a solid community and paying attention to segmentation.
When we think of cultural communities built on the segmentation and participation of their members, we certainly have good examples at home: Òmnium Cultural – with more than 190,000 quota members, with 15,000 volunteers – or the Federation of Musical Societies of the Comunitat Valenciana – the more than 200,000 members per 40,000 musicians united –. The world of creation in Catalan can circumvent the scale trap if it is aware of its strengths and applies the music sector’s standards: teixit associatiu i circuitcultural arrelat al territori, programming culture in petites i mitjanes populations – which would allow for a basic offline penetration because of their economic sustainability, which is very important in the case of podcasts; a teixit, in short, a format per person with the habit of making economic contributions when it comes to supporting nearby projects peculiar to the seua visió del món. However, to think as a collectivity, Això requires more in favor of the values of the cooperative system: calen sous and decent working conditions to be able to produce quality products… and freedom. Quasi res carries the diary.