People in this country have grown accustomed to cheering for a third place in a festival that spans Europe, neighboring states, the EU, NATO, and competing blocs. Yet the celebration often feels like a blanket over a quieter truth: the art that moves crowds should also move systems. The conversation about voices in ministries, the realities facing workers, and the role of culture in daily life deserves more than applause. The question is not merely how to talk about culture, but how to structure a cultural future that reflects workers, creators, and audiences alike. That is the essence of cultural discourse in contemporary Canada and the United States, where culture is a lived experience and a social asset, not a decorative feature.
Across this continent, there is talk of an industrial shift. The first two revolutions changed economies; a third seems poised to redefine how culture contributes to development. Yet culture risks being treated as a separate, optional sector rather than a core part of public life. The standard reply from many professionals is frustration, but the vision that matters is practical: create a public and private ecosystem that guarantees universal, high-quality health rights and a robust educational pathway. Culture belongs in the same framework, not as a garnish but as a driver of life-long learning and social well-being. The concern is unity of policy—not a patchwork of subsidies that only benefit a few. Historically, many European nations integrated technical education, nursing, and allied disciplines within universities, while some places left higher arts education outside the system. A similar rethinking could help bring balance and opportunity to our own cultural economy.
What if tax policy reflected culture’s true value? Could VAT on book production and cultural goods be aligned with other sectors that support artists and enterprises? Imagine reduced VAT on musical instruments, recognizing the role of culture as an economic and social force. What if Europe’s Eurovision influence translated into sustained public support for cultural sectors, rather than fleeting attention? The idea of non-profit structures similar to those in the United States could stabilize community cultural projects, while keeping workers and businesses clearly separated within a transparent framework. These shifts would support a sector where workers are workers, and businesspeople are businesspeople, each with clear rights and responsibilities.
Consider a policy landscape that protects workers and encourages entrepreneurship within culture. How did a national icon like Chanel become a symbol of industry and artistry before a major performance? The point is that artists and their livelihoods require safety nets, just as other sectors do. In this context, the example from Serbia—that artists there face health coverage gaps—highlights the urgency of social protection across borders. The conversation shifts from auditioning policies to implementing them: better social security, better health coverage, and fair compensation for all who contribute to cultural life. In Spain, for example, tax structures affect cost realities for creators and audiences alike, with value for public programs and private productions needing careful balancing.
Politics adds another layer. A left-leaning view in this era faces the practical task of aligning culture with workers’ rights, business development, and the professional training that sustains a vibrant field. Debates turn to patronage as a concept, but the stronger current favors sustainable finance, affordable access to training, and accessible credit for cultural ventures. Nonprofit, government-backed, and loan-based mechanisms can coexist, provided they are transparent and worker-centered. The aim is a cultural economy that serves people, not merely a showcase.
As the discourse continues, the public mood often eases into a decorative stance: clapping for symbols and debates about feminism in popular culture. The real conversation remains about bills for the 21st century—new approaches to employment, labor rights, higher and vocational education, science, and accountability within industry. The goal is a national and European framework for culture that mirrors progress seen in other sectors. It is a call for less applause and more industry, more innovation, and more inclusive policy that elevates artists, workers, and institutions together.