https://doi.org/10.37955/cs.v6i3.26132
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Production Order Costing System:
Coconut Food Producing and
Processing Industry
Impacto de la gestión cultural desde lo gubernamenta
Carlos Leonel Escudero Sánchez
Ph.D. Universidad Nacional de Loja-Ecuador carlos.escudero@unl.edu.ec
http://orcid.org/0000-0003-2343-5376
ABSTRACT
The impact of cultural management entails modifying models,
patterns and assumptions of a person or a team that guides a cultural
process in a public or private institution, the principles and values of
the managers, believe in their actions at the time of execution, creating
an impact on society with the activities generated, the political
influence of the rulers, giving guidelines to the managers, to execute
different cultural activities. The strategies to be created by cultural
management must express the power to implement instruments such
as the training of creators, audiences and mediators; cultural
dissemination, and support for artistic creation. Cultural management
discovers a harmony within any other management that is effectively
executed in society and achieves its respective purposes; cultural
policy has the competence to regulate and legitimize the cultural
responsibility that is intended to be executed from the public sector,
incorporating cultural development as a component of the State's
public services, linked to other public services. The governmental
cultural management is executed through projects within established
cultural programs, it represents an element of analysis to value the
position in which cultural management is executed, where there must
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be related competences with the knowledge of the administrative
development in culture.
RESUMEN
El impacto de la gestión cultural conlleva a modificar modelos,
patrones y suposiciones de una persona o un equipo que guía un
proceso cultural en una institución pública o privada, los principios y
valores de los gestores, creen en su accionar al momento de ejecutar,
creando un impacto en la sociedad con las actividades generadas, la
influencia política de los gobernantes, dando directrices a los gestores,
para que ejecute diferentes actividades culturales. Las estrategias que
debe crear la gestión cultural han de expresar la facultad de concretar
instrumentos como la formación de creadores, públicos y mediadores;
difusión cultural, y apoyo a la creación artística. La gestión cultural
descubre una armonía al interior de cualquier otra gestión que se
ejecute en la sociedad con eficacia y logra sus propósitos respectivos;
la política cultural, tiene la competencia de normar y legitimar la
responsabilidad cultural que pretenden ejecutar desde lo público
incorporando el desarrollo cultural como un componente de los
servicios públicos del Estado, enlazado a otros servicios públicos. La
gestión cultural gubernamental se ejecuta a través de proyectos al
interior de programas culturales establecidos, representa un elemento
de análisis para valorar la posición en que se ejecuta la gestión cultural,
donde debe haber competencias afines con el conocimiento del
desarrollo administrativo en la cultura.
Keywords / Palabras claver
Cultural management, impact, cultural policy, cultural policy,
governance, cultural agents, cultural institutions, administration
Gestión cultural, impacto, política cultural, gobernanza, agentes
culturales, instituciones culturales, administración
Introduction
In society we find impacts of the facts that individuals develop,
including the different ways of living, they are educated, they have fun,
they work, they group among themselves, they are constituted to build
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associative processes and to be able to access their life projects; their
behavior is a function of being an active part of a social structure.
Regarding the impact of cultural management, it entails modifying
models, patterns and assumptions of a person or a team that guides a
cultural process in a public or private institution; this experience,
whether positive or negative, has an impact on the human groups that
are spectators or actors of these processes; the valuation of what is a
management is related to the perceptions of the people who are in
charge of the execution of cultural activities.
On the other hand , the principles and values of those in charge of
executing cultural activities are observed in the practice of these
people, they believe in their actions when executing, that it should be
so, creating an impact on society with the activities generated, it is
given by the interests already formed . There is also to take into
account the political influence of the rulers, they begin to give
guidelines to the managers, to execute different cultural activities, in
some occasions, it could be meritorious and others not, the important
thing is that they would have to realize which are the reasons to assume
such dispositions causing effects in the organizational structure , this
is understood by the way of thinking and acting the authority due to
the commitment that has with some groups of the population causing
a real impact in the community where they belong, on this particular
one discussions and debates have been generated. Grossberg states, "it
may seem ironic that just when we discover that not only particular
identities but identity itself is socially constructed, it is when we
organize the political struggle within the category of identity, around
particular socially constructed identities" (1997: 93). (1997: 93) In the
territories, the managers can distinguish the true identity of the
peoples and politics has to adapt to this permanent struggle of the
inhabitants to highlight their rights according to what they have
managed to build.
Such cultural management is structured in an institutional framework
composed as a form of governance (Mayntz, 2000; Scharpf, 2001;
Oriol Prats, 2003) of cultural policy in different social groups.
This articulation is regulated within state and private organizations
that have designated it as "culture sector" where it causes an
institutional order of cultural activity, it is conceived as conditioned
thinking of the select and minority groups of the social structure in
culture, this relationship that is established between individuals
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exceeds the degree of communication y cooperation between them, it
should be understood in an open sense.
Olmos (2008) points out that:
The world of cultural management is what in recent times has been
called the Culture Sector. This is a cut of the field of culture as an
integral way of life: it is circumscribed to the set of actions, activities,
production, creations, training, institutions of different types (official,
private, community, NGO's) whose organization and specific
deployment is in charge of different agents (2008: 121). (2008: 121).
These cultural agents are the people or organizations involved in
cultural management, they are linked to the public, private and
associative sectors, Martinell knows by agents, "in a broad sense, those
actors who intervene or may intervene in the articulation of cultural
policies" the importance of creating a functional and articulated
system from an integrated perspective, where he considers that "a
cultural policy cannot be implemented, or does not really exist, if not
through specific agents or actors, which enter into relation with their
territorial reality and assume some responsibilities in the set of
objectives that the policy itself proposes to them." (1999: 1)
The strategies that should be created by cultural management must
express the power to create valid instruments for management, for
example: the training of creators, audiences and mediators; cultural
dissemination; and support for artistic creation.
These agents appear as "mediators" because they are called in effective
to a policy, establish the significant portraits that establish the
knowledge of the difficulty (Müller, 1990).
What determines the legal personality as its scope of action of the
particularities of agents that, "due to their broad characteristics, can
be subdivided into others", according to Martinell (1999: 4), are:
Public Administration
State
Regions
City councils-municipalities
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Non-profit institutions.
Third sector
Foundations
Associations
Non-Governmental Organizations
Community organizations
Social initiative organizations
Various groupings
Private institutions
Companies
Private associations
Professionals
Industry
Private services
The terms governance and governability are widely used in the fields
of private management, political institutions, to denote the regulation
of interdependent relationships in the absence of an overall political
authority; it can be applied to a group formed by free and equal agents
who need to form a regular relationship. As for governance studies,
they have started in past times where they have been adjusted to a
participatory processing between important protagonists who have a
capital that gives them access and legitimizes their presence in the field
(Bourdieu, 1993) or power resources (Strom and Müller, 1999) ready
to implement the application of rules for decision making and
collective conflict resolution (Coppedge, 1996).
Governance is the method of decision making in order to implement
actions for the benefit of a collective, and interact through schemes
through rules, which are printed by the cultural policy that is
implemented in formal and informal institutions that adjust the
performance of administrators.
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The cultural institutions of our country carry out their work in a
traditional way and have even adopted foreign models, without
adjusting them to reality, without looking at our culture, politics,
economy, religion, that is, our society; in effect, the similarity between
the needs derived from the usual cultural practice that occurs in
society and the strength of the institutional framework to fasten
through precise facts through cultural plans and projects is
fundamental. There is now a link between needs and policies that
testifies to the institutional bias of politics by showing how
institutionality affects policies and how these establish institutional
frameworks for collective action. It happens the generation of a new
governance for the execution of cultural management. It brings
effective or harmful support, shows a social reproduction that
strengthens the system, weakens it and, in excessive events,
annihilates it.
From the institutional point of view, it contributes an orderly
dimension to the study of cultural management as it is established in
rules that confer an institutional framework to the action or influence
of executors (governance) from its consent to achieve the reciprocal
relationship between the lack and the achievement of reaching a limit;
the clarity and accuracy of the implementation of cultural policies that
benefit the institutions that execute the cultural activity.
In spite of this, reasoned intellectual efforts lead to action in the
procedures, above all to discover undesired institutional actions
(exaggerations of concentration, administrative severity, etc.) and to
examine from the dimension of the qualities and standards the
development of the requirements in policies by recording the
requirements to be made up, the forms to be followed and the
objectives to be reached in the institutions.
This empowers inspecting methodical and regulated management in
order to proceed with a rational support in distinguishing what is
established above all "cultural management policies and strategies
must be the result of knowledge and recognition of the environment in
which a culture takes place" (Martínez and Expósito, 2011: 40).
(Martínez and Expósito, 2011: 40).
First of all, a "concept of institution as a social structure" (Martínez
and Expósito, 2011: 46) is assumed when it is considered "as a set of
interrelated social and cultural norms that are associated with a core
of high priority values and with one or more basic human needs". Of
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course with this "the concept refers us to the norms, rules and cultural
guidelines that are structured around the social practices of different
actors and human groups." Thus, as a definition, "it is of interest, if we
take into account the relationship established between the institution,
the activities it develops in social spaces, the popular customs that take
root and the shared values." (2011: 47)
According to Olmos, it is up to cultural management to encourage the
following type of activities (2008: 121):
artistic activities, through the production and/or dissemination of
different types of shows (theater, dance, music, recitals, events,
festivals, etc.); training (education through and for art); promotion
(literary prizes, conferences, congresses, etc.);
(not always); museums and heritage conservation (generally tangible
heritage, monuments, historical sites, etc.); cultural promotion (also
generally focused only on artistic and/or artistic-pedagogical
activities); outreach and general support through certain services and
equipment (libraries, film libraries, video libraries, etc.); cultural
training.
Therefore, he supports the idea that "cultural policies are articulated
on four axes" (2008: 60) setting the precedents:
protection of cultural heritage: the concept of which is merged with
that of natural heritage, and its legitimacy is the same as that of
environmental policy; it combines the economic component of its
impact on regional development and the notion of a legacy to be passed
on to future generations; support for creators: it focuses on the non-
market sector and insists on its presumed social and possibly
economic profitability; cultural industries; cultural cooperation
(internal and external).
It is estimated that cultural policies could be analyzed in three major
groups (2008: 73):
• Patrimonialist (emphasizing preservation).
• Diffusionist (whose axis is the diffusion of the values of high
culture).
• Democratic (favoring creative participation).
So it is noted that cultural management must discover a harmony in
the four opposing reasons (López Medina, 2004: 7): "the logic of
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demand given by the tastes, preferences and possibilities of access of
the beneficiaries of cultural services and goods; the political-symbolic
logic as an expression of Cultural Policy; the logic of the economy from
the possibilities and sources of financing; and finally the logic of
artistic quality referred to the aesthetic assumptions that characterize
cultural values". Hence the general relationship of the cultural with the
economic and the political; and more specifically of the cultural sector
with other sectors such as education, local development, tourism,
leisure, etc. (Olmos, 2004: 135).
With regard to Martinell's statement concerning "the importance of
the transversality of cultural management in two senses: including not
only the "cultural sector" but also the areas of education, health,
housing, commerce, industry, etc.;" together with favoring "joint work
between sectors of the State, civil society and the market" (2005: 31).
(2005: 31) In this way, the transversality of more effective actions is
necessary through an element of cultural management within any
other management that is executed in society, as a component of
effectiveness to achieve their respective purposes. However, it is
adjusted to an issue of minimal perception when distinguishing the
facts that act in the management in those other spaces of the process
of implementing cultural development policies.
The fact is that the administration, as far as resources are concerned,
regulates how they are to be raised and spent, for example by allocating
them to concepts that correspond to and are related to the preferences
of the cultural policy. The consequence of this policy anyway presumes
the distribution of resources to establish a budget for cultural
management. In terms of the source of funding, it is not only
subordinated to official government demands, but also extends to
other actors who also have the capacity or power to participate,
including the public sector, the private sector and the "third" sector.
For cultural management to contribute, it must determine a series of
components such as administration, economy and society.
Social practice, from a critical perspective, establishing its statements
both directive and directed, which goes out of its territoryThe social
practice, from a critical perspective, establishing its statements both
directive and directed, that goes out of its territory, to penetrate
another and the institutionalized ones, are intentional in the cultural
field included in the enunciation of cultural policy of García Canclini
(1987) introduces as first agent the State, contemplated by Martinell,
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as "responsible for the design and implementation of public cultural
policies needed by the collectivities" (2005: 33). (2005: 33)
It has undergone significant changes in its organization and
administration due to the creation of zones, districts and circuits that
regulate and control the new procedures that teachers must comply
with in their daily work. These methodologies aim to convert the
educational task into a teaching-learning process, starting the process
with the adaptation of the contents according to the reality of the
student, intertwining the teacher's profile with the activities that serve
as a vehicle for the survival and fulfillment of educational quality.
The state system, as a tool of class power, has to appropriate the
deficiencies demonstrated by society in accordance with a requirement
of agreements about the established hegemony. In this way, it
establishes entities and contexts to the requirements of the society in
this way the cultural management is considered a social task. Likewise,
the State in reality is concerned with the establishment of procedures
and regulations concerning the facts to be addressed. Consequently, it
is the main function that the State has in its intention of pronounced
intervention to which García Canclini relates.
As for what Polet and Juárez reflect that "the State does not provide
cultural services or products and only focuses its actions on
regularizing and regulating the terrain in which culture develops",
therefore they differentiate the State intervention in two meanings,
one, without going any further through the allocation of "incentives
that encourage and promote culture, usually financial" and another
"the provision of large infrastructures, which (...) can be given by social
order or in response to demands of civil initiative" (2011: 33). (2011:
33)
Regarding cultural policy, as a public policy of the State, it has the
competence to regulate and legitimize (subordinates accept power
according to objective and impersonal motivations) the cultural
responsibility regarding the statements in the social demands in the
culture component, which are part of its programming of activities that
intend to execute from the public, incorporating cultural development
as a component of public services that concerns the State, linked to
other public services.
In fact, the State participates, according to Martinell, "with processes
of legitimization of demands and needs of the population and the
institutionalization of cultural organizations", a process that is carried
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out "thanks to the approval of public policies that provide resources
and generate employment" (2001: 6). (2001: 6) For this reason, he
considers that its most direct incidence is in the "institutionalization
of services, equipment, activities, etc. that are creating a field of action
that did not exist until now." (2001: 4-5)
Therefore, the principle of establishing the cultural management in
stages that happen in the phases of the decentralization of the States
has been manifested, as an element of the institutional framework that
requested the implementation of neoliberal policies that, first of all in
the logic of facilitating the power with the intention that the purposes
were given, was transgressed of what in politics has been designated
"social agenda". The extensive economic funds that it established for
the so-called "Welfare States" were diminished and, on the contrary,
the issue of how to optimally manage what is usable within
governmental allocations and how to increase support in the private
sphere and in the aforementioned "third sector" was addressed.
Budget allocations are integral components of an annual financial or
budgetary plan for all state organizations, including cultural
organizations.
Moreover, it is appropriate the occasion to understand that the public
management emerges from a requirement of efficiency and
effectiveness in fact corresponded to experience of the particular
entrepreneurial applications and with it of a professionalization of the
involved agents. It happens, of course, in this respect in Latin America
the military dictatorships stifled their means of attending to the native
oligarchies and foreign power groups undertaking in fact it is known
by way of democratic process; the logic is the identical monetary
ideology of neoliberalism made its way as reactionary practice, a
conservative thought and a model of accumulation based on
aggressions to the workers, in a frame of greater internationalization
of the capital.
On the other hand, for Martinell, society "demands attention to new
approaches to Welfare State policies and the expansion of the fields of
action of public policies requires the incorporation of new forms and
concepts of management and administration" (2001: 9).
(...) the possibilities of bureaucratic currents to respond to these new
needs and ways of carrying out new objectives in the public and private
sectors are beginning to be questioned. Criticism of the Weberian
models of classical state administration began to introduce, with
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greater or lesser success, some of the currents and reflections coming
from the productive sector. This process goes hand in hand with a
development of the tertiary sector and services as the added value of
intangibles in the field of business. (2001: 10)
In fact, it is "evident the need for a certain 'change of mentality' in the
usual positions" (2001: 23) of others who are responsible for executing
cultural management in the real social scenarios. In any case,
The role of state institutions finds it difficult to reform structures that
are closer to classic administration than to the new trends in public
management, which call for a transformation of the sector based on a
new type of relationship between government and society. The crisis
of efficiency of the obsolete structures of the State should not be
confused with the loss of its political function. The purpose of public
administration is based on the general interest and on the
development of specific policies and options, based on correcting
market distortions and promoting structural countertendencies that
prevent the loss of essential cultural elements in social life (1999: 5).
(1999: 5).
Incidentally, as for Martinell (2005), in his model of cultural
management agents, he places the State as a subtype inserted in the
Public Administration, that is to say to realize the relation to a main
point at the bottom where the regions and the municipalities are
located. But the totality is the fundamental part of the power of the
State, first of all it is inside its supremacy, it concerns the government
the executive competence. Consequently, to transfer to means of
legitimate execution what is agreed, from the full or implicit context,
by the cultural policy. In fact, it is the distances and the requirement
to adapt the management of culture to the particular characteristics of
each of them and the limitation of recognizing and knowing the
procedures of the cultural agents in the spaces in which they intervene.
With reference to Olmos, he expresses the importance of associating
the category assigned to culture within the work of government. In this
way, he contemplates the need to "consider the place it occupies in the
government's organizational chart.
When Culture has the rank of Ministry, it means that the head of the
area participates in Cabinet meetings and, therefore, in the design of
state policies. It has its own budget, and the head of the area is
responsible for its execution. This is not a minor fact because one of
the keys in politics is not only to have funds but also to be able to
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execute them. In structures where there is a budget allocation, but the
execution must go one step further, the operation and, as a
consequence, the development of activities is significantly delayed
(2008: 59). (2008: 59).
He values the opportunity to "read the organization charts" with
regard to the real and effective existence of different models of "official
organization of the cultural sector:
• the National State, with jurisdiction throughout the country,
• provinces or more territorially limited states,
municipalities or mayoralties, which are usually the smallest units and
anchored in a more limited territory, but, at the same time, with a more
immediate relationship with the inhabitants."
However, for the central government it can be a Ministry or a
Secretariat, Division or Directorate within another Ministry (usually
education), even a National Council; in the provinces and
municipalities it is usually a Directorate, although "there are
experiences of Provincial Institutes of Culture, with an executive and a
collegiate structure, representing the Departments, in order to try to
achieve autonomous management". However, he culminates that "The
smaller the structure the lesser the political and economic weight."
(2008: 126)
As far as the message of governmental cultural management is
concerned, it is executed through projects within established cultural
programs. Moreover, a project is "a set of interdependent activities
oriented to the achievement of a specific objective in a determined
time and that imply the allocation of investment resources" (Sanín,
1999: 56), it represents an element of nuclear analysis to value the
position in which cultural management is executed, therefore, in all
that lasts the process as in its products that it is wished to obtain when
applying a planning.
However, the projection of a project's period management goes
through three periods or phases: Formulation (Pre-investment),
Execution (Investment) and Operation. In the first phase, the project
is designed and evaluated to verify that it is an adequate and efficient
solution. In the second, the operational capacity is installed, and in the
third, the processes by means of which the needs of the clients [at least
the addressees in our perspective] will be regularly attended to are set
in motion and institutionalized; while their results must propitiate the
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installation of capacities to activate processes (1999: 56) [cultural, in
the application we make of managerial thinking].
Regarding Martinell, he proposes that the competences that the
condition of cultural management requires in the context of
specialized education (2001: 15-16) appear, many of them must be
required in the space of governmental action. In this sense it refers to
the competences related to the knowledge of the administrative
development in culture and effects that are deployed in the cultural
and artistic field from the contemporary orientations of culture; to
constitute commitments between the various inferences of procedures
that are deduced from the preponderant cultural sector to others such
as: environment, tourism, employment, education, social cohesion,
etc.; to manage and perform managerial and leadership positions with
a support of real aspects of varied functioning; of clear understanding
where it acts representatives delivering different ideas and with
arbitration disposition in extensions of concurrence and
agglomeration; to produce in varied procedures of collaboration
between the public sector, private and third system; diffusion and
handling of available elements to solve the economic necessity for the
impulse of cultural purposes; in conclusion.
In what it is related if the public is not delimited to the state, the
government in any case is not the exclusive thing more to a from the
public one to make a connection and to execute a cultural policy; that
is to say in fact it is necessary to hope that in addition it happens from
the public effort of the private sector and from the ONG. The
governmental administration in the continuity of every fact will
assume and will strive in a way of articulation or discordance with
them in order to transfer and prevail the product that is found in the
cultural policy however it determines the goals to reach.
People dedicated to the activities of art and culture, lack skills for
cultural management, that is to say that no one has put emphasis and
attention in this area, nor the essential theoretical guidance and
practice as it should be done or implement projects and various socio-
cultural activities, it is necessary to provide skills can have critical
views and clarity in the execution of the tasks assigned, where it
generates growth opportunities in the sectors where they are doing
their work from the social reality, empowerment, active participation.
The profile that is required of a person to perform a management that
is framed in the local reality, the manager must have knowledge and
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knowledge that enrich their functions, all these according to their
social and cultural environment that will allow them to develop their
skills and abilities without neglecting the innate knowledge and
acquired during their professional training and in general, in their
daily life.
There is no doubt that the training of the manager must have the
knowledge acquired during all the stages of his life, without leaving
aside the bases to develop processes required by the localities and to
be able to comply with the demands of the communities, in spite of the
fact that the manager intends to forge a character according to the
social and cultural that develops in time; there are factors that make
the culture change relatively, in many of the occasions they are
involuntary product of the society in which they develop.
From our point of view, it is important that managers cultivate their
knowledge, but always changing the cultural patterns imposed by the
current traditional culture (art and literature), in this way they can
mature in their personal stage that will serve as a basis for
transforming cultural processes in public and private institutions,
reflecting a state of interpenetration between the social, political,
economic where the mediator is the cultural in social processes that
the essence of their knowledge should be promoted by themselves.
It is necessary for managers to be guides of knowledge, where they
delimit their functions, to turn the population into creators of
knowledge through the sense of belonging and their innate and
acquired skills; this makes them responsible for maintaining the
cultural features of the environment in which they develop, from the
practical, as the set of information and knowledge, judgments and
ideas, traditions and values, feelings and beliefs, thoughts and
accomplishments, habits and customs, and aptitudes and attitudes
that the person has acquired as a consequence of being a member of a
society.
In addition, managers must become innovators, able to discern
concerns and to consolidate a clear concept of culture, however,
managers must always be concerned about linking their activities with
the social needs that are essential to the daily cultural practice where
they are habitual, the manager must break with what is repeated and
find processes of transformation in the preparation of the population
starting from the culture of a society that is in constant change from
its traditions that sometimes by choice are modified, although the
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most ideal is that they are maintained but modernity and globalization
plays its role.
When talking about cultural communication, there are strategies
carried out by public or private institutions with the objective of
delivering knowledge, at the same time strengthen the identity in the
territories or advertise what seems good to them in relation to culture;
the number of participants used to accept and approve the same as
always "cultural Thursdays in the city of Loja", on the other hand the
organizers do not understand the formalities of submission that are
making the viewers of these programs called cultural.
People know about cultural diversity through diffusion, where they
consume through attraction and fascination causing an impact of the
content both the one who visits and the one who is in the space, this
has always depended on what the media sells, the important thing is
to protect one's own culture and enrich it through the legacy of others.
Ecuador in recent years supports the development of cultural
industries and makes a cultural communication abroad with the theme
of tourism development, when we travel or receive people from other
places, we perceive what is distinguished as "culture shock".
Cultural promotion also takes place through traditional means of
communication, such as a radio station, a printed press bulletin, a
quarterly specialized printed magazine, which is a space for discussion
and presentation of opinion pieces on historical, cultural and social
issues related to the activities carried out by the institutions in the field
of culture; other printed public information materials such as posters,
leaflets, postcards, catalogs and flyers. In addition, in some cities
Cultural Information Centers have been enabled; also in digital
promotion through mailings and websites and social networks located
on the Internet such as Facebook, Instagram and other media that are
effective for the medium.
Culture in Ecuador is generating growth scenarios together with
tourism activities, because visitors value the cultural diversity of the
territory, having an impact on the region, socially, culturally and
economically. To cooperate is to set in motion a process to achieve the
same end and its result is to provoke national tourism growth and
improve the activities generated. The Ministry of Culture and
Heritage, in the executive summary of the strategic plan establishes
the objective of "Strengthening national identity and interculturality",
(2013: 2) our country is pluricultural, pluriethnic and multilingual;
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this diversity of cultural heritage grants it to sell an image to the world,
the preservation of each of its cultural manifestations is fundamental.
For Jean-Marie Benoist, the complexity of identity lies in "... the pole
of a disconnected singularity and that of a globalizing unity with little
respect for differences", (1987:15) It is necessary to indicate that there
are two extremes, in the one, the dominant identity and, in the other,
the disappearance of identity, these are not acclaimed; it would be
important to shatter this partition and to promote a new concept of
identity.
Cabeza, shows that "cultural identity is the expression of belonging of
an individual to a certain culture", (2016:12) The origin and roots that
are transformed into cultural identity of our people are observed,
valued and evaluated by tourists where they question the activities
generated within the communities. When we talk about sustainable
development, it is assumed as ensuring human welfare with a vision of
the future. The management of cultural resources must be managed
efficiently so that future generations can assume the challenge of
knowing, enjoying and developing them with coherence. We can state
that sustainable tourism is the permanent phase where a continuous
follow-up of the impacts is demanded, to establish criteria of what has
happened, the cultural and tourist projects must have a follow-up to
know if the proposed objectives are being fulfilled, in order to verify
the culture and tourist attractions in the territories of Ecuador have
improved their conditions with the purpose of preserving and
improving. The illustration made by Lamo de Espinosa, "alludes, not
only to its conscious becoming, not only to the fact that it is the cultural
contrast what allows the subjects to realize the singularity of their own
culture, but also that through this contrast the cultures are
reconstructed and reworked, change, accepting partial mixtures or
segregating rejections" (1995: 17). (1995: 17) Tourism has much to do
with these impacts on the cultural structure, in the regions or in the
Country, it has been assuming diversity of cultures where they have
merged and at present we find them in the activities developed by the
organizers of the diverse programmed events.
Materials and Methods
The study of the impact of cultural management from a governmental
perspective begins with the correspondence of the State as a social
context that establishes obstacles and opportunities.
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Results
We can note that through communications there is a cultural impact
in Ecuador through tourism by the arrival of domestic and foreign
visitors, there are advantages that cause the regional impact of cultural
tourism in the country:
• National and international tourism promotion of Ecuador.
• Economic income for the different regions of the country.
• Conservation of cultural attractions in tourism.
• Generation of sources of employment.
• Investment.
• Sustainable development.
• Tourism development.
• Socioeconomic development.
It is important to take into account the disadvantages that the
impact generates, for this it is necessary to find necessary and
correct measures to avoid, these are:
• Environmental contamination.
• Impairment of patrimonial assets.
• Adoption of new cultures, losing the native ones.
• Unlawful practice of tourism activity
The elaborated investigation proceeded from an intention directed to
recognize the impact of the cultural management from the
governmental, where the social participation is conditioned. It is
recognized the purpose of constituting from sociology the value that
the Ecuadorian Government should have in granting to institutions
such as the Autonomous Denaturalized Governments an orientation
and being able to replace the cultural management that they are
developing to give a true and fundamental impulse for the benefit of
the community.
Conclusions
Currently, the impact of cultural management from the governmental
level, its operation is executed by the Decentralized Autonomous
Governments; these environments are marked by social inequalities
and are stumbled by several economic, social, political, institutional,
legal and governance difficulties, consequently it is necessary that the
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municipalities deploy experiences where they can develop with others
within the difficulties of the territory. This will entail a change in their
projections where they must be led and attended by competent people
in charge to guide the complicated problems inherent to territorial
growth, this is the challenge of the institutions so that their
management does not generate impacts on culture.
The impact of culture can be remedied from the institutional level,
with a good management, which should facilitate the community
exercises where cultural phases are developed, where the participation
of the different social groups is involved.
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