Culture as a Social Elevator

You arrive at the Regional Directorate for Culture after a career rooted in theater and cultural work more broadly. What do you see as the most urgent priorities for a sector that has long complained of limited resources, instability, and excessive bureaucracy?

I come to this role with cultural sensitivity and with a clear conviction that culture is a pillar of human and social development. I believe that culture and education are the cables of the social elevator we so often talk about. Culture cannot be treated as an occasional event or as a luxury enjoyed by only a few. It can—and must—contribute to economic and tourism development without losing its authenticity.

That is why I advocate integrating cultural practices into education, as a way of fostering critical thinking and cultivating audiences. At the same time, I arrive fully aware of the challenges cultural workers face. We need to strengthen the sector’s stability through predictable, sustained funding mechanisms that allow cultural organizations to plan and grow with confidence, while investing in training, professional recognition, and the qualification of artists, technicians, and cultural agents.

How do you intend to guarantee predictability for those working on the ground? One of the sector’s recurring criticisms has been payment delays. And there is also frequent concern that culture in the Azores remains overly centralized on São Miguel. What territorial model do you support?

I strongly defend a truly decentralized cultural policy—one that recognizes the diversity of each island. Culture cannot be focused solely on the larger islands simply because they have more people and, therefore, a larger cultural offer. Every island must have equitable access to resources and the ability to develop its own cultural initiatives, which should then be able to circulate across the archipelago. Culture also contributes to social and territorial cohesion; it must be understood as an effective right for all, not a privilege for a few.

The sector has also called for funding processes that are more transparent, faster, and governed by stable rules. Is the current regulatory framework delivering? Are changes on the table?

Yes. As I mentioned earlier, the implementation of the new legislation governing cultural funding (Regional Regulatory Decree no. 24/2024 of December 24) allows for greater administrative efficiency, more transparency, and less bureaucracy. I believe it will lead to quicker and more effective responses. That said, it is a living document and can always be reviewed and improved whenever necessary.

Within existing budget constraints, what role can the Regional Directorate play in valuing human resources in the cultural sector?

Professional recognition—by valuing merit, performance, and good practices—along with closer, more participatory management and the involvement of cultural workers in decision-making processes, can significantly increase motivation and commitment.

Given the turnover in this position in recent years, do you believe the conditions are now in place for stability?

The only condition I set before accepting this role was being able to finish the academic term and complete the evaluation of my students. I had a commitment to them that I could not walk away from. I don’t want to dwell on the past. My feet are firmly in the present, and my eyes are on the future. I am here to work—with dedication and commitment. Whether that will be enough to ensure stability in the position? I don’t know. No one does.

Turning to Terceira specifically: what should be promoted and valued there?

In Terceira’s case, it is essential to promote and value everything that keeps its cultural identity alive. It is an island of remarkable richness and diversity. It has a powerful historical heritage, a city recognized as a World Heritage Site by UNESCO, Carnival recognized as Intangible Cultural Heritage of Portugal, the Holy Spirit festivals, bullfighting traditions, crafts, and gastronomy.

But it also has strong literary traditions and musicians of international stature. Terceira is a place where tradition and contemporary thought intersect and speak to one another. In my view, it is precisely this symbiosis that must be nurtured.

The Legal Framework for Supporting Cultural Activities—better known in the sector as RJAAC—has undergone significant changes. How do you see its impact?

For the first time, applications can be submitted through a digital platform, which speeds up processes considerably. A Candidate’s Manual is now available to help avoid application errors. The system offers greater transparency and real-time monitoring, allows applicants to track the status of their files, provides automatic notifications, and sets out clear criteria. Alongside this, I intend to maintain an open and honest dialogue with the sector.

Finally, what is your broader vision for cultural policy in the Azores?

Cultural policy in the Azores must start from who we are—our identity, our specificities, what makes us unique—always with a forward-looking perspective. Valuing our traditions does not mean freezing them in time; it means allowing them to remain alive, in constant dialogue with new generations and with contemporary creation. Culture must be a bridge—linking the islands to the mainland, to the diaspora, to the entire Portuguese-speaking world. And beyond that, to other languages and cultures as well.

In Diário Insular, José Lourenço-director.

Translated by Diniz Borges