{"id":1290,"date":"2025-03-18T17:19:29","date_gmt":"2025-03-18T16:19:29","guid":{"rendered":"https:\/\/coreondu.world\/?p=1290"},"modified":"2025-03-18T17:19:32","modified_gmt":"2025-03-18T16:19:32","slug":"economia-creativa-sur-global","status":"publish","type":"post","link":"https:\/\/coreondu.world\/en\/economia-creativa-sur-global\/","title":{"rendered":"The Creative Economy in the Global South: Developments, Opportunities and Challenges"},"content":{"rendered":"

Creativity is revolution, it is resistance, it is the engine of our identity and our economy. In the Global South, the creative industries, from film and music to fashion and the visual arts, continue to demonstrate that talent knows no borders, even if financial and structural barriers try to limit it. We are at a pivotal moment, filled with both great opportunities and too many persistent challenges. That is why, in this post, I would like to set out the trends that are setting the pace in this creative revolution.<\/p>\n\n\n\n

Microseries: the audiovisual future in the palm of your hand<\/strong><\/h2>\n\n\n\n

In China, the microseries<\/a> have shaken up the entertainment industry. Designed for mobile consumption and characterised by fast-paced storytelling and shocking endings, these productions have been a runaway success since 2020. Platforms such as Douyin (the Chinese TikTok) have been essential in their dissemination and have even surpassed the traditional film box office in terms of revenue. Large technology companies are currently betting on this format where they have increased the quality and exported the trend globally.<\/p>\n\n\n\n

The impact is already being felt in the West, with apps such as ReelShort, which publish vertical videos of romantic dramas, growing in popularity in the US. These platforms compete with giants such as Netflix in downloads, evidence of changing consumption habits: speed, accessibility and immediate entertainment.<\/p>\n\n\n\n

Where is the investment? Africa vs. Latin America<\/strong><\/h2>\n\n\n\n

While the short format is gaining ground, funding for creativity continues to show geographical inequalities. At Africa<\/a>We have seen a worrying reduction in investment from platforms such as Netflix and Amazon, where they are prioritising more developed markets in Europe, Asia and Latin America. This leaves the African creative industry with the urgent task of finding new sources of funding and global visibility.<\/p>\n\n\n\n

In contrast, Latin America stands out for attracting investments worth millions. HBO Max, for example, has decided to invest heavily in Brazilian telenovelas, revitalising a genre that has always been a mainstay of Latin culture. Such investments not only boost local economies, but also diversify global content and expand the narratives of the Global South in the international media sphere.<\/p>\n\n\n\n

Africa shines on the film scene<\/strong><\/h2>\n\n\n\n

Despite financial challenges, African talent continues to break through and dazzle at international festivals. At the Berlinale<\/a> 2025, several productions from the continent were selected, highlighting the diversity and richness of our stories. Films from Egypt, Senegal and the Democratic Republic of Congo achieved recognition, confirming that African cinema is not only present, but demands to be heard.<\/p>\n\n\n\n

And we don't stop there. Two African productions have been shortlisted for the Oscars 2025: The Last Ranger<\/em> South Africa and Dahomey<\/em> from Senegal. These nominations are not only a source of pride, but an opening of doors for future collaborations, funding and, above all, a greater presence of African cinema in the global conversation.<\/p>\n\n\n\n

Financing: a challenge to overcome<\/strong><\/h2>\n\n\n\n

Funding remains a major obstacle for many independent creators in the Global South. Traditional avenues of investment are limited, forcing them to look for more innovative alternatives. From crowdfunding platforms to NGO partnerships and international collaborations, filmmakers, designers and artists are finding ways to realise their vision. However, clear strategies and support networks are essential to navigate this complex financial landscape.<\/p>\n\n\n\n

Where are we going?<\/strong><\/h2>\n\n\n\n

We are at a turning point. While microseries and investments in Latin America reflect the dynamism of the creative economy, the decline in financial support in Africa reminds us that there is still much work to be done. Governments, investors and key stakeholders must recognise the value of creativity and foster sustainable ecosystems where talent not only survives, but thrives.<\/p>\n\n\n\n

Creativity is the lifeblood of our cultures and the future of our economies. It is time for the Global South to take its place in the global narrative, not as a secondary actor, but as the protagonist of its own story.<\/p>","protected":false},"excerpt":{"rendered":"

Creativity is revolution, it is resistance, it is the engine of our identity and our economy. In the Global South, the creative industries, from film and music to fashion and the visual arts, continue to demonstrate that talent knows no borders, even if financial and structural barriers try to limit it. We are at a pivotal moment, filled with both great opportunities and too many persistent challenges. That is why, in this post, I would like to set out the trends that are setting the pace in this creative revolution. Microseries: the audiovisual future in the palm of your hand In China, one-minute microseries have shaken up the entertainment industry. Designed for mobile consumption and characterised by fast-paced storytelling and powerful endings, these productions have been a runaway success since 2020. Platforms such as Douyin (the Chinese TikTok) have been instrumental in their dissemination and have even surpassed the traditional film box office in terms of revenue. Major technology companies are currently betting on this format where they have increased the quality and exported the trend globally. The impact is already being felt in the West, with apps such as ReelShort, which are dedicated to publishing vertical videos of romantic dramas and are growing in popularity in the US. These platforms compete with giants such as Netflix in downloads, evidence of changing consumption habits: speed, accessibility and immediate entertainment. Where is the investment? Africa vs. Latin America While short-form is gaining ground, funding for creativity continues to show geographical inequalities. In Africa, we have seen a worrying reduction in investment from platforms such as Netflix and Amazon, where they prioritise more developed markets in Europe, Asia and Latin America. This leaves the African creative industry with the urgent task of finding new sources of funding and global visibility. In contrast, Latin America stands out for attracting multi-million dollar investments. HBO Max, for example, has decided to invest heavily in Brazilian telenovelas, revitalising a genre that has always been a pillar of Latin culture. Such investments not only boost local economies, but also diversify global content and expand the narratives of the Global South in the international media sphere. Africa shines on the film scene Despite financial challenges, African talent continues to break through and dazzle at international festivals. At Berlinale 2025, several productions from the continent were selected, highlighting the diversity and richness of our stories. Films from Egypt, Senegal and the Democratic Republic of Congo won recognition, confirming that African cinema is not only present, but demands to be heard. And we are not stopping there. Two African productions have been shortlisted for the Oscars 2025: The Last Ranger from South Africa and Dahomey from Senegal. These nominations are not only a source of pride, but an opening of doors for future collaborations, funding and, above all, a greater presence of African cinema in the global conversation. Funding: a challenge to overcome Funding remains a major obstacle for many independent creators in the Global South. Traditional avenues of investment are limited, forcing the search for more innovative alternatives. From crowdfunding platforms to NGO partnerships and international collaborations, filmmakers, designers and artists are finding ways to realise their vision. However, clear strategies and support networks are essential to navigate this complex financial landscape. Where are we headed? We are at an inflection point. While micro-series and investments in Latin America reflect the dynamism of the creative economy, the decline in financial support in Africa reminds us that there is still much work to be done. Governments, investors and key stakeholders must recognise the value of creativity and foster sustainable ecosystems where talent not only survives, but thrives. Creativity is the lifeblood of our cultures and the future of our economies. It is time for the Global South to take its place in the global narrative, not as a secondary actor, but as the protagonist of its own story.<\/p>","protected":false},"author":2,"featured_media":1291,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[25,24],"class_list":["post-1290","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-we-du","tag-creatividad","tag-economia"],"yoast_head":"\nLa econom\u00eda creativa en el Sur Global - Coreon Du<\/title>\n<meta name=\"description\" content=\"Descubre c\u00f3mo las industrias creativas en el Sur Global est\u00e1n transformando la econom\u00eda. 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