ACCI Advisory Collective

Claudia Basurto Executive President

Cultural manager and promoter, teacher, graduate in Communication Sciences and completed a master's degree in Education and Cultural Integration. Certified in Arts Appreciation and Specialized in International Migration. She has experience in the public, social and private sectors in the areas of education, management, communication, art, and culture.

Rigo Dominguez

For more than 20 years, he has been a journalist and content creator about videogames. He has been part of various media, having the opportunity to cover national events such as the Electronic Game Show (EGS). and international, as the largest fair worldwide, the E3 (Electronic Entertainment Expo).

Luisa Gómez de Silva

Bachelor's Degree in Communications. She started in Television as a News Correspondent; worked in written press, radio and media research. For more than 5 years she was Administration Supervisor at 20th Century Fox Studios in Baja Mexico. She was directly involved in the production of major feature films such as Titanic, Kung Pow: Enter the fist, Pearl Harbor, and Master and Commander: The Far Side of the World

Ana de Gurría

In Mexico City, at the hand of her mother Amalia, who was a dressmaker specializing in evening and bridal gowns for over 30 years, Ana learned the Haute Couture craft. Between figurines, magazines, fabrics and the teachings of her mother, she manages to develop a special sensitivity to identify quality finishes in clothing, fabrics and tasteful designs.

Eduardo Gurría

Civil Engineer. He holds a master's degree in engineering from the University of Kansas. He founded Comercializadora de Insumos y Productos Siderúrgicos del Noroeste. He is a board member of Tijuana Innovadora and General Director of Arte en la Industria, treasurer of "Sala Anguiano - Rutas" gallery, member of the Taller Pro Discapacitados, A.C. board of trustees.

Marina Gurría

Bilingual professional in mechanical design experienced in product and tool design for the medical, plastic, metallurgical and electronics industries, new and sustainable products. Master in Process Design and Manufacturing. Project manager for the design process cycle.

Yair Hernández

Operational Coordinator

Academic, international cooperant, and a border activist; for the last 10 years he has been dedicated to designing and implementing projects for development in the areas of youth, democracy, and gender. He has also collaborated in the projects' implementation at a territorial level coordinated with UNDP Mexico, INE, USAID Mexico, Fundación Telefónica, and INMUJERES, among others.

Enrique Jiménez "Ejival"

Promoter, journalist, critic, label-head of two record labels, and a great advocate of his native city. He has been an active citizen of Tijuana's cultural scene and its tireless promoter since the late eighties. His independent work as a producer and his intense passion for music and border life have led him to write about these topics in different media around the world.

Ingrid Kuri

Graduated in Law, Master's Degree in International Corporate Law and has a PhD in Social Sciences with a specialized in Economic Development and Social Exclusion. She is part of the Sistema Nacional de Investigadores (National System of Researchers) and has developed research projects related to cultural and creative industries.

Flavio Olivieri

Ph.D. in Philosophy and in Economic Development and International Development from the UABC. He has more than 30 years of experience promoting economic development between the border of Baja California and the United States.

Blanca Emma and Jorge Soto

Conductors of Sinfónica Juvenil de Tijuana (SJT - Orchestra), a non-profit organization whose objective is to promote the participation of children and young people in the city in orchestra activities, fostering their human development and improving their quality of life. At SJT, they have been known for facilitating the learning of dozens of children and young people by teaching them the discipline of learning to play an instrument, and how that knowledge can be applied in their daily lives.

Ramon Toledo

President and CEO of Busca Corp. Specialist in digital business, entrepreneurship and mentoring. Co-owner of INMUEBLES Y DESARROLLOS ARNAIZ, a family-owned real estate development company. With 20 years of experience in international management and business development, Toledo has numerous recognitions as one of the most respected entrepreneurs in bringing business to Mexico.

Abelardo Vazquez

He has been working in the professional music industry for more than 25 years. As a music producer, he has developed and signed in the most important record companies in the world such as Sony Music, Universal Music and Warner Music over a dozen artists, nine of which are from Mexicali.

Foreword

Tijuana-San Diego: Nodes of the Binational Creative-Productive Chain

Tijuana, "The Corner of Latin America" expands to touch multiple economic fronts. Noted not only for its commercial development of agricultural production and exports, it is also noted for its cultural and creative diversity, that is, in its own right, a vibrant node classified as a Global City.

The production function of classical economists considered the following productive factors: Capital, both directly productive or machinery and equipment, and indirectly productive, such as the infrastructure which is abundant in this area; Human Capital or Labor, both in quantity of labor and in quality, for its productivity and creativity, which is also very outstanding regionally; and land or geographical factors, such as the endowment of natural resources and location, which in the case of this area constitute a valuable and unique asset.

Indeed, this municipality is the original source and magnet of attraction of the valuable economic and productive resource that is Creativity; it is home to t his multidisciplinary talent.

Therefore, its creative-productive ecosystem embraces a wide range of subsectors that feed Tijuana's economy and development. From gastronomy -foodtrucks, signature food -, crafts, design, through the visual arts, audiovisual, digital development, applications, among others, with which Tijuana is consolidated as an important creative-cultural cluster and, of course, with all this, high value-added economic.

Since Creativity is a dual input, cultural as well as productive and economic, its effects derive in the generation of economic value, production, employment, exports, infrastructure and capital accumulation, technological development and innovation, which enables and empowers the municipality and its surrounding area to become the referred cultural and commercial node.

This is how the sum of these two elements, creativity and culture, constitute a duo for integral development. In quantitative terms, the added value generated by a locality's cultural heritage is measured in terms of the economic activity generated by it, which in this case represents 6.4% of total municipal production 1 .

Bordered to the north by the Californian city of San Diego, TJ-SD is a binational duo of creative, economic and social growth. This international linkage drives the supply and demand of goods and services related to creativity and culture.

By taking advantage of its geographic position as a development tool, Tijuana boosts the creative economy, being the convergence point of a plurality of cultures and traditions.

The rigorous work presented here reflects the diversity in this municipality, as well as its economic impact, and the participation of the cultural agents involved in the development of Tijuana's culture.

Economic-Creative Route Map

The following pages provide not only information, but a practical guide to understand and approach productive-creative ventures based on the regional profile resulting from the creative economy.

Based on collective work, its realization brings together various private institutions, academia, young people and economic agents from both countries, Mexico and the United States of America.

This exercise of "Research and Mapping of CCI Ecosystems in Tijuana" not only succeeds in determining the creative ecosystem of this municipality, or its contribution to the labor market and cross-border networks. Additionally, it is incorporated as a document of informative and working nature, which delivers in two main axes, mechanisms that contribute to the sustainability of Tijuana's culture and creativity.

In the informative axis, it offers a robust mapping of the creative ecosystem of this municipality, with its contribution to the economy, employment, sectors of higher value, exports, all based on data that support public policies and/or private developments, both current and forthcoming.

In the work axis, parallel to the information axis, it contributes with results such as the directory of key actors and the manual for entrepreneurship, which result in the implementation of support tools that provide actions and resources to young and more experienced entrepreneurs, professional agents and decision-makers seeking to develop and professionalize their cultural and creative activities.

This exercise represents a comprehensive, in-depth and detailed analysis of the creative and cultural industries, which identifies their outstanding sectors, strengths and opportunities, resulting in a study that branches out to provide tools and solutions for the development of creative enterprises and the search for financial sustainability.

Tijuana-San Diego on International Perspective

This project's set of elements launches the region among the most pioneering and innovative in the world. To this end, it adds the collaborative work between academia, institutions, the private sector and citizen participation.

Its depth of analysis and action regarding solutions, based on results obtained, makes this study a comprehensive project at the forefront of national and international levels.

Noteworthy is the integrality and transversality of the approach developed here, as it is not only a study of cultural or creative or social or economic and productive factors, but of all of them as a whole.

Thus, the activity derived from culture and creativity not only generates employment and wealth, but also increases the well-being of the population in general, since it promotes the expression and participation of citizens in political life, fosters a sense of identity and social security, and expands people's perception and with it, full democratization.

In the case of the Tijuana municipality, this work becomes a tool that articulates cultural and innovation ecosystems, which are key to trigger social and economic changes for development.

This is also a pioneering exercise on a national level and especially in the northwest region of the country. This, rather than being interpreted as a goal, is an innovative starting point in the productive and creative map, to replicate and develop more efforts like this one, promoting democratic access to culture, youth entrepreneurship and citizen participation.

At the international level, it puts Mexico on the map together with similar results applied in Spain, such as the Kultursistema2, or the Mapping of the Cultural and Creative Industries of Jamaica elaborated by UNESCO, just to mention a couple 3

But in this case of Tijuana, it stands out the regional and not only national focus of an extensive list of mappings.

While the study shows us an overview of the components of the region's cultural sector, it promotes the economic potential of the cultural and creative industry and is an engine for creators to innovate and find spaces and alliances where they can develop, which also places Tijuana as an international promoter that demonstrates the value of the creative economy.

On the road to development, these projects are required to offer, from an integral perspective, results that bring us closer to qualitative and quantitative information on culture in our country. And that in turn offer tools for its development.

Centripetal Force of the Creative Economy in Tijuana

Economic activity based on culture and creativity, like any economic activity, is unevenly distributed in space.

Traditionally, it has been thought that the main explanation for the differences in production structures between regions is due to their underlying characteristics (geographic, technological and resource availability). Along these lines, economic integration leads regions to specialize only according to their comparative and competitive advantages.

In Tijuana, as in other cities around the world, creative industries tend to be concentrated in specific areas or clusters. The above, seeking the viability of cultural productions with a sufficient scale of spectators, thus attracting actors and spectators from all over the country who want to participate in these productions.

The economy of agglomeration referred earlier is also critical on the supply side, with the availability (in volume and effective price) in these cities of complementary activities, such as other creators and activities complementary to the cultural operation.

Another element that contributes to the explanation of these unusually high levels of the economic weight of the economy of culture and creativity is, in addition to the generation and reproduction of creative elements in this municipality, the capacity to attract creative elements from other regions. Again, attributable to the supply and demand factors described above.

This can be called Centripetal Force of the Economy of Culture and Creativity, referring to the force or component of creativity, directed towards a center or specific point. In the case of mobility of the creative resource for cultural economic activity, it refers to the cities or regions that attract the resource to the center of that region, from peripheral regions where that creative resource was originated.

In the particular case of cultural and creative activities in Tijuana, this feature is preserved, generating economic benefits of experience, efficiencies and relatively lower transaction costs for all those activities that are located within this municipality.

Therefore, the dynamics of agglomerations is a complicated process in which the agents of the economy prefer to group together in order to obtain greater benefits. It is these higher profits that lead to economic growth and improve people's standard of living.

Formalization to Optimize Well-Being

Here it is worth asking, who are the relevant agents and actors in these production chains based on the use of creativity as an economic and productive input? In this block of work, priority has been given to citizen participation in order to involve all the public and private links that are indispensable.

In the search for sector sustainability, it is important to achieve financial sustainability. We know that investment in the creative economy is synonymous with economic well-being, which generates employment and constitutes a balance of trade.

In the case of Tijuana's creative enterprises, only 17% have foreign investment, which indicates that, although cross-border dynamics exist, the rest of the companies are developed with their own or national investment, hence the importance of contributing to the formalization and promotion of cultural projects at a national level.

The achievement of the multiculturalism that Tijuana offers allows and leads to consider collaborative exercises between creative, cultural and economic, binational and even multinational agents.

The access to tools such as national or international financial productive funds that detonate professional development that allows us to export our creative capacity, that is, the local procurement of talent in our region.

Care must be taken to avoid a tendency for Tijuana's creators to emigrate from their communities, which would represent a loss of highly talented human capital and the contribution of their creativity to the city.

Undoubtedly a latent risk, given the high degree of migratory culture in the area. Therefore, it is of crucial importance to recognize the talent that exists in Tijuana and encourage it to develop within the municipality, identifying the socioeconomic factors that drive, shape and encourage the mobility of talent and promote them in the city in order to prevent this mobilization from continuing.

As part of the incentive to the Creative and Cultural Industries, Baja California has Instituto de Cultura de Baja California, which aims to generate the necessary conditions to increase citizens' access to cultural goods and services.

At the regional level in Tijuana is Instituto Municipal de Arte y Cultura, whose function is to connect artists with the inhabitants of the municipality, as well as to encourage and promote cultural spaces and activities.

Funding is another measure of great impetus for the sector. There are several alternatives, such as public funding, promoted by Secretaría de Cultura of the Mexican government, or Fondo Nacional para el Fomento de las Artesanías, Comisión Nacional de Ciencia y Tecnología, among others. There is also private financing, such as Angel investment funds or crowdfunding, and there are also sources of credit entities, either through banks, business loans, loans or virtual banking 4

In addition, the formalization of labor and creative human capital takes on special relevance, allowing them to be inserted into productive chains with greater value added, with coverage of social welfare and educational services, sources of financing, export and import mechanisms, among many other benefits.

It is encouraging to see projects such as this one, whose main component is articulation and collectivity, which in turn implies the participation of cultural agents.

Although the relevance of this study is evident, the contribution, availability and participation of cultural agents, and of society in general, is of utmost importance, without it we would not have verifiable and truthful data. The objective is for these studies to be recurrent and to promote a culture of participation in them.

This set of works is not of a conjunctural nature, but rather of a structural analysis and of medium and long term potentials. It is partly for this reason that it does not focus mainly on the conditions and effects derived from the Covid-19 pandemic, although it does show the context in which the CCI were developed in the region.

Certainly, for the world and for the region, the pandemic brought new challenges, innovations and creations to the cultural sector, so it is essential to continue with these analyses in order to be able to compare and make better informed decisions. CCIs evolve along with the social, economic and technological environment, it is imperative not to neglect their study, to recognize the impact they have at regional, state and national levels and thus contribute to their development and promotion.

The bet derived from this exercise is then to make the most of this economic potential for growth and development resulting from the comparative and competitive advantages of our economic-cultural activity, taking into account the importance of technology.

The challenge is to achieve this in the era of globalization, within a framework of respect for our identity and cultural diversity.

Ernesto Piedras 5 Economist (ITAM-London School of Economics)

1 Sánchez-Jofras J., Kuri-Alonso I., Cabrera- Flores M., León-Pozo A., Cota-Cota C., Patrocinadores, Políticas Públicas y Herramientas para el Escalamiento e Internacionalización. 2021, Sostenibilidad Financiera by Claudia Basurto - Issuu

2 KULTURSISTEMA. Matriz para la Interpretación y Mapeado de los Ecosistemas Culturales y Creativos, (España, 2017), https://cerlalc.org/publicaciones/kultursistema-matriz-para-la-interpretacion-y-mapeado-de-los-ecosistemas-culturales-y-creativos/

3 UNESCO, Mapping of the Cultural and Creative Industries in Jamaica, (Jamaica, 2020), https://es.unesco.org/creativity/policy-monitoring-platform/mapping-cultural-creative.

4 Sánchez-Jofras J., Kuri-Alonso I., Cabrera- Flores M., León-Pozo A., Cota-Cota C., Investigación y Mapeo de Ecosistemas de las Industrias Culturales y Creativas en Tijuana. 2021, Repositorio Institucional Cetys: Investigación y Mapeo de

Contents

Acknowledgments

Preface

Foreword

Ernesto Piedras

I Study and Mapping of Cultural and Creative Industry Ecosystems in Tijuana Cetys Universidad

•What are the cultural and creative industries?

•Methodological proposal for the study

•Perspectives of the cultural and creative Industries in Tijuana

•Tijuana-San Diego, the binational region

•The value of the cultural and creative economy in Tijuana

•Labor market contribution

•Women’s participation in CCI

•Mapping the Cultural and Creative Industries of Tijuana

•Sectors and activity categorization of the CCI

•Mapping methodology

•Location map

•Creative professionals

•Young creatives

•Business models and financing for young entrepreneurs in cultural and creative industries

•Situational analysis of cultural and creative industries

•Authors

•Qrs