Can you have a decent life without having access to art or being able to go to school?

There is something in the declaration of essentiality that refers directly to defining who is essential for the functioning of a territory, but it also defines who is going to take more risks so that societies continue to move forward. In both senses, States assume even more obligations to take care of them and give them particular recognition. Thus, in the midst of a pandemic escalation, where the uncertainty about the damage caused by a new virus was greater than what we live today, hundreds of thousands of people went to put the body on to serve their cities or towns. Doctors, nurses, health personnel, security forces, bus drivers, transporters or supermarket cashiers made their efforts so that everyone’s life could develop in the best possible way. They, of course, are essential, but perhaps we could add other activities to that criterion. Or at least ask ourselves what it would symbolize to do so.

With strict protocols and the hard work of the public and private sector, Last November the theater returned to the City and with it something was revived that made Buenos Aires a unique place on a continental and worldwide level: its culture. Beyond the permanent movement of artists through the different virtual platforms, this rebirth demonstrated how vital presence is when it comes to exposing ourselves to art. We returned to live unique emotions and we were able to do it responsibly, so much so that there is no indication that, following all the recommendations, the rooms are sources of contagion.

A few days ago I read that in an investigation by the Fraunhofer Heinrich Hertz Institute, supported by the German Environment Agency, they concluded that the risk of transmission could “almost be ruled out”, provided that the place can renew the air and all attendees wear masks. The study was conducted at the Konzerthaus in Dortmund with 1,500 seats (although the researchers claimed that the results can be applied to places of similar size, but with a capacity reduced to 50 percent) over three days in November, to analyze the movement of particles in the air, using a robot that simulated human respiration and measured the transmission of aerosols.

Citizens relived culture and, although I cannot speak on behalf of each of those who witnessed a play, I dare to risk that this reunion was unforgettable. In the same way, I venture that the return of children to schools will be eternally remembered by them, so we need it to be as soon as possible. Days ago, Unicef ​​asked that the return to classrooms in the best safety conditions be prioritized, and recommended that in case it is necessary to reconfine, schools be the last to close and the first to reopen. To draw a parallel with the world of culture and with what I mentioned earlier, current analyzes show that, according to the United Nations Children’s Fund, face-to-face education “does not seem to be the main driver of increases in education. infection, students do not appear to be exposed to greater risks of infection compared to not attending school when mitigation measures are applied, and school personnel do not appear to be exposed to greater relative risks compared to the general population ” . Another common point between art and school in times of COVID-19 lies in the efforts made by teachers to reach homes remotely, providing the best of them so that students from all over the country do not lose the year. Could anyone question that teaching is an essential activity?

Many times, when talking about the pain of not having a job, the idea of ​​“dignity” that work gives us appears. It is curious that this figure (which I will not elaborate on in this text, but which deserves to be debated) is never used to talk about Culture and Education. Because, ultimately, Can you have a decent life without access to art or without being able to go to school? How many things are more essential than that?

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