Evolution of access to management positions by women in Canal Sur.

Evolución del acceso a cargos directivos por mujeres en Canal Sur.

Ph.D. Rosa Rodríguez Cárcela

University of Seville. Spain.

rosacarcela@hotmail.com

ORCID: https://orcid.org/0000-0003-1718-7564

Abstract

Through the RTVA study we analyzed the evolution of access to management positions by women in Andalusian Radio and Television since its creation in 1987 until the beginning of 2020. To this end, we have compiled the existing data in the Reports of Canal Sur from 1989 to 2018, as well as other studies and reports from the Andalusian Regional Government. The work shows that during these 33 years, management positions have been mainly in the hands of men. No woman has been the director general of RTVA, although a minority of women have achieved positions of high responsibility in the public body (directors of Radio and Television and even management). Therefore, there has not been a balanced representation between the two sexes, which has been progressively achieved, marked by the very rules that establish the principle of parity.

Keywords

Balanced Representation; Canal Sur; management; media; RTVA; women.

Resumen

A través del estudio de la RTVA analizamos la evolución del acceso a cargos directivos por las mujeres en la Radio y Televisión de Andalucía desde su creación en 1987 hasta principios de 2020. Para ello hemos recopilado los datos existentes en las Memorias de Canal Sur desde 1989 a 2018, así como otros estudios e informes de la Junta de Andalucía. En el trabajo se pone de manifiesto que durante estos 33 años los puestos de dirección han estado mayoritariamente en manos de los hombres. Ninguna mujer ha sido directora general de la RTVA, aunque de forma minoritaria las mujeres han conseguido cargos de alta responsabilidad en el ente público (directoras de Radio y Televisión e incluso la gerencia). No ha existido, por tanto, una representación equilibrada entre los dos sexos, la cual se ha obtenido progresivamente, marcada por la propia normativa que establece el principio de paridad.

Palabras clave

Canal Sur; cargos directivos; medios; mujer; Representación Equilibrada; RTVA.

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1. Introduction

In the field of communication, inequality is also observed, especially in managerial positions where men continue to hold the majority of the posts. Over the years the situation has improved. The Spanish Constitution recognizes equality between the sexes (Articles 14, 9.2 and 57.1) and, as this right is recognized by the legal system, we understand that it is not only a question of parity, but also of merit and ability. As a general rule, the most capable and prepared people should be selected. However, at present, the principle of parity also applies by legal imperative; that is to say, that there should be a balanced representation between men and women.
In this sense, at the state level, LO 3/2007 (for effective equality between men and women) regulates the promotion of equality in the media (Title III), which also has its own regional regulation. However, as is usually the case, laws go one way and reality goes the other. Labour discrimination continues to exist. There are many women journalists and communication professionals with great experience and professional qualifications who are relegated to secondary or assistant positions.
We will analyze the case of the public business agency of Radio and Television of Andalusia (RTVA) and its subsidiaries, Canal Sur Televisión S.A. and Canal Sur Radio S.A., after the changes that took place in July 2019 with the new PP-CS coalition government in the Andalusian Regional Government. By way of example, we can say that the Managing Director of RTVA is Juan de Dios Mellado Pérez, the Chairman of the Board of Directors is Rafael Porras, the Director of TVE’s News Services is Javier Domínguez Mariscal and the Director of Canal Sur Radio is Juan Miguel Vega. These are the most important management positions, but none of them have a woman’s name. It should be noted that the people responsible for the territorial management of Canal Sur are equal.
In the private audiovisual media there is also a prevalence of managerial positions held by men, as is the case of Antena 3 TV (Atresmedia), whose delegate in Andalusia is Manuel Prieto Romero, Telecinco (the head of News in Andalusia is Jesús Martínez Benito) or La Sexta (the delegate of Andalusia is Juan José Cuéllar). The exception is the Centro Territorial en Andalucía of TVE, whose director is Paloma Jara. The directors of national newspapers are almost all men, except for El País. In short, the media is not an exception from the rest of sectors and professions where men are usually in charge.

1.1. Prensa sensacionalista

La prensa sensacionalista capta miradas. Encierra grandes ganancias para quienes la producen. No obstante, no llega a tener el prestigio social y político porque generalmente sus noticias, a criterio de la sociedad, exageran o promueven el escándalo.

En este tipo de género o subgénero, sucede una especie de rompimiento de la objetividad, pues se comentan o se cuentan los suceso políticos o sociales como hechos dramáticos, que se conectan inmediatamente con la estética melodramática.

Sus imágenes y contenidos llegan de manera directa al sector popular desde la forma, lo envuelven y lo hacen sentir parte de ese mundo: existen grandes titulares de colores rojo y amarillo, coloquiales, y con un contenido sangriento, con fuertes dosis de enaltecimiento del mundo del deporte y del espectáculo.

“La illusio –afirma Bourdieu- es lo opuesto a la ataraxia; se refiere al hecho de estar involucrado, de estar atrapado en el juego y por el juego”. (Bordieu y Wacuant, 1995: 167). El primer autor contextualizó el término de Habitus y lo describió como “una forma de interiorización del mundo social, y también como un sistema de clasificaciones de las prácticas de los agentes, o en su caso concreto de las historias que él produce. Entonces es un juego de doble vía; por un lado, es un planteamiento individual, pero al mismo tiempo es social”.

1.2. Lectura en sectores populares

Diagnosticar un concepto sobre los efectos que tiene la lectura de la prensa sensacionalista en los sectores populares resulta complejo, porque después de haber visto un periódico generalmente no quedan evidencias tangibles de este proceso. Lo que resta es la oralidad.

Guillermo Sunkel, en su texto denominado Modos de leer en sectores populares diferencia tres espacios: El primero, es la lectura oral o auditiva, que comúnmente se evidencia cuando los habitantes de determinado lugar escuchan sonoramente, es decir en plazas o parques mientras aplauden, ríen, sollozan o silban en algún espectáculo.

El segundo contiene los procesos de autoaprendizaje que se originaron en las organizaciones del movimiento obrero a inicios del siglo XX, mediante el proyecto de la “ilustración popular”. Allí se le dio prioridad a la lectura, ya que mediante ella los obreros podían aprender y aplicar doctrinas políticas, así como liberarse de ciertos yugos.

En tanto, el tercer momento es el espacio cúspide del lector popular, impulsado por los Estados. Aparece también el analfabetismo. Y es aquí donde ese lector interpreta de diferentes formas la misma información.

Lo hace a través de la vista. William Ian Miller señala que los ojos perciben la deformidad, las muertes, las violaciones y generan internamente una sensación de asco. “La deformidad y la fealdad resultan más inquietantes porque conllevan desorden; destruyen la satisfacción de uno mismo que comporta el pasar desapercibido; nos obliga a mirar y darnos cuenta o a ser conscientes de si miramos o dejamos de mirar. Introducen la alarma y la inquietud a través de su capacidad de horrorizar y asquear. (Miller, 1986)

Los medios se llegan a convertir en una especie de poder sobre la vida de las familias y de la misma cultura. Configuran en el ideario de la subjetividad nuevas percepciones, conductas y valores, mediante un orden discursivo que crea nuevas reglas.

“Por lo tanto, la noción de poder está presente como un halo evidente o sutil en los medios de prensa, pues la idea de poder transversaliza sus prácticas. De ese modo, el discurso es un mecanismo de poder. Y se asienta en las instituciones para su propia reproducción, y sobre todo como un dispositivo de control y disciplinamiento” (REMACHE, 2012).

Michel Foucault -filósofo, historiador de las ideas, psicólogo y teórico social francés- indicó que el poder reprime, pesa sobre la gente como una fuerza que alardea el “no”, y que además produce placeres, formas de conocimiento y discursos.

1.3. Consumidores

El antropólogo argentino Néstor García Canclini, indicaba que el consumo es un proceso social, un espacio donde las clases y los grupos compiten por la apropiación del producto social, donde se marcan las diferencias sociales y se establecen símbolos que representan a los grupos, además es un sistema de integración y comunicación, y un proceso de planteamientos de deseos.

Jesús Martín Barbero, teórico español de la comunicación relaciona el consumo con la producción de sentidos, pues considera que el fin no es solo la posesión de objetos, sino los usos que se le da al producto o servicio, y en el que se generan nuevas demandas culturales.

También menciona al consumidor como un contribuyente especial en la construcción de un universo, al apropiarse de los objetos. Marcelino Bisbal profundiza en el consumo cultural y precisa que influyen además en ese proceso, “la percepción y recepción, el reconocimiento cultural, y la construcción de ciudadanía en sentido de pluralidad, por tanto, de concepción democrática de la vida”.

1.4. Ley de Comunicación

La ley de comunicación se ha aplicado de manera similar y no igual en otros países como Uruguay y Argentina, a nivel de Latinoamérica, entre los años 2010 y 2016. En el primer país, se denomina “Ley de medios, regulación de la prestación de servicios de radio, televisión y otros servicios de comunicación audiovisual”, que rige los contenidos audiovisuales, mas no los de prensa escrita.

Contiene y promueve sanciones cuando se incumplan cualquiera de los 200 artículos. La Organización de las Naciones Unidas en su Declaración Universal de Derechos Humanos califica a esta ley como “censura previa y limitación a la libertad de expresión”.

“Los servicios de comunicación audiovisual no podrán difundir contenidos que inciten o hagan apología de la discriminación y el odio nacional, racial o religioso, que constituyan incitaciones a la violencia o cualquier otra acción ilegal similar contra cualquier persona o grupo de personas, sea motivada por su raza, etnia, sexo, género, orientación sexual, identidad de género, edad, discapacidad, identidad cultural, lugar de nacimiento, credo o condición socioeconómica”, (URUGUAY, 2014).

En Argentina, la normativa se llama “Ley de Medios” o “Ley 26.522”, y fue derogada en algunas partes por la mayoría legislativa del actual presidente de la República, Mauricio Macri. Los afectados, a criterio de los empresarios de medios, eran todos los grupos de comunicación sobre todo porque se quería evitar el “monopolio comunicativo”, evitando que un solo grupo tenga el poder de las concesiones radioeléctricas o de los medios impresos.

También se hace alusión a las limitaciones en horarios y publicación de imágenes. Especialmente en el artículo 107:

“Sanciones en relación con el horario. Dentro de los horarios calificados como apto para todo público serán considerados como falta grave y sancionados con suspensión de publicidad:

  1. Los mensajes que induzcan al consumo de sustancias psicoactivas;
  2. Las escenas que contengan violencia verbal y/o física injustificada;
  3. Los materiales previamente editados que enfaticen lo truculento, morboso o sórdido;
  4. Las representaciones explícitas de actos sexuales que no sean con fines educativos. La desnudez y el lenguaje adulto fuera de contexto;
  5. La utilización de lenguaje obsceno de manera sistemática, sin una finalidad narrativa que lo avale. (LEY DE MEDIOS, 2010).

En el caso de Ecuador, la Ley de Comunicación se aprobó en junio de 2013 con una mayoría afín al movimiento político gobiernista Alianza País y en este año se proyectan reformas a la misma, que incluso buscan llegar a su derogatoria final.

Se menciona en el artículo 56, numeral 3, literal D, el “evitar un tratamiento morboso a la información sobre crímenes, accidentes, catástrofes u otros eventos similares”.

La palabra morbosa, de acuerdo a la explicación de la Real Academia de la Lengua (RAE), está relacionada a la atracción obsesiva por lo desagradable, cruel o prohibido.

Frente a esa situación, Diario Extra fue amonestado por la Superintendencia de la Información y Comunicación (SUPERCOM), por inobservar la norma mencionada y conminó a abstenerse de reincidir en el cometimiento de las infracciones estipuladas en la Ley. El caso fue un titular que se leía “¡Apocalíptico!” y “¡Una luz en medio de las tinieblas!” y se observaba la imagen de un cadáver con la mitad del rostro tapado, en referencia a días después del terremoto ocurrido en Manabí, en 2016.

El editor general del Diario Extra, Juan Manuel Yépez, señaló, en ese entonces que “la Supercom leyendo el Extra se pone morbosa” y que ese caso demostraba la persecución del Gobierno a los medios. Indicó también que dudaba de las capacidades profesionales e intelectuales de los funcionarios de la Supercom y que se estaba insistiendo en “empujar a pensar a que en este país no pasa nada”.

1.5. Publicidad en diarios escritos

El artículo 38 del reglamento a la Ley de Comunicación, describe a la publicidad como: “Cualquier forma remunerada o pagada de difusión de ideas, mercaderías, productos o servicios por parte de cualquier persona natural o jurídica con fines comerciales. La publicidad con fines comerciales no puede hacerse a título gratuito”. (ECUADOR, 2013)

A partir de ese criterio, se generaron algunas discrepancias. Una de ellas la refiere (A., 2015) en su artículo denominado “Publicidad made in Ecuador” en la que precisa que la normativa vulnera los derechos de propiedad intelectual, porque impone límites a la publicidad e impide que el dueño de una marca haga efectiva su facultad de uso.

De acuerdo a la ley, el artículo 94 hace referencia a la protección de derechos en publicidad y propaganda. Esta también tuvo sus contradicciones de parte de las agencias publicitarias y de empresas que buscaban incluir sus servicios en los medios. Se decía que se promovía exceso de burocracia, tiempos de autorización y regulaciones que hacían que las campañas se atrasen.

Por otro lado, la parte positiva es que se buscaba incluir mejores contenidos para los consumidores de los diarios.

2. Metodología

Método viene de las raíces meth, que significa meta y, odos, que significa vía. Se comprende que es el proceso para desarrollar la investigación que en este caso es de tipo cualitativa porque se valora la realidad humana, su contexto social, las acciones, las ideas, motivaciones y opiniones de los protagonistas lectores del diario Extra.

Así,“la cuantificación y medición de procesos tales como opiniones, creencias, actitudes, valores, hábitos, comportamientos y otros se ha presentado como uno de los avances más importantes, y se ha convertido en el principal indicador y criterio de desarrollo científico” (Iñiguez Rueda, 1999, 108).

Las técnicas aplicadas versaron en las observaciones de campo, descripciones de grupo, inducciones y la estructura dinámica del lector. Así como también entrevistas a autoridades del medio escrito, diálogos con los grupos, encuestas que se inclinaron más a trabajos focales, pues de acuerdo al perfil del grupo, el papel no fue limitante para seguir expresando sensaciones.

Para obtener esas referencias y otras características, se realizó una encuesta a cerca de 300 personas que consumen el diario de manera frecuente. La muestra se tomó en los mercados de Caraguay y Sauces 9, tanto a comerciantes, consumidores locales de abastos, taxistas de la cooperativa Guayaquil que se instalan en las afueras de esos sitios.

La aplicación de un método inductivo inició, como se destaca con la observación de casos específicos, para luego poder armar generalizaciones.

3. Resultados

Los gustos e imágenes que tiene el Diario Extra encierran colores, como el amarillo y el rojo que evidentemente se refieren a casos de sangre o crímenes, y la tipografía es sencilla, fácil de leer y con titulares grandes y que llamen la atención.

El diario tiene cerca de 10 a 12 páginas exclusivas a notas de crónica roja, es decir que ocupa el 39 por ciento de todo el tabloide. Y se convierte desde hace más de 10 años en la referencia principal para la sociedad que lo consume. Y es esa sociedad, la que piensa que el diario es un complemento a lo que ve o escucha en radio y televisión, piensa que el periódico le hablará en su lenguaje, y de forma cruda.

A partir de ello, se inscriben las siguientes caracterizaciones del consumidor del diario, así como de las publicidades que se incorporaron después de la promulgación de la Ley de Comunicación. La información fue contextualizada en el marco del enfoque de la teoría de Usos y Gratificaciones, que dice que poco importa lo que los medios hacen con las audiencias, sino que lo prioritario es lo que hace la audiencia con los medios, en este caso con el contenido de Diario Extra.

Además, destaca que los consumidores tienen necesidades que son suplidas por los medios, mediante una respuesta automática, muchas veces marcando solo el entretenimiento o el salir de la realidad. De allí, que se desprendan las cuatro categorías de las necesidades: cognitivas, afectivas, de integración personal y social.

3.1. Caracterización de los consumidores

Los consumidores son en su mayoría, en un 85%, hombres de edades que van de 25 años en adelante hasta los 55, poseen educación primaria, son católicos y se dedican al comercio, que es su fuente de ingreso económico.

El segmento más visto es el Lunes Sexy, el mismo día; en tanto que, de martes a jueves, predomina el gusto por el contenido de crónica roja.

Los encuestados indicaron que existe un nivel elevado hacia el Diario, de manera integral. Lo dicen porque es histórico, les agrada su forma y su fondo; pero están conscientes que en determinadas ocasiones algunas historias no son del todo reales.

Cuando se consultó si lo leían porque creían las noticias, porque los motivaba a ser mejores ciudadanos, o por entretenimiento, el 100 por ciento indicó que lo hacía por esta última razón; cultivando así la gratificación.

Pero ¿para qué le sirve la información del Diario a sus consumidores? Para divertirse, prevenirlos, y sentirse reflejados como protagonistas de la historia.

La prensa sensacionalista del Extra estrecha un cable fuerte entre el lector y su realidad, en todo el día. No existe una hora exacta del consumo del diario, lo que hay es un intercambio y préstamo del periódico. Va de mano en mano. Los voceadores gritan sus titulares y la información empieza a multiplicarse, así como la búsqueda del mismo, a través de preguntas como “¿alguien compró el extra?”, “préstame el periódico un ratito”, y al final cuando el ciclo de trabajo está por terminar, viene el comentario “devuelvan el extra que me lo llevo a casa”.

Y en la casa, el ciclo se repite, ahora con sus familias. El hombre utiliza el diario además para sentirse fuerte, para remarcar su género, proteger a su familia, y observar mujeres “buenas”.

3.1.1. Público femenino

En términos generales, quienes lo consumen son los hombres, pero cuando el diario llega a manos femeninos se produce un efecto distinto. Ella no da respuestas objetivas y firmes. Es más indiferente: no le agrada la representación sexual y sensual de las mujeres en las portadas, tampoco le interesa saber de noticias relacionadas al futbol ni a los crucigramas.

La mujer del estrato popular gusta de conocer las historias de crónica roja, pero lo hace para conmoverse, para aliarse con padres o madres que han tenido pérdidas, para reconocer que hay violencia intrafamiliar y sexual en todos los espacios. Todo eso, le sirve para poner de relevancia sus emociones más íntimas.

El horóscopo además es otro de los temas que abraca el género femenino.

3.2. Anuncios publicitarios

Los hombres de 40 años en adelante prefieren leer los anuncios esotéricos, mientras que los de 25 años hasta 40 prefieren ver los clasificados de Dinero y Amor.

En ese plan de adquirir estabilidad, los generadores de publicidad han sabido llegar de manera directa a los consumidores. El lector busca confirmar si está haciendo bien las acciones en su casa, en la salud de los niños, en el cuidado de su marido, en sus cuidados para sanar dolores o resfriados, etc.

Sin embargo, los mensajes son extremadamente estimulantes a las problemáticas. Sin verificación alguna. Hay anuncios que indican que se salvarán de la diabetes o se curarán totalmente, existen otros que dicen que los casos de divorcios o de alimentos se resuelven enseguida, solo por $300 o $500 dólares respectivamente.

También se inclinan por satisfacer deseos: En los Extra sorteos, se exhiben imágenes y textos de “Gane electrodomésticos, arreglos florales, y dinero para gastarlo en …”. Se colocan festividades de acuerdo a la época.

Le creen al Diario, pero les creen también a los anuncios clasificados que no siempre cumplen con todas las legalidades.

4. Discusión

El consumidor del Diario Extra es en su mayoría público masculino, que desea verse reflejado en las páginas del Diario a través de sus historias; y también a través del morbo, se deja encapsular en las imágenes de mujeres sexys que los atrapan bruscamente.

Lo que no se tenía previsto era reconocer que la credibilidad que tenían ellos en el Diario era distinta en sus esposas o en las mujeres a las que también llegaba el medio. A ellas, probablemente por estar con más tiempo junto al celular, pueden verificar datos para comprobar que una noticia sea real o no.

También este proceso deja ver que este segmento además de ver y tocar el medio impreso, revisa mucho la web, lo digital y en ese sentido, Diario Extra también lo ha registrado pues pone también sus noticias en redes sociales como Twitter y en una página web. Lo curioso es que no se aplica el mismo diseño de arte o de gráficos en ambos sitios. Y es allí, donde existe un público mayoritariamente elevado, cuyas características apuntan a grupos de estratos sociales medios altos, y medios bajos, y bajos.

5. Conclusiones

2. 1987-1988. Creation of RTVA and constitution of the RTVA Administration Council and management team

Radio Televisión de Andalucía (RTVA) is a public company owned by the Junta de Andalucía and has two subsidiaries: Canal Sur Radio and Canal Sur Televisión, which act independently. It was created by Law 8/1987 of December 9 and, among its principles, the promotion of the values of equality and non-discrimination on the basis of sex.

The Board of Directors was constituted on December 28, 1987, as a general administrative and senior management body, together with the Advisory Council and the General Management. Among its competencies are those of ensuring compliance with the programming established by Law 8/87, the plan of activities, the staff and budgets or institutional publicity.

It was composed of 14 members, elected by the Parliament of Andalusia, “among persons of relevant professional merit” and taking into account “critics of political pluralism”. The appointed councillors were 8 from the PSOE (2 women, the lawyer Emelina Fernández Soriano and the politician M.ª Dolores García Cotarelo), 2 Alianza Popular (0), 2 IU-CA (a woman, the language and politics teacher Concepción Caballero Cubillos), 1 Democracia Cristiana (0) and 1 Partido Andalucista (0). Only 3 were women, representing 21.4% of the total.

As for the general director of RTVA, the Governing Council appointed Salvador Domínguez in December 1987. On January 12, 1988, the director informed the Governing Council of the appointments of Francisco Cervantes Bolaños and José María Durán Ayo as directors of Canal Sur Televisión and Radio, respectively1. As we can see, there was no female presence either.

In addition, the first management team of RTVA was made up of the general secretary, the economic-financial director and the director of the Legal Office (Inés Gete García). In this case, a woman held this important position of responsibility as legal advisor to the public company. The general secretariat was composed, in addition to the secretary, of the departments of Human Resources, Assets and General Services and Operation and Maintenance of the Network of Centres, all in the hands of men. The Legal Office was occupied, together with its director, by the departments of Institutional Relations (Elena Bartolomé Barbado) and Relations with the Administration of Justice (Carlos Millán Raynaud).

Other important appointments in 1988, although of lower management rank, were the heads of broadcasting and production of Canal Sur TV (Carlos Rapallo Do-mengue), of foreign relations (Juan Luis Manfredi Mayoral) and of news programmes of Canal Sur TV (Francisco Lobatón). With this last appointment, the management staff of RTVA was definitively established. In addition to these posts, the head of the Department of Communication and External Relations, Manuel Cadaval Gil, and the head of the General Management Cabinet, Carmen Blanco Amaya, were also appointed. This last position —the only one with responsibility for a woman— was to assist the General Directorate of RTVA in coordinating its offices and obtaining information, as well as directing and coordinating administrative activities.

In addition, the delegates of the Production Centres in Malaga and Granada —attached to the Management of CSTV— Estrella Lorite Gil and Rosario Fernández-Cotta, both graduates in Information Sciences, were appointed, although in lower management positions.

3. 1989-1999. Ten years of the first broadcasts on Canal Sur and four general managers

During those ten years the general direction was always in charge of men: Salvador Domínguez (December 1987-July 1989), Manuel Melero (July 1989-October 1994), Joaquín Marín (October 1994-September 1996) and Eduardo Abellán (September 1996-1999).

3.1. Year 1989

On February 27, 1989, the first broadcasts of Canal Sur Televisión were inaugurated and the next day there was an 8-hour daily programming, while RTVA radio began to be heard in the last weeks of 1988. Rosa Pilar Abelló was the first woman to appear on screen presenting the news and Lola Borrego became one of the first sports journalists. On the occasion of the official opening of RTVA, a special programme was broadcast on public television, presented by Lobatón and Abelló. Afterwards, a gala presented by Carlos Herrera began.

By way of a significant anecdote, it should be noted that the opening ceremony, as indicated in the 10 Years RTVA Report, published in 1999 by its Image and Communication Department:

“... that day some of the most prominent figures in Andalusian society, among others, accompany RTVA: Rafael Alberti, poet; Juan Antonio Ruiz “Espartaco”, bullfighter; José Manuel Caballero Bonald, writer; Francisco Ayala, writer; Antonio Muñoz Molina, writer; Luis Gordillo, painter; Vicente Nuñez, poet; Rafael Pérez Estrada, poet and writer; Miguel Ríos, rock singer; Marifé de Triana, coplas singer; Jesús Hermida, journalist; Matías Prats, journalist; Víctor Márquez Reviriego, journalist and writer; Lola Flores, copla singer; Manolo Escobar, copla singer; José Manuel Soto, light song singer and composer; Pepe Navarro, journalist; Andrés Pajares, actor; Ángel Nieto, motorcycling champion; María José Santiago, coplas singer; Fosforito, flamenco singer; Los Marismeños, sevillanas group; Joaquín Sabina, singer-songwriter; Tico Medina, journalist; Francisco Valladares, actor”.

It is surprising to note that of the 24 guests, there were only three women who were copla singers. In other words, for the socialist government in power at the time, only Lola Flores, Marifé de Triana and María José Santiago were the best female representatives of Andalusian society. Apart from these well-known artists, were there no women journalists, writers, architects, doctors, dentists, actresses, teachers, lecturers, etc. in 1989.

During this year it is important to note that the budget cost increased considerably, due to the hiring of more than a dozen production companies to make their own programs for Canal Sur Televisión (own financed production) and whose owners were all men. For example, some of them like Ithaca, Caligari Films or Thesaurus.

3.2. Years 1990-1993

The first years of the 90’s are a time of consolidation of CSTV. On January 15, 1990, Los Reporteros began broadcasting a weekly news program (similar in format to RTVE’s Informe Semanal), the oldest program on Andalusian public television (30 years). Its first editors and presenters were men (Luis Cátedra and Agustín Olmo), later two women would be the assistant editor (Antonia Murillo) and the presenter (Esther Martín). Currently, both the editing (Esperanza Torres) and co-editing (Toñi Murillo), as well as the presentation (Patricia Lupiáñez), direction (Nieves Fernández), production (Carmen Berro) and editing (Elena Cubillas, Auxi Ruiz, Marisa Jurado, Isabel Gómez and Mabel Mata) are done by women. Another historic programme is Parlamento andaluz, which was launched in 1992 and whose first director was, until 1993, the Sevillian journalist Esperanza Torres Benítez.

3.3. Year 1994

In August 1994, the Parliament of Andalusia elected the new members of the RTVA’s Board of Directors. They were the following: Juan Manuel Al-bendea Pabón, Alonso Balosa García, Alfonso Barrios Cardona, Elena Blanco Castilla, Rafael Porras García, Nicolás Puerto Barrios, Bernardo Díaz Nosti, Juan Carlos Jiménez Laz, Antonio Medina Fernández, Francisca Moya García, Belén Pérez-Lezama Vicente, Carmen Pinedo Sánchez, Manuel Capelo Hernández and Manuel Ponce Ruiz. Of the 14 management positions, only 4 were held by women, representing a female representation of 28.57%.

Year 1995. From November 1995 the posts of Ombudsman of the Spectator and Ombudsman of the Listener were created, independent figures although they were finally unified in March 1997. María José Sánchez-Apellániz García and Patricio Gutiérrez del Álamo occupied these responsibilities2 in different stages. According to Sánchez-Apellániz, with the appointment of a “viewer’s ombudsman” CSTV launched “the only European initiative up to the moment of self-regulation of a television channel”, to guarantee the access of citizens to the public media, to attend to their suggestions and complaints and to serve as a channel between the viewers and the channel.

3.4. Year 1996

The Board of Directors grows from 14 to 15 members and a woman is appointed director of the Territorial Centre in Madrid, whose radio delegation was created in 1989, but it is three years later when the extreme journalist Amalia Sánchez Sampedro is appointed director of this territorial centre.

3.5. Years 1997-1999

The RTVA bets for the mornings of the radio for communicators very known popularly as Carlos Herrera and later Tom Martin Benitez. The meddling part was conducted by Irma Soriano, known by the media and the public as “chica Hermida”. On June 5, 1998, Channel 2 Andalucía was born, with a cultural vocation, under the direction of Francisco Romacho, who was the Deputy Director General of Corporate Development. As we can see, the man continued to dominate the most important management positions in RTVA3.

4. 2000-2013. Four female directors: two from Canal 2 Andalucía, one from Canal Sur Televisión and one from Canal Sur Radio2

During these thirteen years two new general directors are appointed at RTVA: Rafael Camacho (2000-2008) and Pablo Carrasco (2008-2013).

4.1. Year 2000

On July 12, 2000, the 15 members of the RTVA’s Administrative Council, appointed by the Governing Council and elected by the Parliament of Andalusia, by a two-thirds majority, “from among persons of relevant professional merit, taking into account criteria of political pluralism, at the proposal of the Parliamentary Groups”, took office. It was composed of 9 men and 6 women (Elena Blanco, Mª del Mar Spain, Beatriz Martín Ovando, Carmen Molina Hernández, Pilar Navío Masegosa and Mª Dolores Núñez García). Therefore, with a more balanced representation: 60% of men and 40% of women.

On the other hand, the journalist and economist Rafael Camacho was appointed General Director of RTVA in September 2000 and remained in the position until November 2008. The new management team also included Carlos Rosado, Secretary General of RTVA; Cristina Álvarez Secades4, Director of Canal 2 Andalucía; Juan José Fernández Trevijano, Director of Canal Sur Televisión; Manuel Casal, Director of Canal Sur Radio; Carlos Millán, Director of Legal Services; Ramón Alberca, Director of Production Management, and Joaquín Durán, Director of Antena; Antonio Ramírez, Director of News; Carlos Salazar, Director of Organisation and Human Resources; Jorge Badosa, Commercial Director; José Luis Pereñíguez, Director of Broadcasting and Continuity; Emilio Merlo, Economic and Financial Director; Antonio Blasco, Technical Director; Vicente Garrido, Director of Andalucía Televisión Producciones; and Teodoro Manuel, Director of Communication and Image. Only one woman held one of the posts at the top of the RTVA board, with a mere 6.25% representation.

We note that representation by gender is much more balanced on the Board of Directors than on the RTVA management team, where the most important decisions are actually made. Among the most important resolutions of the Board of Directors and RTVA in the area of equality are those of May 23, 2001, against violence and sexist behaviour in certain television series; of July 18, 2001, on the Children’s Advertising Award to distinguish the advertisers and advertising agencies that best reflect the values of equality, tolerance and non-violence; and of May 25, 2003, on the creation of a magazine aimed at Andalusian women, as part of the programming of the Radio Andalucía Información station.

This year the Andalusian Parliament approved a reform of the law on the creation of the Andalusian Public Radio and Television Company. Article 3 states that Canal Sur must promote initiatives to eradicate gender violence and is committed to gender equality.

4.2. Years 2001-2003

In the 2001-2003 RTVA Report, it was found that the majority of television and radio programmes are directed by men, with women more frequently taking on the role of presenter or editor.

4.3. Year 2004

The RTVA publishes the Style Guide, coordinated by José María Allas and Luis Carlos Díaz, where there is a specific section dedicated to the informative treatment of abuse. The programme Women is launched.

With regard to the appointment of new heads of territorial centres, there were 24 men and 16 women (9 presenters, 5 editors and two directors), which means a male representation of 60% versus 40% female. Thus, in Almería, the territorial director was Antonio Torres, the editors Rocío Amores and Francisco Flores, the presenters Antonio Hermosa and José Plaza, and three men were in charge. In Cadiz, the team was made up of Modesto Barragán as director, together with the editors Ignacio Salas and Marián Castellanos; the presenters in this section were Paz Santana and Begoña Lucena; the sub-directorate in Algeciras was Fernando Silva and the coordinator in Jerez was Fernando García.

In Córdoba, Rosario Gutiérrez in direction, Mª José Sánchez and Ángel Abellán in edition; and as presenters are Miguel Ángel Oliva Bayón and Toñi Merino. In Granada, Manuel Arroyo was director and editor, Antonio Rubio is co-editor and Almudena González and Noemí Fernández are presenters. In Huelva the team was composed of Ángela Blanco in charge of direction and editing and Ángel García and Norberto Javier Antonio as presenters. In Jaén José Antonio Moreno was in charge of the direction, José Valero and To-más Araque in the edition of the news and F.J.Oliver and Pilar Mariscal were the presenters. In Málaga Juan Luis Navarro in direction and edition, Manuel Bellido in coordination, and Juan C. Jiménez, Ione Albizu and Montse Naharro as presenters. In Seville Esperanza Torres is in charge of editing in the territorial dis-connection of Seville while Mª Paz Oliver and Nacho Vento were the presenters.

This year also highlights the appointment of journalists Marisa Doctor as director of Channel 2 Andalusia —which launched the documentary series Women, which sought to reflect the situation of Andalusian women in today’s society— and Inmaculada Gonzalez as director of Canal Sur Television (from July 2004 to November 2009).

As for the management team of Canal Sur’s News Services, they are Antonio Ramírez (Director), Francisco Luis de Córdoba (Deputy Director of News), Pablo Carrasco (Head of CSTV Programmes), Francisco José López de Paz (Head of CSR Programmes), José Mª Allas (Head of Non-daily CSTV News Services), Margarita Huertas (Head of CSR News Services), Teresa Sáiz (Head of News Production) and Herminia Merino (Head of Executive Production). Of the eight news directors, three were women, representing 37.5% of women and 62.5% of men.

4.4. Years 2005-2006

The members of the Board of Directors of Radio y Televisión de Andalucía in 2005 are Elena Blanco Castilla in 2005 are Elena Blanco Castilla, Juan M. Fernández Ortega, Francisco García Martínez, Mercedes Gordillo, Manuel Martínez Ocón, Elisa Rodríguez Uroz, Antonio M. Ruiz Giménez, Miguel Ángel Vázquez, Guillermo García Trenado (replaced by Carlos del Barco on 6 July 2005), Jorge Moreno Osorio, Mateo Risquez, Aurelio Romero, Juan Ignacio Zoido, José Luis Centella and Javier Aroca (replaced by Isabel Donado on 23 March 2005). Of the 15 members, 3 were women but soon became 4 by replacement, representing 26.6% of representation.

As for the RTVA management team, it is still made up of Rafael Camacho Ordóñez as general manager and Carlos Rosado as general secretary. Of the 15 directors only two are women (13.3% of representation), but they hold important positions such as the directors of Canal 2 Andalucía (Marisa Doctor) and Canal Sur Televisión (Inmaculada González Fernández replaces Juan José Fernández Trevijano). The rest of the leadership is still occupied by the same men as in 2014, except for the position of Director of Communications, which will be held by Ángel Fernández Millán.

In 2006, a woman enters the management team, Dolores Álvarez, replacing the previous commercial director. The representation of women in the management structure of RTVA increases to 20%. This year, the management team of Canal Sur’s News Services is still headed by a man, Antonio Ramírez, but a woman, Pilar Vergara, has been appointed deputy director of News, replacing the previous chief. In addition, Susana Aguilar is the new head of News at Canal Sur and Cristina Álvarez is the head of Institutional Relations5.

4.5. Year 2007

Law 18/2007 of 17 December 2007 on the radio and television owned by the Autonomous Community and managed by the RTVA comes into force. Article 4.1. expressly includes “the promotion of equal opportunities between men and women” as one of its inspiring principles. Likewise, article 14 applies the principle of parity by indicating —with regard to the representation of the Board of Directors— that it will be composed of 15 members, all of them with recognized qualifications and professional experience, will observe “a balanced composition between men and women” and will have a duration of 6 years.

The Board of Directors incorporates new women, although the representation was not yet balanced (28.5%).With regard to the management team of RTVA, it is comprised of 17 persons, of which 4 are women (Margarita Huertas is appointed as director of Antena de Canal Sur Radio), which represents a low female representation (23.5%) as compared to 76.4% male representation.

The director of RTVA’s news services continues to be Antonio Ramírez, as does the deputy director of RTVA’s news services, Pilar Vergara, the head of news at Canal Sur Televisión, Susana Aguilar, and the head of news production at Canal Sur Televisión, Teresa Sainz.

The four chief editors of RTVA’s News Services are Pedro Valderas and Ángela Blanco (‘Dailys’, Monday to Friday), Eduardo Sardiña (‘Weekend’) and Francisco P. Gamero (‘Sports’). Therefore, three men (75%) and one woman (25%). With regard to the heads of Section of CSTV, José Antonio Gaciño is in charge of Forecasts, Carmen Benavides in Politics, María Isabel Moya in Indexation, Mª Teresa Sánchez Monteseirín in Society, Pedro Romacho in Economics and Mª Teresa Herrero in International. We found that of the 6 section heads, 4 are women (66.6%) and 2 men (33.3%). As for other information services —Web, Teletext and The Weather—, they are occupied by men.

The editors of the CSTV news papers —referred to 9 programmes (‘First Hour’, ‘Good Morning’, ‘News 1, 2 and 3’, ‘Weekend’, ‘Andalusian Direct’, ‘Back cover’ and ‘The Play’)— are comprised of 5 men and 4 women. The co-editors are mainly women.

4.6. Year 2008

For the first time, the new director general of RTVA, Pablo Carrasco, is appointed by the Parliament of Andalusia, taking office on 25 November this year. He is elected by absolute majority with the votes of the PSOE-IU.

On 28 July, the Board of Directors unanimously approved the Regulations on the Organisation and Functioning of the Board of Directors, which included the possibility of creating vice-presidencies, as well as an attached secretariat. The Board of Directors was made up of the following members José Moratalla (Chairman), Mateo Rísquez (Vice-Chairman), Elena Blanco, Antonio Ruiz, Mercedes Gordillo, Josefa Lucas, Álvaro Vega, Mª José Bayo, Francisco Rodríguez, Pilar Ager, Pilar Jimeno, Jesús Mancha, Jorge Moreno, Macarena O’Neill, José Luis Centella,Víctor Manuel Montoro (Secretary) and Luis García Navarro (Assistant Secretary). Of the 17 members 10 are men (58.8%) and 7 women (41.1%). As we can see, representation tends to become more balanced over time (it complies with the principle of parity).

Data are provided on the staff of the RTVA group and the total number is 1,699 people, of whom 623 are women and 1076 men, with the difference between the sexes being observed in CSTV (376 women and 674 men).

4.7. Years 2009-2010

In 2009 it will be the 20th anniversary of the RTVA, Joaquín Durán is director of Canal Sur Radio and Pilar Vergara is appointed director of the News Services of the RTVA, replacing Antonio Ramírez.

In 2010 the BOJA of November 2 publishes the RTVA’s Public Service Charter. It stated in its article 11 that it will be a priority to disseminate content “on full equality between women and men”.

4.8. Years 2011-2012

In 2011, the informative space “With a woman’s accent”, a programme carried out in the territorial centre of Cordoba and broadcast on Wednesdays on Radio Andalucia Informacion, will be launched, including news and interviews.

In 2012, José Luís Rodríguez Domínguez takes over as new RTVA councillors —at the proposal of PP-A—, replacing Rafael Carmona and —at the proposal of IU-LV-CA— Juan de Dios Villanueva replacing José Luís Pérez Tapias.

4.9. Year 2013

On March 15, 2013, the Board of Directors approved the appointment of Joaquín Durán as Director of Canal Sur Televisión, S.A. and Deputy Director of RTVA, and of Inés Alba Cordero as Director of Canal Sur Radio S.A. These changes follow the resignation of Pablo Carrasco. All powers and functions were provisionally delegated to Durán, a position in which he remained on an interim basis until July 2019.

In 2013 the collaboration between television and radio was intensified, with support in content and promotions. In the case of the presence of the radio in Canal Sur Televisión, brief interventions were inserted by presenters of the main radio programmes, in which they announced the following day’s programmes (self-promotion). They were Tom Martín Benítez (‘The Andalusian hour’), Rafael Cremades (‘Here we are’) and Jesús Vigorra (‘The Public’), from Monday to Friday; and Mariló Maldonado (‘The middle road’) and Fernando Pérez (‘The big game’) or Pepe Da Rosa on weekends. As we can see, the main programs are captained by men, except for one woman.

Together with these programmes, the different editions of the news programme Hora Sur, edited by three women: Nieves Risquet, Carmen Rodríguez and Margarita Huertas, strengthened their position within the global offer of the radio news programmes, which maintained local disconnections between their contents. New features were also incorporated, such as the daily launch of ‘Andalusian is unique’, by Inmaculada Jabato, and the weekly edition of the sports program specialized in women’s competitions, ‘The Play’ a por todas, with Cristina Mena, both programs produced from Málaga; and ‘Milenio’, with Primi Sanz, in Granada.

5. Years 2014-2019. An interim director general, a new political change and the first deputy director in the RTVA directorate general

The Board of Directors, by agreement dated 23 April 2014, approved the appointment of the director Francisco Rodríguez Martín as Vice Chairman of the Board of Directors of RTVA. A collaboration agreement is also established with the Andalusian Women’s Institute to carry out actions in the field of gender equality. With regard to the workforce, throughout 2014, RTVA maintained a staff of 1,499 people, of which 546 were women and 953 men, continuing the imbalance by gender in CSTV.

5.1. Years 2015-2016

In 2015, the RTVA’s Management Committee asked the Andalusian Regional Government to merge the two companies, a process that was intended to strengthen the public agency and adapt it to the new reality of the audiovisual market.

In 2016, the Deputy Director of RTVA, Joaquín Durán, appointed Fernando García Mena as the new News Director of Canal Sur (formerly the Regional Director of Canal Sur in the province of Cádiz), a position hitherto held by Pilar Vergara (who was rehired as Director of Strategies and Antenna of CSTV).

5.2. Year 2017

Article 11 of Law 12/2007 of 26 November 2007 for the promotion of gender equality in Andalusia establishes the principle of gender parity, which consists of the balanced representation of men and women in the appointment of heads of administrative bodies of the Andalusian Regional Government that correspond to the Governing Council.

The Parliamentary Control Commission supports the growth of the female presence in the RTVA, increasing to 64.7% in 2017 compared to 29.4% in 2015 and 2016. The presence of women on the Governing Council repeated the records for 2015 and 2016, 35.7% of the posts, consolidating the break for 4 consecutive years of balanced records by sex (40% women, 60% men, between 2011 and 2014).

For its part, the Advisory Council maintains in 2017 the balanced representation by sex achieved during 2015 and 2016, years in which the female presence rose to 42.9%, compared to 31.3% in 2013 and 2014, and compared to 41.2% in 2011 and 37.5% in 2012. The Corporate and Operating Areas of RTVA saw a slight increase in the presence of women in 2017 after two consecutive years of decline, rising to 26.9%, from 26.1% in 2016, 32.3% in 2015 and 32.4% in 2013 and 2014. Similarly, in 2017 the data recorded in 2014, 2015 and 2016 of female presence in the management teams of the Territorial Directorates of RTVA (57.1%) are repeated, consolidating the balanced representation by sex.

According to the Gender Impact Assessment Report of the Budget of the Autonomous Community of Andalusia 2018, in its section on the Representation of women and men in the management teams of RTVA, the female occupation of posts in the management bodies of Canal Sur in 2017 was calculated for the first time in the historical series, with women occupying 42.3% of the posts, as compared with 57.7% of men.

However, it is significant that for the third consecutive year only the Advisory Council and the Territorial Directorates had a balanced representation by gender in their management teams.

By area of analysis, the Parliamentary Control Commission maintained the growth of the female presence in the RTVA, increasing in 2017 to 64.7%, as compared with 29.4% in 2015 and 2016.

The presence of women on the Board of Directors repeated the records for 2015 and 2016, 35.7% of the posts, consolidating the break for 4 years of balanced records by sex (40% women, 60% men, between 2011 and 2014).

Finally, it should be noted that both the Territorial Directorates and the Control Co-operation Commission had a higher presence of women in management and coordination positions than men this year.

5.3. Year 2018

The Board of Directors of RTVA approves the renewal of the management structure of Canal Sur Radio and Television, in order to promote the digital transformation. The digital area was renamed Canal Sur Media and was under the responsibility of Pedro Valderas, who was head of editions.

The direction of the news services of Canal Sur Radio became the responsibility of Carmen Beamonte, who had previously been the director of the Territorial Center of Malaga. She will be replaced by journalist Montserrat Naharro, editor and presenter of the disconnections in this province. Finally, Rafael Adamuz, coordinator of Canal Sur in Huelva, will be in charge of the Territorial Management of Huelva. He will replace Inmaculada González, who asked to be replaced for personal reasons and will join the company’s staff.

5.4. Year 2019

Change of Government and political sign, new director and modification of the Law 18/2017 RTVA. This year begins -as a consequence of the autonomic election results- a new Government of the Junta de Andalucía (PP-Cs coalition), headed by Juan Manuel Moreno Bonilla (PP) and Juan Marín (Cs) that puts an end to almost 40 years of socialist governments.

This has led to a reshuffle of the RTVA management team and the amendment of Law 18/2007 regulating this public business agency, through Law 2/2019 of 26 June, which modifies —in terms of equality— Article 14.1, specifically clarifying that its Board of Directors must “respect the principle of gender parity”. Furthermore, they assume that their nine members have “recognised professional qualifications and experience”6. It also changes Article 20.1, by clarifying that the Advisory Board of RTVA —the company’s participation body— will be composed of 13 members, “observing the principle of balanced composition of men and women”.

In July 2019, the journalist Juan de Dios Mellado Pérez is appointed as the general director of RTVA. The remaining appointments agreed by the Board of Directors make up the new management team, which includes economist Carmen Estero as director of the Corporate Area7. Carlos León Molinari, Economic and Financial Director; Sebastián Uribe, Director of Organisation, Human Resources and General Services; Carlos Millán Raynaud, Director of the Legal Office; and José Enrique Zamorano, Technical Director, will continue to lead the team.

As a novelty, the new management team has appointed the journalist from Malaga, Isabel Cabrera Galdenao, as Deputy Director of CSRTV and responsible for the contents of the Canal Sur channels. Fidel Cardete, Director of Programmes, and Teresa Sáiz Álamo, Director of Production, remain in their posts. Juan Vargas Ruano is the new Director of Innovation and Business.

Journalist Javier Domínguez Mariscal, director of News at CSTV, and Gabriel García Hernández, deputy director of News at Televisión, continue in their positions. On the other hand, journalist Juan Miguel Vega Leal is the new director of Canal Sur Radio, Carmen Beamonte García director of News (after relieving her predecessor who had conflicts with part of the editorial staff) and Sonia Chapado Basanta director of Radio Programs. We note that no director has been appointed to Canal Sur Televisión, although a director has been appointed to Radio. The managerial responsibilities in the news programmes of Canal Sur remain in the hands of men (especially visible in television), except in the case of Radio where the distribution of managerial positions is more balanced.

Juan Manuel Blanco Poley was also appointed as director of Canal Sur Media and José Carlos Suárez remained as head of design. The head of Communication and Image, Pilar Pastrana, and the head of Public Relations, Ángel Fernández Millán, continue in their positions.

As for the territorial management, the new team is made up of Antonio Torres (Almería), Francisco Javier Benítez Zúñiga (Cádiz), Mar Arteaga Fernán-dez (Córdoba), Aurelio de la Chica (Granada), Rafael Adamuz (Huelva), María del Pilar Mariscal (Jaén), Montserrat Naharro (Málaga) and the territorial management of Madrid, Mercedes Fonseca de la Llave. There is a parity representation.

We note that there are 9 members in the Deputy Management of CSRTV, of which 4 are women (one of them is the head), representing 44.4%. In the Corporate Management there are 8 members, of which there is only one woman (the director), representing 12.5%.

6. Women managers in the RTVA

Years 1987-1988.

Director of the Legal Office, Inés Gete García (1987). Head of the Office of the Directorate-General of RTVA, Carmen Blanco Amaya (1988). The delegates of the Production Centres in Malaga and Granada -attached to the Management of CSTV-, are Estrella Lorite Gil and Rosario Fernández-Cotta, both graduates in Information Sciences (1988).

Year 1993.

Head of Programmes at Canal Sur Radio, Mercedes de Pablos.

Year 1995.

The positions of ‘Defender of the Spectator’ and ‘Defender of the Listener’ are created, independent figures although they ended up unifying in March 1997. María José Sánchez Apellániz and Patricio Gutiérrez del Álamo occupied, in different stages, these responsibilities.

1996.

Director of Canal Sur Radio (until 2000), Mercedes de Pablos8. Director of the Territorial Center in Madrid, Amalia Sánchez Sampedro,

2000.

Director of Channel 2 Andalusia, Cristina Alvarez Secados.

2004.

Marisa Doctor, Director of Channel 2 Andalusia. Inmaculada González, Director of Canal Sur TV. Margarita Huertas, Head of CSR News Services. Teresa Sáiz, Head of News Production. Herminia Merino, Head of Executive Production.

2005-2006.

Pilar Vergara, Deputy Director of News Services at RTVA. Susana Aguilar Martos, Head of News at Canal Sur. Cristina Álvarez Secades, Head of Institutional Relations at RTVA. Dolores Álvarez, Commercial Director of RTVA.

2007.

Margarita Huertas Castellanos, Director of Antena, Canal Sur Radio. Head of News at Canal Sur Televisión, Susana Aguilar. News Production Manager, Canal Sur Televisión, Teresa Sainz. Ángela Blanco, Editor-in-Chief of News Services.

2008-2009.

Carmen Estero, Economic and Financial Manager (2008-2013). Pilar Vergara, Head of News Services at RTVA.

2013.

Inés Alba Cordero, Director of Canal Sur Radio. Carmen Estero, manager of RTVA (number two of the general director) until 2019

2016.

Pilar Vergara, Director of Strategies and Antenna of Canal Sur Televisión.

2018.

Pilar Vergara, Director of Operations of Canal Sur9. Inés Alba. Delegate for Gender Equality at Canal Sur.

2019.

Isabel Cabrera Galdenao, Deputy Director of RTVA and head of content at Canal Sur Radio. Carmen Estero, Head of Corporate Management, RTVA. Teresa Sáiz, Production Manager. Carmen Beamonte, News Director of Canal Sur Radio. Previously, she was director of Canal Sur’s terrestrial centre in Malaga. Sonia Chapado, Director of CSR Programmes. Head of Communication and Image, Pilar Pastrana.

2020.

Deputy Director of News Content, journalist Desirée García-Escribano10. Delegate of CSTV in Madrid the journalist María del Carmen Torres, replacing Mercedes Fonseca.

7. Conclusions

As we can see, in the management organization of RTVA from 1987 to 2020, the names of the journalists Mercedes de Pablos and Inés Alba (both were directors of CSR), Cristina Álvarez Secades and Marisa Doctor (directors of Canal 2 Andalucía), Inmaculada González (director of CSTV), Pilar Vergara (director of Informativos and other important management positions) and Isabel Cabrera Galdeano (assistant director of RTVA) stand out for the importance of the positions held. The economist Carmen Estero, the only woman who has managed to become the manager of RTVA, is also very relevant as a director.

In the 33 years since Canal Sur was created, no woman has been appointed as general manager. All have been men, a total of eight: Salvador Domínguez, Manuel Melero, Joaquín Marín, Eduardo Abellán, Rafael Camacho Ordóñez, Pablo Carrasco, Joaquín Durán and Juan de Dios Mellado.

In 2019 the position of deputy director was created for the first time, occupied by a woman, and it was expressly introduced in the regulations that RTVA should have a balanced representation of men and women in its management positions. This principle of balanced presence (parity) establishes that, of all the posts or positions to be distributed, neither sex should have a proportion of less than 40% or more than 60%.

Most of the management posts in the RTVA have been allocated to men, with the exceptions already indicated. Therefore, there has been no balanced representation of posts. However, there has been a progressive evolution, marked by the regulations themselves, which establish parity. From 2017 there was a positive evolution towards a balanced representation by gender among the management staff.

Despite the overall achievement of gender balance in RTVA, only the Advisory Council and the Territorial Directorates have recorded gender balance in their management teams.


1 The Duran Ayo family is part of one of the clans that have accumulated more managerial power to the Andalusian Radio and Television and linked to the PSOE. This is reflected in a report published by Pedro de Tena in Libertad Digital.

22 Andalusian journalist María José Sánchez-Apellániz was the first person to hold the post of Defender of the Spectator. The Ombudsman commented live during the Buenos días Andalucía news programme on the queries of listeners. CSTV became the first Spanish television station to attend to viewers’ demands.

3 It is currently called Canal Sur 2 and in theory it is the second channel of the Andalusian Radio and Television. Since October 2012 the channel has no programming of its own and broadcasts the same signal as Canal Sur 1, but with subtitles and sign language.

4 Cristina Álvarez Secades is one of the women who has had the most access to management positions at Canal Sur, since she also belonged to the Board of Directors and has been head of Institutional Relations.

5 Pilar Vergara Jiménez is another woman who, in her professional career, has achieved various management positions. She joined the Canal Sur Televisión team in 1990 where she has been editor, co-editor, publisher, presenter of the Noticias space, editor-in-chief and news director. For her part, Susana Aguilar Martos was head of news at Canal Sur and also worked as co-editor, section editor, presenter of the cultural space Al Sur and editor-in-chief since 2002.

6 BOJA, extraordinary bulletin no. 17, 27 June 2019. Law 2/2019 of 26 June on the modification of Law 18/2007 of 17 December on radio and television owned by the Autonomous Community managed by the Andalusian Public Business Agency for Radio and Television (RTVA) and Law 1/2004 of 17 December on the creation of the Audiovisual Council of Andalusia.

7 Another woman who stands out in the access to managerial positions in the recent history of Canal Sur. She was also responsible for economic-financial management with Pablo Carrasco and manager with Joaquín Durán.

8 This journalist was one of the first radio directors in Spain and the first to run Canal Sur Radio in Andalusia.

9 Pilar Vergara, a professional of the company since its beginning, has developed several positions of responsibility as a journalist and manager. The Operational Management has among its objectives the transformation of Canal Sur into a new business model for the production of multimedia content.

10 However, the direction of News remains in the hands of a man, Alvaro Zancajo Fenoll.

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8. References

Ley 12/2007, de 26 de noviembre, para la promoción de la igualdad de género en Andalucía.

Barroso, J. y Cabero, J. (2010) La investigación educativa en TIC. Visiones prácticas. Madrid: Síntesis.

Caballar Durán, O. (2015). “La situación de las mujeres periodistas en Sevilla durante el franquismo y la incipiente democracia (1939-1981)”. Tesis doctoral. Universidad de Sevilla. Recuperado de: https://idus.us.es/bitstream/handle/11441/30876/TesisOliviaCarballarMujeresPeriodistas.pdf?sequence=1&isAllowed=y

De Tena, P. El PSOE propone como consejero de Canal Sur al director en funciones del canal público. Retrieved from: https://www.libertaddigital.com/espana/2019-07-02/el-psoe-propone-como-consejero-de-canal-sur-al-director-en-funciones-del-canal-publico-1276641283/

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