Génesis, evolución y perfeccionamiento de la gestión del Canal Educativo 2 de Cuba: sus procesos clave J. Adv. Educ. Sci. Humanit. (July - December 2025) 3(2): 27-35 https://doi.org/10.5281/zenodo.16665577 ISSN 3091-1583 ORIGINAL ARTICLE Genesis, evolution, and improvement of the management of Canal Educativo 2 of Cuba: its key processes  Dámaris Valero damaris.valero@ceap.uh.cu Received: 3 May 2025 / Accepted: 12 July 2025 / Published online: 31 July 2025 © The Author(s) 2025 Indira Pavot 1 · Roberto de Armas 2 · Dámaris Valero 2 Abstract In Cuba, all television is publicly owned and plays a signiﬁcant social and cultural role. Each television channel has its unique characteristics in terms of program- ming and function. The management of interrelated process- es as a system is a topic of current and necessary research for eﬃciently improving television production in the Canal Educativo 2 Budget Unit. A mixed-methodology approach, combining theoretical and empirical methods, is employed. The genesis of the channel is described, along with the func- tions for which it was created. From 2004 to the present, the channel has gone through three stages, the characteristics of which are evident in this work. A diagnosis of the chan- nel’s current situation is made, and its weaknesses, threats, strengths, and opportunities are described. The quality man- agement work carried out is analyzed, which demonstrated the need to reﬁne its process map by improving and com- pleting the information related to key processes. This paper proposes the design of a new key process map, comprised of four processes. Diagrams for each process and their corre- sponding sheets are developed to improve the organization’s quality management. This will ultimately lead to greater eﬃ- ciency in television production on Canal Educativo 2. Keywords cuban television, television channel, quality management, process management, key processes. Resumen En Cuba toda la televisión es pública y desem- peña un importante papel social y cultural. Cada canal tele- visivo posee sus propias características en su programación y función. La gestión de los procesos interrelacionados como un sistema es un tema de investigación actual y necesario para perfeccionar de forma eﬁciente la producción televisiva en la Unidad Presupuestada Canal Educativo 2. Se utiliza una metodología mixta con métodos teóricos y empíricos. Se describe la génesis del canal, así como las funciones para las que se crea. Del año 2004 hasta la actualidad el canal ha transitado por tres etapas cuyas características son eviden- ciadas en el trabajo. Se realiza un diagnóstico de la situación actual del canal y se describen las debilidades, amenazas, fortalezas y oportunidades que lo caracterizan. Se analiza el trabajo en la gestión de la calidad que se realiza lo que evidenció la necesidad de perfeccionar su mapa de procesos perfeccionando y completando la información relacionada con los procesos claves. El trabajo propone el diseño de un nuevo mapa de procesos clave conformado por cuatro proce- sos y se elaboran los diagramas de cada proceso y sus ﬁchas correspondientes para lograr una mejora en la gestión de la calidad de la organización con lo cual se pretende lograr una mejor eﬁciencia en la producción televisiva en el Canal Edu- cativo 2. Palabras clave televisión cubana, canal de televisión, ges- tión de calidad, gestión por procesos, procesos clave. How to cite Pavot, I., de Armas, R., & Valero, D. (2025). Genesis, evolution, and improvement of the management of Canal Educativo 2 of Cuba: its key processes.. Journal of Advances in Education, Sciences and Humanities, 3(2), 27-35. https://doi.org/10.5281/zenodo.16665577 1 Unidad Presupuestada Canal Educativo Dos, Havana, Cuba. 2 University of Havana, Cuba

J. Adv. Educ. Sci. Humanit. (July - December 2025) 3(2): 27-35 28 Introduction Television, whether public or private, is a vital component of contemporary media systems. As a meaning-producing institution, politically, economically, and culturally conditio- ned, it cultivates the interests of the dominant class in the mass consciousness of any political system. This form of so- cial communication serves as a powerful tool for socializa- tion, education, and informing the audience (Dogutas, 2021). When used for positive purposes, television is an excellent tool for introducing norms, values, principles, and behaviors through codes in the structuring of messages, which can so- metimes be diﬃcult for the public to perceive. In Cuba, the 2018 Social Communication Policy of the Cuban State and Government responds to a constitutional mandate. It synthesizes the set of objectives, principles, stan- dards, and aspirations in the ﬁeld of social communication, referring to the interests of society as a whole, encompassing all sectors and all citizens (Cubadebate, 2019). Article 3 of Law No. 162/23 “On Social Communication” (National Assembly of People’s Power, 2024) deﬁnes social communication as: “The sociocultural process that constitutes the basis of hu- man relations, sustained by the exchange and interpre- tation of data, information, knowledge, ideas, opinions, messages and meanings between people, between these and groups and organizations, between and within orga- nizations, and between these and society; it contributes to social interaction, the production of meaning, the forma- tion of individual and collective identity, dialogue, debate, consensus, participation and popular control” (p. 810). In Article 4, it is established that: “The Social Communication System is the integrated and interrelated set of communication processes and actions, which are articulated between all the organs, agencies and entities of the State, mass and social organizations, asso- ciative forms, media organizations and other economic and social actors” (p. 811). Social communication processes, also known as commu- nication processes, are the social practices that materialize in the creation, production, distribution, circulation and ex- change of content, through social media that share content of public interest through diﬀerent channels, media, techno- logical platforms and networks, in historical, political, eco- nomic, social and cultural contexts (National Assembly of People’s Power, 2021). The Institute of Information and Social Communication (IICS) is the agency of the Central State Administration responsible for conducting and monitoring the Social Com- munication Policy of the State and the Cuban Government; proposing its improvement; and contributing to fostering a culture of dialogue and consensus in society (National As- sembly of People’s Power, 2021). It also directs and supervi- ses the strategic and integrated management of the country’s Social Communication System. Social media that are socialist property of the entire people or political, mass, and social organizations, under the provi- sions of the Constitution of the Republic of Cuba, are entire- ly public service. Consequently, in the media sphere, media whose essential mission is to produce and share content to inform, educate, and entertain are also public service. In this regard, it is worth considering the opinions of ex- perts on the subject regarding the concept of “public tele- vision. According to Rincón (2001), public television is “a medium that prioritizes its public nature to overcome its commercial vision and achieve its civic density, which tells us how we become a social collective” (p. 24). For Caﬀarel (2005), “public television must promote and transmit values, root the principle of citizenship, and gene- rate critical awareness. Although its objectives also include achieving high audience levels and, if possible, leadership, this should not be its essential objective” (p. 23). For his part, Gutiérrez-Gea (2016) states that “public te- levision was considered to have a cultural function, there- fore, it had to raise the standards of quality and diversity in order to provide high-quality cultural and informative pro- gramming” (p. 1) and Giráldez-Clemente (2020) considers that “public television must have the purpose of serving a public interest by proposing programming with informative, educational, entertainment and cultural content, and aimed at serving democracy and the citizen” (p. IV). Public television stations, ﬁrst and foremost, serve a public service function. Through them, citizens’ right to information is guaranteed, and they contribute to civic, cultural, social, and educational training, understood in the deep and universal sense (Caﬀa- rel, 2005). In public television, quality must take precedence over market considerations. The value of program quality on pu- blic service television is conceived as an element that en- riches the social experience (Gutiérrez-Gea, 2016). Quality is a fundamental principle that must be developed in all te- levision stations; however, in public institutions, it must be implemented with even greater emphasis. Identifying quali- ty criteria, discussing the achievements and shortcomings of their programming schedules in terms of quality, aiming for a range of programs that incorporate as many quality criteria

J. Adv. Educ. Sci. Humanit. (July - December 2025) 3(2): 27-35 29 as possible, and elucidating through research what viewers and producers understand as indicators of quality are some of the aspects that will allow television stations to achieve variable programming capable of meeting audience expec- tations. The general concept of quality in Cuban television consists of “the satisfaction of the demands of the target au- diences, according to the characteristics of the program, per established requirements”. Television programming is today the fundamental strategic element for television networks, enabling them to become truly competitive companies and gain audience preference (Olivares & Sulbarán, 2020). A programming schedule must contain a logical, structured, value-promoting, competitive oﬀering aligned with audience needs. Organizations seeking continuous quality improvement rely on the ISO 9000 (2000) and ISO 9001 (2015) standards and attempt to integrate strategic planning with quality ma- nagement and process management. The purpose of this paper was to analyze the evolution of Cuban television’s Canal Educativo 2 (CE2) and propose ac- tions to improve its quality management, focusing on key processes that must be taken into account within the orga- nization. Methodology A mixed-methodological approach was adopted, integra- ting information derived from focus groups with ﬁndings obtained through direct observation and interviews. On the theoretical level, analysis and synthesis were employed as research methods, tools that facilitated the interpretation of data extracted from the documentary review and allowed for the condensation of fundamental ideas associated with the problem under investigation. Furthermore, the historical-lo- gical method enabled the reconstruction of the stages throu- gh which the canal has evolved since its founding, providing a diachronic view of the object of study. At the empirical level, documentary analysis was used, which included a critical review of scientiﬁc articles, specia- lized books, master’s and doctoral theses, as well as reports from the Channel’s Board of Directors, the Internal Commu- nication Management Manual, the 2023 TVC Programming Folder, regulatory documents linked to the regulatory fra- mework for social communication, and texts related to qua- lity management. This review allowed for the assessment of contemporary approaches and the establishment of theoreti- cal connections with the channel’s institutional practice. Semi-structured interviews were conducted with ten chan- nel employees—four of whom were founders of TVC and six from CE2—all of whom had recognized experience in the subject matter under study. These interviews allowed us to delve deeper into the perceptions the actors themselves had regarding television production management. Through direct observation, key information was collected for the analysis of established operational processes. The SWOT analysis facilitated the identiﬁcation of the main problems in both the channel’s internal and external environments, serving as a basis for categorizing existing weaknesses, threats, strengths, and opportunities. All the in- formation collected was rigorously systematized, allowing for a comprehensive diagnosis of the channel’s current si- tuation and, based on this, the development of a proposal for designing key processes that would respond to its institutio- nal interests. Results and discussion The budgeted unit known as Canal Educativo 2 (CE2), a television station with its own legal personality and indepen- dent administration, is subordinate to the General Director- ate of Cuban Television (DGTVC) and consequently to the Cuban Institute of Radio and Television (ICRT), which has become the current Institute of Information and Social Com- munication (IICS). The institution was created by Resolution No. 237 dated April 29, 2008, of the Minister of Economy and Planning, and Resolution No. 44 dated May 28, 2008, of the President of the ICRT; its social mission is to satisfy the information- al, educational, cultural, social guidance, and entertainment needs of the population throughout the national territory, through the production of television programs in diﬀerent genres and categories per the culture and traditions of the territory (Ministry of Economy and Planning, 2008; Cuban Institute of Radio and Television, 2008). The analysis of historical data, complemented by previ- ously unpublished information related to the origins and evolution of the CE2, from its founding in 2004 to the pres- ent, allowed us to identify and delineate three distinct stages in its institutional history. This diachronic approach enabled the characterization of key moments in the channel’s devel- opment, as well as an understanding of the internal dynamics that shaped its management and strategic projection within the context of Cuban television. The ﬁrst stage is the founding and initial expansion (2004– 2019). The channel’s genesis dates back to April 18, 2004, the date of the inaugural broadcast of the Second Cuban Sports Olympiad. This broadcast marked the launch of CE2 as a new channel within the national television system, pri-

J. Adv. Educ. Sci. Humanit. (July - December 2025) 3(2): 27-35 30 marily focused on coverage of the sporting event. Follow- ing the event, the channel adopted a programming proﬁle of eight and a half hours daily, characterized by its thematic diversity and its focus on promoting general culture among the Cuban population. From its inception, CE2 was designed as a platform for dis- seminating educational, cultural, and socially oriented con- tent. Its strategic lines aimed to stimulate audiovisual proj- ects that fostered the comprehensive education of citizens, as well as to promote historical and sociocultural values with an emphasis on national and Latin American traditions. The channel’s mission was to contribute to improving the popu- lation’s quality of life through television programming with a strong educational and cultural component. In line with these objectives, during this period, the ap- proval of television projects was managed under strict com- pliance with production schedules, training processes for technical and artistic staﬀ were strengthened, and the devel- opment of complementary digital channels was promoted. In this context, the MiTV channel was launched on July 1, 2013, targeting children and adolescent audiences, broad- casting seven hours a day of national and international con- tent selected for its educational and cultural quality (Grupo Creativo, 2024). Likewise, on June 10, 2013, the Clave channel was es- tablished, the ﬁrst of its kind within the Cuban Digital Ter- restrial Television (DTT) system. This channel focused on broadcasting musical content—musical videos, concerts, documentaries, and other audiovisual products—to promote a culture of aesthetic and audio appreciation for both nation- al and international creations (Canal Clave, n.d.). However, towards the end of 2019, under a state political and communications strategy, the Presidency of the Cuban Institute of Radio and Television (ICRT), in coordination with the General Directorate of Cuban Television (DGT- VC), agreed to permanently cede the CE2 signal to the Latin American news channel Telesur, providing 24-hour coverage. From that moment on, CE2 ceased to operate as a broadcaster and began concentrating its eﬀorts on producing content for other television platforms in the country, while maintaining its digital channels. This period, although characterized by the commitment of its employees and the eﬀort to maintain quality program- ming, revealed signiﬁcant organizational weaknesses. These include a lack of proper strategic planning, improvisation in production processes, poor-quality audiovisual content, re- petitive broadcasts, and the persistence of inadequate labor practices, all of which negatively impact the quality of the television service. The second stage, related to the functional transition and operational crisis (2020–2023), began on July 1, 2020, when CE2 began to redeﬁne itself internally as a production en- tity. Under this framework, it focused on complying with new guidelines that emphasized generating content for other channels, such as Cubavisión, Canal Educativo, and Canal Habana, while continuing to improve its digital channels, es- pecially the Clave channel. This period was heavily impacted by the COVID-19 pan- demic and the implementation of the country’s monetary restructuring process. These circumstances exacerbated ex- isting material constraints, leading to a signiﬁcant loss of hu- man capital and a direct impact on program production and the quality of audiovisual content. Despite the structural change, many of the deﬁciencies inherited from the previous era remained, preventing a sub- stantial transformation in the channel’s organizational pat- terns and strategic management. The worsening of internal problems reﬂected the lack of a systemic approach that ef- fectively articulated planning, resources, and production processes. Starting May 1, 2024, CE2 underwent a profound insti- tutional transformation as part of a new directive issued by the DGTVC. This marks the third stage of its organizational restructuring and strategic projection (starting in 2024). This transformation mandated that programs broadcast on other channels, along with their production teams, would oﬃcial- ly become part of those channels’ workforces. At the same time, music-based programs were transferred to CE2 to inte- grate them into Clave’s programming lineup. The primary objective of this reorganization was to opti- mize content distribution on Cuban television and enhance the positioning of the Clave digital channel, which has achieved high levels of acceptance among national audienc- es. During this phase, the channel deﬁned a new mission, vision, and institutional values; formulated concrete strate- gic objectives; designed its process map; and improved its audiovisual production planning. While the changes introduced represented a step forward compared to previous stages and demonstrated a positive evolution in the channel’s strategic management, structural and organizational factors persisted that limited the achieve- ment of the expected results. However, the new approach allowed us to glimpse a phase of progressive consolidation, supported by criteria of quality, eﬃciency, and institutional coherence. As part of the research process, semi-structured interviews

J. Adv. Educ. Sci. Humanit. (July - December 2025) 3(2): 27-35 31 were conducted to identify the perceptions, assessments, and experiences of staﬀ directly involved in the television pro- duction processes of CE2. The qualitative and quantitative analysis of the data obtained provided critical insights into the current state of the channel’s internal management. In terms of organizational communication, 90% of those interviewed rated the communication relationship between employees and higher-level managers as “fair”. It was found that, on many occasions, work teams do not receive time- ly information about changes in procedures, work styles, or other operational arrangements. Likewise, limited staﬀ participation in decision-making was identiﬁed, especially regarding the implementation of new dynamics within the production process. This perception reﬂects a weak partic- ipatory organizational culture, as well as structural ﬂaws in internal feedback mechanisms. Eighty percent of participants stated that collective eﬀorts to meet production plans are not adequately recognized or considered in the evaluation of results. This is compounded by the lack of systematic practices for collecting and analyz- ing data, both internal and external, necessary for providing feedback and driving continuous improvement in production operations. A critical issue highlighted in the assessment was the lack of human and technical resources. All those interviewed (100%) agreed that the lack of specialized personnel—such as scriptwriters, sound technicians, cameramen, lighting technicians, makeup artists, among others—along with the limited availability of technical resources, directly aﬀects the fulﬁllment of production plans. Programs are often produced with incomplete production equipment, which leads to im- provisation, diminishes the quality of the audiovisual prod- uct, and compromises the technical and aesthetic coherence of the broadcast content. Another relevant ﬁnding was the limited institutional knowledge of management tools. Seventy-ﬁve percent of those interviewed stated they were unaware of the existence of a map of the channel’s key processes, limiting themselves to identifying only the operational phases of the television program production process. Furthermore, it was reported that these phases are not always adequately followed, partly due to inadequate labor practices and structural deﬁciencies. Sixty percent of respondents indicated that program deliv- ery deadlines are not consistently met due to a lack of time and the limited viability of some production plans. This sit- uation generates internal tensions that negatively impact the planning and quality of the content broadcast. A particularly critical aspect was the lack of a culture of indicator-based evaluation. One hundred percent of those interviewed were unaware of the existence or use of quality management indicators that allow them to measure, monitor, and improve the eﬃciency and eﬀectiveness of key process- es. This methodological gap limits the possibilities for con- trol, feedback, and continuous improvement in the channel’s organizational management. The assessment identiﬁed both achievements and signif- icant shortcomings that require urgent attention. The ev- idence collected facilitated the identiﬁcation of the main strengths, weaknesses, opportunities, and threats (SWOT), which should be considered as a starting point for design- ing and implementing corrective actions aimed at improving quality management in the channel. The institutional assessment of CE2 has identiﬁed a set of weaknesses that limit the eﬃciency of its key process- es and compromise the quality of its audiovisual products. Among the primary deﬁciencies are the evident deteriora- tion of its physical infrastructure, as well as technological obsolescence aﬀecting both production and support services equipment. This is compounded by the insuﬃcient use of information and communication technologies, particularly in obtaining and analyzing strategic information for televi- sion production. This situation is exacerbated by persistent diﬃculties in designing and implementing production plans, which generate discontinuities and impact content planning. Another aspect highlighted is the instability of staﬀ in key positions, characterized by high turnover, low work motiva- tion, and diﬃculties in ﬁlling the workforce with qualiﬁed professionals. This situation, combined with the absence of an institutional marketing strategy, limits the channel’s vis- ibility and positioning among diverse audiences. The high degree of centralization of decisions and the overload of functions on a small number of employees reﬂect a rigid and dysfunctional organizational structure. Added to this is the lack of systematic training and ongoing development pro- grams, which are essential requirements for staﬀ technical development and continuous quality improvement. In terms of communication and visibility, the channel lacks an institutional website that enables the eﬀective dis- semination of its products, services, and added value, nor does it capitalize on the digital environment to establish con- nections with its audience. Furthermore, the channel’s reach remains limited, as it relies exclusively on the availability of televisions and decoders for digital signals. The underuti- lization of recording studios, ineﬀective directing methods, and weak management of television production complete a picture characterized by fragmentation, improvisation, and

J. Adv. Educ. Sci. Humanit. (July - December 2025) 3(2): 27-35 32 limited in-house production. In the external environment, the channel faces signiﬁcant threats that aﬀect its operations and competitiveness. The in- tensiﬁcation of the economic, ﬁnancial, and trade embargo imposed by the United States, along with restrictions stem- ming from international isolation, limits access to technolo- gies, specialized software, and benchmark audiovisual con- tent. Furthermore, the existence of more attractive job oﬀers in other forms of ownership and management, as well as the presence of national companies that produce high-quality audiovisual content, represents a factor of pressure on the channel. Added to this is the limited allocation of ﬁnancial resources by the state, which restricts the channel’s ability to invest in technological and training improvements. However, the channel has strengths that constitute a solid foundation for its recovery and strategic development. It has highly qualiﬁed human capital, with professional experience and a strong institutional commitment. Its programming has achieved recognition in the local market, thanks to the quali- ty of its content and its alignment with the country’s cultural interests. Furthermore, it maintains relationships with high- tech suppliers at the national and international levels, which opens up possibilities for incorporating comprehensive solu- tions into its processes. The company’s accumulated experience in audiovisu- al production, its use of high-deﬁnition digital technology, and its established links with universities of the Ministry of Higher Education (MES), as well as with the Cuban Institute of Music and other entities in the artistic sector, constitute strategic assets for strengthening its productive capabilities. It is also worth noting that CE2 manages the only channel of its kind in the country, with a musical and cultural focus that promotes both Cuban and international music. The opportunities of the environment also provide a fa- vorable environment for its future projection. The growing demand for entertainment content, coupled with the state’s priority on digitalizing society, creates a favorable context for promoting the channel’s digital transformation. The po- litical will to encourage alliances between state and non-state entities allows for the development of productive linkages and inter-institutional cooperation. Furthermore, internation- al markets are interested in native musical genres, and Cuban artistic talent is widely recognized, which could open doors to cultural exports. The recent enactment of regulations related to Social Com- munication and the possibility of establishing agreements with prestigious institutions, both national and international, further consolidate this framework of opportunities. Finally, the public has begun to perceive improvements in the chan- nel’s programming and image quality, indicating a progres- sive recovery of its credibility and relevance. The results indicate that, although the channel currently has a process map, its employees’ lack of awareness rep- resents a signiﬁcant weakness in operational management. Furthermore, the processes identiﬁed as key cover only the phases linked to production, without incorporating funda- mental aspects such as programming transmission or sys- tematic audience analysis. From an analytical perspective, it is clear that these processes can and should be improved. Several processes identiﬁed in isolation within the channel constitute interdependent segments of a single audiovisual production cycle. The absence of ﬂowcharts, process data sheets, and quality assessment indicators seriously limits the possibility of im- plementing an evidence-based management system, making it diﬃcult to measure, compare, and improve the eﬀective- ness of institutional operations. These ﬁndings, far from con- stituting insurmountable obstacles, oﬀer a solid diagnostic basis for implementing concrete actions aimed at compre- hensively transforming the channel’s quality management. Figure 1 presents the CE2 key process map, the result of the diagnostic analysis. This diagram identiﬁes four process- es that structure the channel’s operational dynamics. Each of these processes has been represented through speciﬁc ﬂow- charts and corresponding technical sheets, detailing the main activities to be carried out. This systematic representation Figure 1. Map of key processes of CE2.

J. Adv. Educ. Sci. Humanit. (July - December 2025) 3(2): 27-35 33 serves as a fundamental tool for reﬁning television produc- tion management, providing a comprehensive and strategic view of the essential components that support the channel’s operations. The management of the program’s content and format represents the initial threshold in the television pro- duction process. Figure 2 illustrates that this journey begins with an idea that can originate from multiple actors, including a com- mission from CE2 itself, the DGTVC (Directorate-General for Television and Television), the Presidency, production companies, organizations, institutions, legally recognized individuals or legal entities, or through public calls and com- petitions. Figure 2. Program content and form management process. Once received, the proposal is reviewed by the Program- ming and Information Department, where its relevance is assessed. If deemed viable, the project will be developed by the established parameters. This proposal is reevaluated, and if approved, the script will be written. Acceptance of the script marks the end of this phase, signaling the transition to subsequent stages of production. Thus, content and format management not only organizes the creative ﬂow but also ensures the coherence and quality of the ﬁnal product before it is released on screen. Figure 3 reveals a second way to activate the creative mechanism within Educational Channel 2: the thematic as- signment. In this case, the Programming and Information Department takes the initiative, requesting the development of speciﬁc content from various internal specialists, in- cluding journalists, program directors, and communicators, among others. Figure 3. Program content and form management process. However, this approach also allows for spontaneous pro- posals from these same specialists. In both scenarios, the process revolves around presenting a script, which, once evaluated and approved, marks the conclusion of this initial stage. This approach highlights the synergy between insti- tutional planning and the team’s creativity, reaﬃrming that educational television thrives on both programming intent and the collective creative impulse. Figure 4 represents the comprehensive production process of a television program, comprising three fundamental stag- es: pre-production, production, and post-production. This process begins with the script feasibility study, from which the planning, organization, design, and control of the audio- visual project are deﬁned. Key activities include forming the Figure 4. Program production process.

J. Adv. Educ. Sci. Humanit. (July - December 2025) 3(2): 27-35 34 production team, hiring artistic personnel, preparing the bud- get and production speciﬁcations, and scheduling recordings. Subsequently, the recording, scoring, editing, color cor- rection, and ﬁnal editing phases are carried out. Once the content is ﬁnalized, it is incorporated into the channel’s cen- tral storage system. The process culminates with a rigorous technical and aesthetic quality control of the audiovisual ma- terial, and after approval, the program is ready for broadcast to the television public. Figure 5 illustrates the television broadcast management process, which begins with verifying the programming schedule and conﬁrming the programs authorized for broad- cast. Based on this review, the playlist is created using spe- cialized software that organizes and schedules the content on the transmission server. Once this broadcast ﬂow is con- ﬁgured, the signal transmission begins. It is continuously monitored by both the internal system and the over-the-air broadcast to ensure the technical integrity of the content and Figure 5. Television broadcast management process. its proper reception by Radiocuba transmitters. This proce- dure ensures that the broadcast is executed accurately and in accordance with established standards. The systematic study of television audiences is a key process within the television programming management system, as it provides precise indicators of the levels of ac- ceptance, preference, and reception of the broadcast content. This process not only allows for the identiﬁcation of weak- nesses and strengths in the programming schedule, but also enables decision-making aimed at optimizing it, based on the expectations, habits, and needs of viewers as consumers of the audiovisual product. Figure 6 shows that the process commences when the Programming and Information Department presents speciﬁc requirements to a research team, either its own or aﬃliat- ed with institutions such as the Center for Social Research (CIS). From there, a study is developed, the analysis of which provides feedback for programming decisions. This ﬂow of information becomes a strategic resource for redesign- ing proposals, enhancing impactful content, and correcting Figure 6. Audience study management process.

J. Adv. Educ. Sci. Humanit. (July - December 2025) 3(2): 27-35 35 weaknesses, thus ensuring programming that is more aligned with audience demands and communication objectives. Conclusions Managing interrelated processes as a system improves the eﬀectiveness and eﬃciency of television channels, es- pecially in the Cuban context. After 20 years of operation and three evolutionary stages, CE2 revealed organizational weaknesses that prompted a thorough diagnosis. A new key process map was proposed, with four essential processes, their corresponding diagrams, and technical sheets, to opti- mize television production and improve institutional quality. This experience reaﬃrms the process-based approach as a strategic tool for continuous improvement. References Asamblea Nacional del Poder Popular. (2021). Decreto Ley No.41 del Presidente. De la creación del Instituto de Información y Comunicación Social. GOC 2021-801- O96. Edición ordinaria. http://www.gacetaoﬁcial.gob. cu/ Asamblea Nacional del Poder Popular. (2024). Ley 162/2023 De Comunicación Social. GOC-2024-338-O48. Edi- ción ordinaria. http://www.gacetaoﬁcial.gob.cu/ Caﬀarel, C. (2005). ¿Es posible una televisión de calidad? Comunicar, 25, 23–27. https://www.revistacomunicar. com/pdf/25/25-05-temas-caﬀarel.pdf Canal Clave. (s.f.). Manual de gestión de comunicación in- terna [Unpublished material]. CE2, La Habana, Cuba. Cubadebate. (2019, July 17). ¿Qué política se plantean el Estado y el Gobierno para la Comunicación Social? http://www.cubadebate.cu/especiales/2019/07/17/po- litica-de-comunicacion-social-del-estado-y-el-gobier- no-cubanos/ Dirección General de la Televisión Cubana. (2023). Carpeta de programación [Unpublished material]. La Habana, Cuba. Dogutas, A. (2021). Perspectives of children on gender roles shown on television. Open Journal of Social Sciences, 9, 648–662. https://doi.org/10.4236/jss.2021.99048 Fernández-Kessel, F. (2023). Carpeta de programación [Un- published material]. Televisión Cubana, La Habana, Cuba. Giráldez-Clemente, N. (2020). Creación de valor público para el desarrollo de la televisión pública peruana – TV Perú [Master thesis, Universidad San Ignacio de Loyola]. https://hdl.handle.net/20.500.14005/10912 Grupo Creativo. (2024). Proyecto para perfeccionamiento 2024 [Unpublished material]. CE2, La Habana, Cuba. Gutiérrez-Gea, C. (2016). Televisión y calidad: Perspectivas de investigación y criterios de evaluación. ZER: Revista de Estudios de Comunicación = Komunikazio Ikasketen Aldizkaria, 5(9). https://doi.org/10.1387/zer.17445 Instituto Cubano de Radio y Televisión. (2008). Resolución 44/2008: Creación de la Unidad Presupuestada de- nominada Canal Educativo 2. La Habana, Cuba. ISO 9000. (2000). Sistemas de gestión de la calidad. Con- ceptos y vocabulario. https://bit.ly/45hHIkD ISO 9001. (2015). ISO 9001: Sistemas de gestión de la calidad. Requerimientos. https://www.iso.org/stan- dard/62085.html Ministerio de Economía y Planiﬁcación. (2008). Resolución 237/2008: Autorización de creación de la Unidad Pre- supuestada denominada Canal Educativo 2. La Ha- bana, Cuba. Olivares, A., & Sulbarán, E. (2020). Criterios de pro- gramación en la televisión regional. Quórum Académi- co, 17(1), 67–94. https://biblat.unam.mx/hevila/Quoru- macademico/2020/vol17/no1/4.pdf Rincón, O. (2001). Televisión pública: Del consumidor al ciudadano. Convenio Andrés Bello. Conﬂicts of interest The authors declare that they have no conﬂicts of interest. Author contributions Conceptualization: Indira Pavot. Data curation: Roberto de Armas, Dámaris Valero. Formal analysis: Indira Pavot, Roberto de Armas, Dámaris Valero. Research: Indira Pavot, Roberto de Armas, Dámaris Valero. Methodology: Roberto de Armas, Dámaris Valero. Supervision: Roberto de Armas. Validation: Roberto de Armas. Visualization: Indira Pavot. Writing the original draft: Indira Pavot, Dámaris Valero. Writing, review and editing: Indira Pavot, Roberto de Ar- mas, Dámaris Valero. Data availability statement The datasets used and/or analyzed during the current study are available from the corresponding author on reasonable request. Statement on the use of AI The authors acknowledge the use of generative AI and AI-assisted technologies to improve the readability and cla- rity of the article. Disclaimer/Editor’s note The statements, opinions, and data contained in all publi- cations are solely those of the individual authors and contri- butors and not of Journal of Advances in Education, Scien- ces and Humanities. Journal of Advances in Education, Sciences and Humani- ties and/or the editors disclaim any responsibility for any in- jury to people or property resulting from any ideas, methods, instructions, or products mentioned in the content.