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In this book, we started from the observation that WBI carries out countless communication activities for the benefit of Katanga's cultural actors, but that in reality, these activities have not yet taken off and artists do not know which way to turn, even though WBI claims to be a saint in this field. This observation led us to seek to understand why WBI's communication, which aims above all to promote culture and cultural enterprises, is not effective or why its objectives are not being achieved. Other subsidiary questions were asked, notably those seeking to understand the communication tools used by WBI and assess their effectiveness in relation to the target audience.
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