Óscar Hernández Martínez and Sergio Raya Trasierras – Cultural Gears
Cultural Gears is a Sevillian initiative focused on promoting the tangible and intangible heritage of Seville through various experiential, interpretative, informative, communicative, and animated activities. Cultural Gears was founded by Óscar Hernández Martínez and Sergio Raya Trasierras.
Óscar Hernández Martínez, with a degree in English Philology and a Master's in Cultural Management from the University of Seville, developed an early passion for theater that led him to live in the United Kingdom and Ireland. Additionally, he is a Tourist Guide of Andalusia and holds a Master's Degree in Performing Arts also by the US.
Sergio Raya Trasierras, an art historian with a doctorate from the University of Granada and also a Master's in Cultural Management from the University of Seville, has dedicated his career to combining his artistic sensitivity with academic rigor. After teaching Communication Studies at EUSA, he joined Óscar to create innovative itineraries.
Together, they have transformed Cultural Gears into a multidisciplinary proposal, offering activities in several languages (Spanish, English, German, French, and Italian) and reaching milestones such as over 100,000 participants, 180 activities, and presence in more than 75 locations.
1. Cultural Gears has stood out for its innovative approach to bringing heritage closer to the public, especially within the Sevillian context, rich and diverse. How did this particular interest in promoting heritage arise in you, and why focus specifically on that of Seville?
Sergio Raya: The interest arose from a shared need to connect academia with society. I came from an academic background, the doctorate and a very traditional department of Art History, while Óscar brought a more open-minded perspective from his linguistic and theatrical studies. We met during our Master's in Cultural Management at the University of Seville where we saw there was a gap: heritage was explained but not «lived».
Óscar Hernández: Exactly. Seville was the natural choice, not only because it is our home, but also because it is an endless open-air museum. We felt that sometimes the tourist offer remained superficial or clichéd. We wanted the Sevillian (and visitor) to rediscover their city, to look at familiar places with new eyes. Seville has layers of history —Roman, Islamic, Christian, contemporary— allowing for infinite narratives.
2. How was it like designing a new cultural tourism model within the market? What is the philosophy or vision that guides the work of Cultural Gears?
Sergio Raya: It was a challenge, because we wanted to show that culture could be rigorous and fun at the same time. Our philosophy is based on the Interpretation of Heritage. We do not want to focus solely on historical or artistic data; we aim to translate the language of arts and history into an emotional language, without compromising rigor in the creation and documentation process.
Óscar Hernández: The vision has always been about experiential living. We avoid the model of a «guide with umbrella and megaphone» reciting a script. We seek participation, surprise, and emotion. If people are moved, they learn and remember. This blend of scientific rigor (which Sergio brings) and staging (my passion) is the DNA of Cultural Gears.
3. How do you value public interest in consuming culture during leisure time? Have you noticed changes in participant profiles over the years?
Óscar Hernández: Interest has grown exponentially. People no longer just want to «see» things; they want to do things. Cultural leisure has become a real alternative to going to the cinema or bars.
Sergio Raya: Absolutely. And regarding the profile, there's been a beautiful evolution. Initially, our audience was very specialized, but over time it has democratized. We see families, groups of young friends, and something very important: local audiences. The Sevillian has become a tourist in their own city thanks to our proposals. It is no longer just for foreigners; it's for anyone with curiosity.
4. Many projects are developed in heritage spaces of great value, both public and private property. How do you manage to establish agreements or collaborations to intervene in these places? What factors do you believe are key to generating trust with institutions or owners of these spaces?
Sergio Raya: The key is absolute respect for the monument and professionalism. When we approach an institution (public or private), we don't just ask for space; we propose a valuation of it. We show how a well-designed cultural activity can bring life to the place without putting it at risk.
Óscar Hernández: Additionally, trust is earned over time and with results. Having worked in more than 75 locations and managed thousands of visits without incidents is our best calling card. We understand conservation and safety needs and integrate them into the activity design. The space gains visibility and resources, and we offer a unique experience.
5. Óscar, among different ways to promote heritage, why did you choose to include performing arts?
Óscar Hernández: Because theater has the power to break through time barriers. When a historical character «comes alive» in front of you and tells you their fears, passions, or secrets looking into your eyes, history stops being a lesson and becomes an experience. My training in performing arts and my experience in the UK taught me that empathy is the most powerful educational tool. Theater humanizes heritage; it makes stones speak.
6. Sergio, understanding what the public demands and needs must be complex, how do you design cultural itineraries? How do you seek inspiration for new proposals?
Sergio Raya: The design process is a mix of research and creativity. First, we dive into history: archives, theses, forgotten curiosities... Academic rigor is the foundation. But then we ask ourselves: What does this have to do with us today?
Inspiration can come from anywhere: a commemoration, a temporary exhibition, or even transversal topics like women's role in history, botany, or literature. We look for those «hidden gears» that connect different disciplines. We design thinking about what we would want to be told ourselves, always aiming for the surprise effect but with historical backing.
7. Seville's cultural heritage is immeasurable. From your experience, what makes it so special? Have you ever thought of expanding beyond the province of Seville?
Óscar and Sergio: What makes Seville special is its syncretism. It's a city where popular and cultured elements coexist, as well as sacred and profane, East and West. This mix is the perfect breeding ground for storytelling.
Regarding expanding: Yes, in fact we already do! While our base and heart are in Seville, we have carried out activities in other provinces and collaborate with regional institutions. Our model is exportable, and wherever there's heritage to tell, Cultural Gears can contribute its vision. However, Seville has so much content that we always have something left to discover here.
8. Interacting with the public often leads to curious moments. Do you remember any that stood out particularly?
Óscar Hernández: There are many, but I recall fondly a nighttime theatrical visit in a Seville palace. At the end, an elderly lady approached very moved, almost crying. She said she had lived on that street her whole life but never entered there and that thanks to the story we told, she remembered anecdotes from her childhood that she thought were forgotten. That moment when heritage connects with personal memory is priceless. It confirmed for us that what we do has meaning.
9. To conclude, what advice would you give to young cultural entrepreneurs who want to make their way in cultural management?
Sergio Raya: That they continuously educate themselves and seek excellence. Culture requires as much professionalism and business management as any other sector. It's not enough to have a good idea; you must know how to execute, communicate it, and make it sustainable.
Óscar Hernández: And that they don't lose passion or curiosity. Starting in culture is tough, requires resilience, but it's beautiful. I'd tell them to travel, see what others do abroad, learn languages, and try to offer something genuine. If you don't believe in your project, no one else will.
You can find more information about Cultural Gears through the following links to their profiles and projects:
LinkedIn: Cultural Gears
Instagram: Cultural Gears
Facebook: Cultural Gears
Interviewed by:
Mª Dolores Rodas Romero
Communication Department
Comments