A dinâmica territorial da cultura e do turismo em Mossoró/RN : uma análise geográfica

The city of Mossoró has been, currently, divulged and known in all Rio Grande do Norte as the cultural capital of the State, in function of the excellent carried through investments, each year, in the cultural sector. The present work is considered to construct an understanding to of the dynamics of the culture and tourism in the city of Mossoró. This work searches also , to verify how this territorial dynamics of the city is processed, by the recent years, in function of the local activities as Mossoró Cidade Junina , Auto da liberdade e Festa de Santa Luzia. An analysis of the occured territorial transformations in Mossoró has been done, decurrent of the activities in study, and the impacts proceeding from the public and private investments, that provoke a new dynamics in the city. Moreover, the perception of the community, the private initiative and the public power in relation to these practical is verified as processes of Mossoró. For this, documentary and bibliographical research has been used. It was accomplished, field research, through the comment not-participant and from the accomplishment of interviews with the municipal public power, main idealizer of the parties and with the private initiative, as sponsor. The local community also participated through the application of questionnaires. It has been concluded that the parties as Mossoró Cidade Junina, Auto da Liberdade and Santa Luzia, have demonstrated a capacity to create and to keep a tourism flow, being Mossoró projection as a tourist destination. The city has through it parties, great part of itself moving in direction to guarantee its accomplishment, what it makes with that its territorial dynamics comes being modified for and for the tourism

Indústria cultural e forró eletrônico no Rio Grande do Norte

The present study aimed to understand how and to what extent the electronic forró, currently hegemonic in the music market in the state of Rio Grande do Norte, establishes and maintains relations of domination in the social contexts in which it is produced, transmitted and received. Based, in significant form-content, on the writings of the first generation of theorists of the so-called Frankfurt School (Critical Theory), particularly with Theodor W. Adorno, and systematically using the contributions of the Cultural Studies (from the Centre for Contemporary Cultural Studies of Birmingham) and of the sociology of Pierre Bourdieu, this study aimed to perform, in the fertile intersection of these references, a critical possibility of interpretation of the electronic forró predominantly spread in the state of Rio Grande do Norte. To this end, aiming at a better apprehension of the so-called capital circuits/culture circuits , this study resulted from a qualitative investment of research, based on structured interviews with musicians, entrepreneurs of the sector and music consumers, as well as on the analysis of the themes contained in the official discography of the electronic forró band called Garota Safada (Shameless Girl). As a general empirical conclusion, it was possible to infer that far from the significant presence of domination or mere prevalence of oppositions, there is a relational pluralism of forms of domination and ways of resistances present in the production and consumption of electronic forró, regardless of gender, age, income, education or place of residence. However, the artifices of the cultural industry has been shown to be efficient: from large-scale businessmen to small producers enabled by the so-called open markets . The currentness of the concept of cultural industry is based on the idea that its products are offered systematically (the systematic insistence of everything to everyone) and on the notion that its production primarily meets the administrative criteria of control over the effects on the receiver (capacity of prescription of desires). Thus, the Adornian reflection on the pseudo-individualization leads to the inference that even in some of the most apparent ways of negotiation and/or refusal regarding the consumption of forró, certain behaviors of the cultural industry still prevail both in the very (re)interpretation of the forró and in the choice of other music genres also standardized, rationalized and massified. Therefore, despite the absence of cause-effect relation and the recognition of the popular capacity of re-elaboration and contestation of the media consumption, some world views prevailing in relation to the electronic forró establish or, at least, support some hegemonic ideologies, especially those concerning the life style, consumption and genre relations (fun by all means). Therefore, due the massification of certain songs, some ways of dissemination of values, beliefs and feelings are potentially experienced from the electronic forró. So, it is presumable that in the current advance of the process of semiformation (Halbbildung), the habitus of a part of the youth from the state of Rio Grande do Norte reinforces and is reinforced by the centrality of the trinomial fun, love and sex present in the songs, emphasized in some constructive practices of sense and in certain flows of social significance