Política cultural no RN: uma avaliação das casas de cultura popular (2003/2010)

The issue of public policy for the culture area has experienced a significant increase of interest of academic researchers. The research "Cultural Policy in infants: an evaluation of the home culture (2003/2010)" aimed to evaluate the effectiveness of cultural policy in Rio Grande do Norte in the period 2003/2010. When was the program created and deployed the houses of popular culture. Specifically, he sought: a) mapping the major elements of cultural policy in the RN during the chronological period mentioned b) hold up in more detail in the description of the implementation process of the houses of popular culture, c) investigate cultural actions implemented by the houses of popular culture and its effectiveness. The methodological process consisted of a review of the literature on culture, cultural policy, public policy and public policy evaluation for the construction of the theoretical-analytical, documentary research in public and private institutions related cultural production; interview with managers and cultural producers in visits field research conducted in seven major houses of popular culture, taken as a sample of the total d 29 outlets installed during the chronological period mentioned. The survey found that the program houses RN popular culture in general was effective in meeting its objectives, among which the decentralization of cultural inclusion in the artist market cultural production, the promotion of folk traditions in the region , respect and support for new artists, respect and support for popular memory

Mídia e produção de sentido: a reconfiguração da indústria da música e as estratégias discursivas da associação cultural DoSol

This dissertation aims to analyse discursive strategies from Dosol in order to understand the present elements to keep its audience and the marketing activities. Based on French line of discourse analysis We look into the articles posted on its website at http://www.dosol.com.br within 2010 and We foment dialogues among music, media and communications researchers. Participant observation is slightly used on the critical perception and views of researched object to confront situations and step up, with theorists, the major part of closing remarks. The obtained results indicate a website speech paved on afirmative policies and social capital, trying to keep/seduce its audience with the efect of the intended credibility meaning. The economic factor wanders the speech so often that the speaker assumes a entrepreneur/cultural producer. As a niche market, Dosol assumes a main role in music industry for releasing the regional and local cultural production. On the other hand, it is noticeable that its sustainability and media visibility, as it is seen today, depends on the laws tor promote Culture, what denotes a lack of a regional cultural policies to medium and long term at Rio Grande do Norte

Cultura e política no Brasil: contribuições para o debate sobre política cultural

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Cultural Politics of Resilience in Kingston, Jamaica

Recently, resilience has become a catchall solution for some of the world’s most pressing ecological, economic and social problems. This dissertation analyzes the cultural politics of resilience in Kingston, Jamaica by examining them through their purported universal principles of adaptation and flexibility. On the one hand, mainstream development regimes conceptualize resilience as a necessary and positive attribute of economies, societies and cultures if we are to survive any number of disasters or disturbances. Therefore, in Jamaican cultural and development policy resilience is championed as both a means and an end of development. On the other hand, critics of resilience see the new rollout of resilience projects as deepening neoliberalism, capitalism and new forms of governmentality because resilience projects provide the terrain for new forms of securitization and surveillance practices. These scholars argue that resilience often forecloses the possibilities to resist that which threatens us. However, rather than dismissing resilience as solely a sign of domination and governmentality, this dissertation argues that resilience must be understood as much more ambiguous and complex, rather than within binaries such as subversion vs. neoliberal and resistance vs. resilience. Overly simplistic dualities of this nature have been the dominant approach in the scholarship thus far. This dissertation provides a close analysis of resilience in both multilateral and Jamaican government policy documents, while exploring the historical and contemporary production of resilience in the lives of marginalized populations. Through three sites within Kingston, Jamaica—namely dancehall and street dances, WMW-Jamaica and the activist platform SO((U))L HQ—this dissertation demonstrates that “resilience” is best understood as an ambiguous site of power negotiations, social reproduction and survival in Jamaica today. It is often precisely this ambiguous power of ordinary resilience that is capitalized on and exploited to the detriment of vulnerable groups. At once demonstrating creative negotiation and reproduction of colonial capitalist social relations within the realms of NGO, activist work and cultural production, this dissertation demonstrates the complexity of resilience. Ultimately, this dissertation draws attention to the importance of studying spaces of cultural production in order to understand the power and limits of contemporary policy discourses and political economy. 

Bibliotecas Públicas Provinciais e desafios da acção cultural em Moçambique

A partir do conceito de ‘acção cultural’ proposto por Freire (1982), de actividade dialógica, consciencializada, educativa e libertadora, este estudo procurou perceber em que medida as Bibliotecas Públicas Provinciais moçambicanas desenvolvem acção cultural e que impacto estes sistemas apresentam no desenvolvimento humano da sociedade moçambicana. Procurou-se identificar, especificamente, os aspectos normativos destes sistemas, descrever os respectivos processos de acção cultural; explicar o envolvimento dos utilizadores nas diferentes actividades; e, por último, verificar qual o impacto das Bibliotecas Públicas Provinciais no desenvolvimento humano. Com recurso a técnicas de inquérito por questionário e a entrevistas, foram inquiridos os dirigentes das Bibliotecas Públicas Provinciais e algumas personalidades ligadas ao Livro, Leitura e Bibliotecas, sobre o contexto das políticas culturais existentes em Moçambique e sobre o funcionamento destes sistemas a fim de responderem às necessidades informacionais da população moçambicana. Os dados analisados permitem concluir que apesar de se poderem observar algumas dinâmicas inovadoras, as actividades das entidades supra mencionadas se centram mais na animação e menos na acção cultural. Pode constatar-se, também, que tais actividades são levadas a cabo de forma isolada, sem periodicidade regular e sem qualquer plano político-estratégico para a sua realização. Verifica-se, por outro lado, a carência de quadros com competências e formação em áreas de gestão administrativa, programas informáticos e projectos culturais que possam constituir a base de uma estrutura funcional. A ausência de funcionamento em rede destes sistemas é outra das omissões constatadas face às recomendações internacionais. Paralelamente, foi possível concluir que, as Bibliotecas Públicas Provinciais têm funcionando como peça fundamental de todo processo de ensino e aprendizagem, contribuindo, assim, para o desenvolvimento humano desta população.

Beyond the Bauhaus : Cultural Modernity in Breslau, 1918-1933 /

The Breslau arts scene during the Weimar period was one of the most vibrant in all of Germany, yet it has disappeared from memory and historiography. Breslau was a key center for innovative artistic production during the Weimar Republic; recovery of its history will shed new light on German cultural dynamics in the 1920s. Such a study has art historical significance because of the incredible extent of innovation that occurred in almost every intellectual field, advances that formed the basis for aesthetic modernism internationally and continue to affect the course of visual art and architecture today. Architecture education, just one example in many, is still largely based on a combination of the Bauhaus model from the 1920s and the model developed at the Breslau Academy of Fine and Applied Art. The exploratory attitude encouraged in Weimar era arts endeavors, as opposed to the conformism of academic art, is still a core value promoted in contemporary art and architecture circles. Given the long-lasting influence of Weimar culture on modernism one would expect to find a spate of studies examining every aspect of its cultural production, but this is not the case. Recent scholarship is almost exclusively focused on Berlin and the Dessau Bauhaus. Although both interests are understandable, the creative explosion was not confined to these cities but was part of a larger cultural ethos that extended into many of the smaller regional centers. The Expressionist associations the Blaue Reiter in Munich and Brücke in Dresden are two well-known examples. Equally, innovation was not confined to a few monumental projects like the Stuttgart Weissenhofsiedlung but part of a broader national cultural ethos. The dispersion of modernism occurred partly because of the political history of Germany as a loosely joined confederation of small city states and principalities that had strong individual cultural identities before unification in 1871 but also because of the German propensity to value and take intense pride in the Heimat, understood both as the hometown and the region. Heimatliebe translated into generous support for cultural institutions in outlying cities. Host to a roster of internationally acclaimed artists and architects, major collectors, arts organizations, museums, presses, galleries, and one of the premier German arts academies of the day, Breslau boasted a thriving modern arts scene until 1933 when the Nazis began their assault on so-called "degenerate" art. This book charts the cultural production of Breslau-based artists, architects, art collectors, urban designers, and arts educators, who were especially interesting because they operated in the space between the margins of Weimar-era cultural debates. Rather than accepting the radical position of the German avant-garde or the reactionary position of German conservatives, many Breslauers sought a middle ground. It is the first book in English to address this history and presents the history in a manner unique to any studies currently on the market. 'Beyond the Bauhaus' explores the polyvalent and contradictory nature of cultural production in Breslau in order to expand the cultural and geographic scope of Weimar history; the book asserts a reciprocal dimension to the relationship between regional culture and national culture, between centers like Breslau and the capital Berlin. With major international figures like the painters Otto Mueller and Oskar Moll, architects Hans Scharoun and Adolf Rading, urban planners Max Berg and Ernst May, collectors Ismar Littmann and Max Silberberg, and an art academy that by 1929 was considered the best in Germany, Breslau clearly had significance to narratives of Weimar cultural production. 'Beyond the Bauhaus' contributes the history of German culture during the Weimar Republic. It belongs alongside histories of art, architecture, urban design, exhibition, collecting, and culture; histories of the Bauhaus; histories of arts education more broadly; and German history. The readership would include those interested in German history; German art, architecture, urban design, planning, collecting, and exhibition history; in the avant-garde; the development of arts academies and arts pedagogy; and the history of Breslau and Silesia.

Refugees and cultural transfer to Britain

This book is the first to focus specifically upon the relationship between refugees and intercultural transfer over an extensive period of time. Since circa 1830, a series of groups have made their way to Britain, beginning with exiles from the failed European revolutions of the mid-nineteenth century and ending with refugees who have increasingly come from beyond Europe. The book addresses four specific questions. First, what roles have individuals or groups of refugees played in cultural and political transfers to Britain since 1830? Second, can we identify a novel form of cultural production which differs from that in the homeland? Third, to what extent has dissemination within and transformation of the receiving culture occurred? Fourth, to what extent do refugee groups, themselves, undergo a process of cultural restructuring? The coverage of the individual essays ranges from high culture, through politics and everyday practices. The volume moves away from general perceptions of refugees as ‘problem groups’ and rather focuses on the way they have shaped, and indeed enriched, British cultural and political life. This book was previously published as a special issue of Immigrants and Minorities.

Cultural Politics of Resilience in Kingston, Jamaica

Recently, resilience has become a catchall solution for some of the world’s most pressing ecological, economic and social problems. This dissertation analyzes the cultural politics of resilience in Kingston, Jamaica by examining them through their purported universal principles of adaptation and flexibility. On the one hand, mainstream development regimes conceptualize resilience as a necessary and positive attribute of economies, societies and cultures if we are to survive any number of disasters or disturbances. Therefore, in Jamaican cultural and development policy resilience is championed as both a means and an end of development. On the other hand, critics of resilience see the new rollout of resilience projects as deepening neoliberalism, capitalism and new forms of governmentality because resilience projects provide the terrain for new forms of securitization and surveillance practices. These scholars argue that resilience often forecloses the possibilities to resist that which threatens us. However, rather than dismissing resilience as solely a sign of domination and governmentality, this dissertation argues that resilience must be understood as much more ambiguous and complex, rather than within binaries such as subversion vs. neoliberal and resistance vs. resilience. Overly simplistic dualities of this nature have been the dominant approach in the scholarship thus far. This dissertation provides a close analysis of resilience in both multilateral and Jamaican government policy documents, while exploring the historical and contemporary production of resilience in the lives of marginalized populations. Through three sites within Kingston, Jamaica—namely dancehall and street dances, WMW-Jamaica and the activist platform SO((U))L HQ—this dissertation demonstrates that “resilience” is best understood as an ambiguous site of power negotiations, social reproduction and survival in Jamaica today. It is often precisely this ambiguous power of ordinary resilience that is capitalized on and exploited to the detriment of vulnerable groups. At once demonstrating creative negotiation and reproduction of colonial capitalist social relations within the realms of NGO, activist work and cultural production, this dissertation demonstrates the complexity of resilience. Ultimately, this dissertation draws attention to the importance of studying spaces of cultural production in order to understand the power and limits of contemporary policy discourses and political economy. 

Production de la sécurité, rationalité et gouvernance locale : une ethnographie urbaine à Douala et Yaoundé (Cameroun)

Cette thèse se penche sur la rationalité sécuritaire qui organise les villes de Douala et Yaoundé. En effet, l’insécurité urbaine devient une question très préoccupante, encore plus dans les villes des pays du Sud notamment les villes camerounaises où la recrudescence de la criminalité et de la violence ont donné lieu à des initiatives de sécurisation de la part de l’État et de la population. Sur le plan de la théorie, plusieurs approches nous permettent de nous projeter dans l’environnement sécuritaire des villes à l’étude. Nous considérons les villes de Douala et Yaoundé comme des lieux de production culturelle où se construisent à la faveur des migrations, à partir de diverses cultures et de comportements issus des villages d’origine, des formes d’identités hybrides et des territoires urbains diversifiés. Cela donne donc à réfléchir sur les modes de gouvernance locale, à l’échelle des quartiers, dans le but de comprendre les modalités d’encadrement de cette dynamique culturelle urbaine. Dans le même ordre d’idées, la gouvernance locale fait appel aux acteurs, dans leurs rôles et leurs logiques. Ces logiques s’observent dans leurs dimensions cognitives et leurs rapports avec l’espace. Les dimensions cognitives évoquent les perceptions, le vécu et les représentations subjectives qui sont associées à l’insécurité. Ainsi, le sentiment d’insécurité, la peur, la marginalisation, la violence et la criminalisation sont des phénomènes qui laissent entrevoir des populations défavorisées, victimes d’insécurité. C’est à côté de ces dernières que se manifestent les logiques d’acteurs associées à l’espace, qui ouvrent l’observation sur l’informalité et la ségrégation non seulement comme instruments de contrôle de l’espace urbain, mais également comme cadres de production d’espaces sécurisés. L’informalité et la ségrégation sont aussi favorables au développement des identités, à la construction d’utopies, ces visions mélioratives qui motivent et transforment les acteurs. Ce sont ces logiques d’acteurs dans leurs rapports avec l’espace qui justifient les initiatives de sécurisation. Finalement, c’est dans cette dynamique de transformation que les acteurs entrent en processus de subjectivation pour se produire comme sujets. Sur le plan méthodologique, cette thèse repose sur une ethnographie critique et comparative de la sécurité et sur l’approche de l’action sociale, qui invite à s’attarder aux interactions sociales, pour rendre compte de la rationalité sécuritaire. Étudier la sécurité requiert de s’attarder à l’échelle des quartiers, objets principaux de la sécurisation et espaces d’expression de l’informalité. Les quartiers sont encadrés par les chefferies urbaines, dont les systèmes de gestion constituent la gouvernance locale. Face à la question de la sécurité, cette gouvernance se prononce entre autres en fonction de son identité, de sa culture et de ses représentations. Elle côtoie les logiques étatiques dont les techniques et les stratégies d’organisation matérialisent les politiques de sécurité. Douala et Yaoundé présentent des approches populaires de sécurisation qui diffèrent sur le plan de l’organisation locale des quartiers et du tempérament populaire. Elles se rapprochent par les logiques d’acteurs et la motivation que ces derniers ont à se produire en sujets. La recherche a permis de constater qu’une forme de rationalité régit l’ensemble des dynamiques et des stratégies de production de la sécurité qui ont cours à Douala et Yaoundé. Cette rationalité passe par une pluralité de logiques de sécurité, elles-mêmes tributaires de nombreux phénomènes qui contribuent à la production de l’insécurité, mais aussi à celle de la sécurité. En effet, les migrations de la campagne vers la ville, l’informalité, la ségrégation et la présence de gangs locaux sont des réalités urbaines qui donnent une forme particulière à l’insécurité, mais invitent également à une réadaptation des techniques et des groupes d’acteurs impliqués dans la production de la sécurité. Il ressort que la rationalité sécuritaire, cette intelligence de gouvernement qui s’organise dans les dispositifs de l’offre publique de sécurité, suscite aussi dans les procédés des acteurs populaires, des techniques d’identification aux forces de l’ordre. Dans son processus, elle aboutit à la production de sujets sécurisés et de sécurité. En saisissant les productions humaines comme des activités innovantes, nous comprenons que la sécurisation procède par rapprochement entre les forces de l’ordre et les populations, par la mise en oeuvre de mécanismes mis en place pour répondre à la menace mais aussi par la « confiscation de la sécurité » pour les besoins d’une élite. Ensuite, elle représente une instance de subjectivation où l’innovation se matérialise et où les acteurs se réalisent, créent la sécurité et recréent la ville. Finalement, cette thèse révèle une pluralité de logiques de sécurité construites autour d’une même rationalité sécuritaire.

A importância do programa revitalização e dinamização do centro cultural

Dissertação para obtenção do grau de Mestre em Arquitectura com Especialização em Arquitectura de Interiores, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Lesser-known worlds : bridging the telematic flows with located human experience through game design

This paper represents a new theorization of the role of location-based games (LBGs) as potentially playing specific roles in peoples’ access to the culture of cities [22]. A LBG is a game that employs mobile technologies as tools for game play in real world environments. We argue that as a new genre in the field of mobile entertainment, research in this area tends to be preoccupied with the newness of the technology and its commercial possibilities. However, this overlooks its potential to contribute to cultural production. We argue that the potential to contribute to cultural production lies in the capacity of these experiences to enhance relationships between specific groups and new urban spaces. Given that developers can design LBGs to be played with everyday devices in everyday environments, what new creative opportunities are available to everyday people?

A primeira universidade de economia criativa do mundo: Entrevista com Paul Makeham

This interview (translated and published in Portuguese) was commissioned and conducted by the editors of the Brazilian Guide to Cultural Production 2010-2011 (Edicoes SESC SP, 2010). It covers a range of topics including definitions of the Creative Industries; the value of innovation and creativity in business and education; QUT's Creative Industries Faculty; and the relationship between creative industries and the arts.

From Jindabyne to 'Jindabyne' : immigrant and indigenous specters

This paper reads Ray Lawrence's film Jindabyne (2006) in order to consider how "Australian" connotes as "immigrant" or "Indigenous" in contemporary Australia. Although the film is an adaptation of an American short story, it exploits an existing grammar of place in Australian cultural production in order to interrogate this very culture. If questions of race, gender, and class have haunted post-settlement Australia, Lawrence's film simultaneously stages these spectres and gestures towards the necessary failure of any attempt to exorcise them in a place where indigeneity is invisible. Thus, the location of Jindabyne, the town drowned in the name of progress, offers an exemplary visual metaphor for the failed project of identity formation in a place where forgetting is a survival tool.

The play's the thing? : Hamlet, Slings & Arrows, and the authority of theatrical consumption

This paper reads season 1 of the critically-acclaimed Canadian television series “Slings & Arrows” (2003). This six-episode series is set in a fictionalised version of the Stratford Festival, and tells the story of a plagued production of Shakespeare’s Hamlet. It follows the play’s rehearsal after the death of the festival’s artistic director; Geoffrey Tennant (himself a plagued Hamlet) takes over the role of director, and must face his past in order to produce a Hamlet that will save the festival, redeem his reputation, and repair his interpersonal relationships. Drawing on popular and theatrical understandings of Shakespeare’s play, the series negotiates tropes of metatheatre, filiality, cultural production and consumption, in order to demonstrate the ongoing relevance and legitimacy of “Shakespeare” in the twenty-first century. The “Slings & Arrows” narrative revolves around the doubled-plot of Hamlet and the experiences of the company mounting Hamlet. In quite obvious ways, the show thus thematises ways in which Shakespeare can be used to read one’s own life and world. In the broader sense, however, the show also offers theatre/performance as a catalyst for affect. In doing so, the show functions as a relatively straight adaptation of Hamlet, and a metatheatrical/metafictional commentary on the functions of Hamlet within contemporary culture. In Shakespeare’s play, the production of “The Mouse-Trap” proves, both to Hamlet and the audience, the legitimacy of the ghost’s claims. Similarly, in “Slings & Arrows”, the successful performance of Hamlet legitimises Geoffrey’s position as artistic director of the festival, and affirms for the viewer the value of Shakespearean production in contemporary culture. In each text, theatre/performance enables and legitimises a son carrying out a dead father’s wishes in order to restore or reproduce socio-cultural order. The metatheatrics of these gestures engage the reader/viewer in a self-reflexive process whereby the ‘value’ of theatre is thematised and performed, and the consumer is positioned as the arbiter and agent of that value: complicit in its production even as they are the site of its consumption.

Creative industries after the first decade of debate

It has now been over a decade since the concept of creative industries was first put into the public domain through the Creative Industries Mapping Documents developed by the Blair Labour government in Britain. The concept has developed traction globally, but it has also been understood and developed in different ways in Europe, Asia, Australia, New Zealand and North America, as well as through international bodies such as UNCTAD and UNESCO. A review of the policy literature reveals that while questions and issues remain around definitional coherence, there is some degree of consensus emerging about the size, scope and significance of the sectors in question in both advanced and developing economies. At the same time, debate about the concept remains highly animated in media, communication and cultural studies, with its critics dismissing the concept outright as a harbinger of neo-liberal ideology in the cultural sphere. This paper couches such critiques in light of recent debates surrounding the intellectual coherence of the concept of neo-liberalism, arguing that this term itself possesses problems when taken outside of the Anglo-American context in which it originated. It is argued that issues surrounding the nature of participatory media culture, the relationship between cultural production and economic innovation, and the future role of public cultural institutions can be developed from within a creative industries framework, and that writing off such arguments as a priori ideological and flawed does little to advance debates about 21st century information and media culture.