Cultural policies

International audiencePublic policy related to intangible heritage is particularly active and voluntary in Brazil and is characterized by an explicit valorization of its minorities. The specific case of Afro-Brazilians intangible cultural heritage, afro-descent population suffering from a strong discrimination, is addressed here through the study of three intangible cultural heritages: samba de roda, the ciranda of Lia Itamaraca and the jongo. The study of the implementation of those various projects also raises the limitations of these safeguarding programs, whether international, federal or regional. By the way, political and identity issues stressed here fall under one question: Which Nation and which citizenship Brazil aims to implement through its policy of inclusion by means of intangible heritage?La politique publique liée au patrimoine immatériel est particulièrement active et volontaire au Brésil et se caractérise par une volonté de valorisation explicite de ses minorités. ...

The purpose of this article is to share some reflections on the long research experience I have developed with circus artists in the City of Buenos Aires, Argentina. These reflections revolve around the question of the contributions of social sciences, particularly anthropology, through research practices conducted in collaboration with artists. I am interested in rethinking the role of the researcher by understanding science from a conception in which commitment, collaboration, and participatory knowledge-building can potentiate research practices and, at the same time, create dilemmas and challenges. What are the theoretical-methodological implications of the roles we can play throughout a long research process? What are the tools we can use when conducting research on the fields we also participate in, socially and politically? How can we reconcile the time it takes to conduct academic work with the short amount of time it takes for events to unfold in real-time?

In 2005 Porto Alegre City Hall introduced a New Management Model, emphasizing transversal actions and outcome monitoring. In this model, the Management Portal1 is the tool that allows the standardized data recording and sharing on the Internet. It gathers more than 500 actions in 13 strategic programs, which are grouped into four strategic axes of priority. The Municipal Culture Office (SMC) is in charge of 24 actions, monitored through 47 quantitative indicators, created by the action managers (‘leaders’), also in charge of collecting and updating data. Based on literature available, this study analyzes these indicators so as to provide elements for a discussion with the leaders on their effectiveness to evaluate results in terms of public policy. It is the initial phase of a process whose final purpose is to strengthen an internal ‘culture’ of evaluation and to create a system of cultural indicators.
Keywords: local cultural policy, cultural policy evaluation, cultural indicators system.

This article presents the stakes of a local deity (Zhang Fei) and a mythological god (Yu the great) in the context of the consequences of the construction of the Three Gorges Dam. Zhang Fei is a national heroes and a deity in the Yunyang County, whom temple was delocalized in its entirety thirty kilometers upstream to avoid submersion. Yu the Great is the demiurge who mythically shaped the Three Gorges by cutting the mountain with a hatchet in order to control a flood of water. The images and narratives related to theses two characters are used by national and authorities of the Yunyang County to convey specific interpretations of the Dam and its consequences. The paper presents in particular rhetorics regarding the environmental changes, the topographical transformations and the forced migration.

I. INTRODUCCIÓN. II. LA ACCIÓN DE LA COMUNIDAD EUROPEA EN EL ÁMBITO DE LA CULTURA HASTA LOS AÑOS NOVENTA. 1. La prolongada ausencia de competencias culturales. 2. Bases jurídicas para la intervención en el ámbito cultural hasta el Tratado de Maastricht. 3. Primeros proyectos europeos en el sector cultural. III. LA NUEVA DISPOSICIÓN CULTURAL DEL TRATADO. 1. Un énfasis prioritario en la diversidad. 2. Una competencia complementaria de fomento de la cultura. 3. Cooperación cultural con terceros Estados y otras organizaciones internacionales. 4. La cláusula horizontal: consideración de los aspectos culturales en otras políticas. 5. Actos y procedimientos para la acción cultural. IV. LA POLÍTICA CULTURAL DESDE 1992 HASTA NUESTROS DÍAS. 1. El fortalecimiento y racionalización de los programas europeos de apoyo a la cultura. 2. La Agenda Europa para la Cultura. 3. La firma y promoción de la Convención de la Diversidad de la UNESCO. 4. Últimas iniciativas. V. CONCLUSIONES.

This murkiness when it comes to the contemporary role of the cultural institution (in spite of the fact that each has its own statute, clearly outlining why it was created) comes from the fact that culture is a sphere of life in which the symptoms of the radical social, technological, and political changes are most evident at present.
This does not happen by accident, for culture is a highly ambivalent part of reality. On the one hand, it is central, for it defines who we are, how we live and think, and what commands our attention; on the other, for many it is dispensable, seen as a frill, a fifth wheel, an excess, and an extravagance. Because culture seems marginal, it is also the best space for experimentation. It allows us to see tomorrow today. In culture we see most clearly what is coming, it carves out new forms of individual and collective identity. That is why in culture we most often ask right now: Why do we need institutions? For the time being, just about no one is asking if school is necessary, or if the law or health services are necessary. And if they do, it is in the sphere of culture – as an artist or an animator. Meanwhile, just about everyone asks: Why do we need culture? Why do we need cultural institutions?

Este artigo busca analisar o modo pelo qual a concepção de angolanidade interage com o mais recente processo de angolanização da economia angolana. É realizada uma breve abordagem histórica acerca das políticas culturais e também uma contextualização relativamente à economia política de Angola, abarcando dos anos da luta pela independência angolana até os dias atuais. O trabalho dedica especial ênfase aos anos do pós-guerra civil, quando o tema das políticas culturais, bem como o processo de angolanização, ganham maior ênfase na agenda governamental e, por sua vez, encontram potencialidades e vulnerabilidades ao se relacionar com a histórica construção da angolanidade enquanto identidade nacional. O trabalho explora o modo pelo qual as concepções de angolanidade e angolanização ultrapassam os espectros das políticas públicas que visam, respectivamente, ao setor cultural e ao setor econômico, de modo que transcendem tais fronteiras e integram um complexo governativo que expõe as urgências e a dinamicidade da construção da nação angolana em um contexto pluriétnico.

Despite bearing similar names and sharing certain aims, the implementation of the Cultural City/Capital initiative in Europe and in the sub-regions of Southeast and Northeast Asia has been substantially dissimilar. In Europe, the annual European City of Culture (ECOC) status commonly constitutes an opportunity to showcase the best of the arts and culture of the host city, and counts on the support of sizable public funding. In Southeast Asia, the initiative scarcely receives any public or regional funds and the understanding of what the designation means varies widely from country to country. In Northeast Asia, regional diplomacy is one of the main motivations for initiating the scheme.

This paper seeks to examine the Cultural Capital patterns chosen in these Asian sub-regions in comparison with their European counterpart, as well as their motivations and reasons to exist. Ultimately, the paper investigates how much ASEAN and Northeast Asia are simply trying to replicate the European model, carve their own concepts, or create hybrid schemes.
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Această carte propune o perspectivă analitică, exhaustivă asupra managementului infrastructurilor destinate teatrului – indiferent dacă este vorba de teatre obișnuite, teatre mari, săli de concerte, spații alternative sau alte tipuri de spații de joc destinate spectacolelor. În ea sunt combinate contribuții din economia culturii, a științelor politice și ale planificării strategice, propunând, dintr-o perspectivă critică, un model de management ușor de adaptat la diferite realități. Lucrarea încorporează, de asemenea, experiența mai multor tipologii de teatre și a unui număr mare de prevederi legale, încercând să acopere o mare diversitate de aspecte.

El presente manual responde a la intención de fundamentar teóricamente y aportar recursos didácticos las acciones de formación encaminadas a capacitar para dirigir y gestionar el factor humano multicultural en las organizaciones. El Proyecto Capital Humano Multicultural ha intentado fundamentar teóricamente el fenómeno de la interculturalidad en la empresa. Concretamente el presente manual pretende ayudar a los directivos de organizaciones, responsables de personal y técnicos de recursos humanos para que gestionar de manera equitativa e integrada sus plantillas culturalmente diversas. Así mismo, consideramos que el presente manual puede ser una útil guía para los agentes de intermediación laboral en cuanto a que al incrementar el conocimiento sobre las necesidades y estrategias para una mejora en las competencias interculturales, podrán diseñar y ejecutar acciones de orientación para la inserción de sus usuarios que respondan a estos determinantes. Este manual no es un curso a distancia, no es una obra teórica, pretende ser un recurso para que las personas responsables de actividades y programas formativos puedan programar e impartir acciones de formación. Ello implica la aportación de ¿ Una base conceptual ¿ Actividades formativas

Resumo: o artigo parte da definição de arte proposta por Deleuze e Guattari
(2010) para discorrer sobre o conceito de diversidade cultural. Para os auto-
res, a arte lança “variedades ao mundo”. Embora forças hegemônicas estejam
muitas vezes presentes, toda política cultural deveria ser, em si mesma, um
fomento à diversidade. Para isso, é preciso dar voz à sociedade civil e garantir
ações integradas com a educação.

RESUMO: Nas últimas duas décadas, o debate sobre o potencial da 'criatividade' afirmou-se um pouco todo o mundo, e muito em particular na Europa, tendo tido um impacto considerável na definição das políticas públicas, especialmente no campo da cultura. Este artigo analisa, de uma forma abrangente, o processo de emergência e afirmação desta nova 'agenda' em Portugal. Uma atenção especial é dedicada à inserção da 'agenda criativa' nas diretrizes de política públicas, à escala nacional e local, em matérias relacionadas com a cultura e áreas afins. O objetivo é procurar compreender os principais contornos desta nova retórica e o seu impacto na formulação de medidas e de instrumentos de política pública. Além disso, reflete-se sobre os principais impactos e resultados da 'agenda criativa' nos sistemas culturais e económicos do país, identificando alguns dos principais desafios e dilemas atuais da 'agenda criativa' em Portugal. 

ABSTRACT: Over the past two decades the debate on the potential of 'creativity' has established itself all over the world, and particularly in Europe, with a considerable impact on public policies' definition, especially in the field of culture. This article analyses comprehensively the process of emergence and affirmation of this agenda in Portugal. A particular attention is devoted to the inclusion of the 'creative agenda' in national and local policy guidelines for culture and related fields. The aim is to understand the main contours of this new rhetoric, and its impact in the formulation of policy measures and tools. Furthermore, it reflects on the main impacts and results of the 'creative agenda' in the country's cultural and economic systems, identifying also some of the current challenges and dilemmas it raises.

El presente trabajo pretende ser el primer acercamiento sobre el uso que las principales instituciones de cultura de gobierno en México dan a las redes sociales en boga hoy en día: facebook y twitter. Las preguntas iniciales que me planteo son: ¿cuántas instituciones culturales de gobierno en México utilizan las redes sociales para difundir sus actividades?, ¿tienen cuenta en facebook y twitter?, ¿cómo las utilizan?, ¿con qué frecuencia?, ¿a qué cuenta le dan más prioridad?, ¿existe una comunicación entre las instituciones culturales?, ¿se limitan a difundir sus actividades o también entran en diálogo con los demás usuarios? 

The present work is intended to be the first approach to the virtual social networks –Facebook and Twitter- usage by the major official institutions of culture in Mexico. The initial questions that I set are: how many official cultural institutions in Mexico use social networks to publicize their activities? do they have an account on Facebook and Twitter?, how often are they used?, what account do they use the most?, is there a formal communication between these cultural institutions?, are these social networks used to publish their activities only, or they are also an ordinary way to interact with common users?

XXXV Congresso Brasileiro de Ciências da Comunicação -Fortaleza, CE -3 a 7/9/2012 1 Políticas editoriais, políticas públicas: análise de cinco vozes críticas às transformações do campo editorial 1 José de Souza MUNIZ JR. 2 Universidade de São Paulo (USP), São Paulo, SP

A pesar de la desbordante creatividad de la gastronomía en la ciudad y su potencial de crecimiento, hasta ahora Panamá se proyecta como un atractivo destino gastronómico y la municipalidad pone sus ojos en el valor de la gastronomía para el desarrollo urbano sostenible y el fortalecimiento del turismo.

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Despite the city’s boundlessly creative gastronomy and its potential for growth, only recently has Panama begun to project itself as an attractive gourmet destination. The municipality is counting on its gastronomic value to sustain urban development and bolster tourism.

Drawing on Cass Sunstein's theory of incompletely theorized and specifi ed agreements, this article intends to describe, explain and assess the legal regime of the right to participate in cultural life in international law. It off ers a redefi nition of this human right as an incompletely theorised and specifi ed agreement in order to make this human right suitable for a certain degree of operationalization. As a fi rst step, this article qualifi es the right to participate in cultural life as an incompletely generalized agreement: people do not agree on the theoretical foundations of this human right although there seems to be a loose agreement on the recognition of some component of this human right. As a second step, this article intends to show that the right to participate in cultural life worked and still works as an incompletely specifi ed agreement: monitoring bodies have not yet received much possibility to make clear and operationalise it even if there was an agreement reached on this human right as a low level principle. Th is contribution then off ered a redefi nition of the right to participate in cultural life which aims at authorising an agreement on this human right as a 'mid-level principle' whenever there is still disagreement existing on the foundation of this latter right. Taking into account the dynamic and moving features of cultural life and the general and adaptive nature of international human rights law, this article intends to elaborate a legally relevant defi nition of the right to participate in cultural life as an incompletely generalised and specifi ed agreement on a low level principle. Th is defi nition tries to open a third way between a restrictive defi nition of the right to participate in cultural life as a right to access a set of defi nite artworks and the broad 'anthropological' defi nition given in General Comment No. 21 of the Committee on economic, social and cultural rights.

The present paper analyzes especially the political actions of the Literature and Arts Sector (SLA) within the Propaganda and Agitation Department (PAD) regarding the control over Romanian cinematography using preeminently archival sources issued by the Communist Party’s Agitprop during the first Stalinist decade. Relying mostly on documents recently de-classified and secondary literature the author tried to shed more light on both the imposition of socialist realism to motion pictures and the dynamics of the communist institutional structures which ruled over Romanian cinema during 1948–1953, that is during the nationalization of both all movie theaters and film industry, and the first cultural “thaw” following the death of Joseph Stalin. The ideological guidance of the cinema was a part of the Communists’ attempt to built a Soviet-type culture in Romania, and it was directed mainly by PAD, through the agency of SLA, which had the authority to recommend and even appoint movie directors, scriptwriters, film critics, and members of the Committee for Cinematography (a governmental department created in 1950, in charge of film industry). The Committee exerted both the general management and censorship functions, and its first chair was Niculae Bellu, a communist cultural activist. One of his main collaborators was Elisabeta Luca, the wife of Vasile Luca, a leading figure of the Romanian Workers’ Party. In 1952 when Vasile Luca and Ana Pauker were expelled from the RWP’s Secretariat and Politburo due to their “Right Deviation,” Elisabeta Luca was fired, like other approximately 200 members of the Committee and subordinate institutions. Consequently, all party bureau and party cells’ “right wing deviationists” and their associates within cultural agencies were purged. One of the main characteristics of this period was the preeminence of the script over the film direction. Except few motion pictures based on the well-known playwright I.L. Caragiale’s writings, Romanian feature films that came out between 1948 and 1953 were both very low in artistic merit and ideologically-oriented, being typical socialist realist movies and praising the socialist construction, collectivization and communist industrialization.

Este texto é uma síntese do meu ponto de vista quanto às lacunas e oportunidades a partir da experiência à frente das políticas de fomento do governo da Bahia entre 2009 e 2014 e do governo federal entre 2015 e maio de 2016. Adicionalmente, traz informações levantadas na elaboração da dissertação de mestrado no Programa de Pós-Graduação Cultura e Sociedade da UFBA e na pesquisa sobre o fomento nos estados, coordenada pelo Centro de Estudos Multidisciplinares em Cultura
(CULT) – parte do histórico das políticas de fomento está presente, de forma mais extensa, no capítulo de minha autoria que apresenta as políticas federais de cultura, no livro Financiamento e fomento a  cultura no Brasil: estados e Distrito Federal, e algumas das reflexões sobre as lacunas e oportunidades são também abordadas nos outros capítulos deste mesmo livro, conforme indicado. O texto é um desdobramento da mesa “Financiamento e fomento para municípios do Rio de Janeiro”, realizada em parceria com Tatiana Richard, especialista em Gestão Cultural, ex-superintendente de Lei de Incentivo à Cultura do Estado do Rio de Janeiro, durante o Encontro Fluminense de Gestores Municipais de Cultura, organizado pela Secretaria Municipal de Cultura de Niterói, em abril de 2017.

The article analyses the non-recognition of the right to access to culture under EU law and its partial and indirect European implementation which reduced this human right to a right to access cultural markets of other Member States without discrimination. It shows that the asymmetry that exists on the European level favouring, one the one hand, non-political decision making over political processes, and, on the other hand, negative on positive integration, weaken national policies promoting access to culture without allowing space for specific European policies encouraging access to culture for all Europeans, because of the restricted nature of the EU competences in cultural matters.

The objective of the research is to understand what cultural development is and how its ideas changed overtime. Brazil is taken as case study due to its active participation in international discussions on the subject and its distinguishing cultural polices. The question is addressed by studying on macro level the institutional paradigmatic changes in cultural development, and on micro level the programme Points of Culture which is considered a best practice of cultural policy. The research contributes to the literature of cultural development and policymaking because it highlights the importance of ideas in relation to socially inclusive policies. The narrative is structured historically, tracing the emergence and paradigmatic change of the ideas of cultural development in Brazil from the emergence of the concept in 1937, until 2010. Discursive Institutionalism is used as theoretical framework. Key entrepreneurial agents, who construct the meaning of the concept within an institutional setting, use their background ideational and their foreground discursive abilities as mean of institutional continuation or change. The theoretical framework is complemented by research methods as case study, interviews and document analysis. Drawing from the case of Brazil, the main argument states that development has historically followed the dominant economic streams, and cultural development has simply been an arm of economic development. Development policies solemnly focusing on economic advantages result in social and political exclusion of certain groups, such as traditional cultures. From 1937 until 2003, the strong presence of the neoliberal and conservative delvelopmentalism discourse coalitions resulted in large investment in the classical arts and the limited development of the cultural industries. The paradigm from 2003 to 2010, hybrid developmentalism, presents that a socialist

Son las diez de la mañana, de un domingo de primavera, nos encontramos en el vestíbulo
de entrada de un museo cualquiera. El personal del museo, apostado en el mostrador de
entrada, en los tránsitos, en las salas expositivas y en los diversos servicios, espera la llegada
de los visitantes de hoy. Han trabajado durante meses en los mil y un detalles que rodean
ese encuentro. La página web del museo lleva semanas hablando por ellos. Se ha podido
proceder a la reserva de entradas por adelantado, con bonificaciones según categorías
predeterminadas. Incluso, se ha contado con la complicidad de agencias de viaje que han
organizado paquetes que incluían noche en hotel. Los carteles se extienden por la ciudad
reclamando la atención de los viandantes hacia la recién inaugurada exposición. Son
numerosos los trípticos que se distribuyen por la faz de la ciudad. Las páginas, tanto de la
prensa local y foránea como de las revistas generalistas y especializadas, hacen referencia a
los innumerables actos que rodean la vida cotidiana del museo. Las entrevistas al director
del museo y a la comisaria de la exposición han salpicado páginas y largos minutos de radio,
prensa y televisión. Las banderolas cuelgan de los apliques de la entrada del museo
informando de la exposición temporal. Los folletos plurilingües y generosamente ilustrados
están depositados en la entrada, al alcance de la mano. La rotulación y los textos
explicativos se distribuyen por salas y lienzos. Todo está en su punto. Un día más, el museo
espera con ansiedad convertirse en un lugar de encuentro.
La puerta se abre. La ansiedad se adueña de todos los integrantes del proyecto. Pasan los
minutos y nadie cruza el umbral. El silencio de apodera de los amplios espacios que
integran el museo. Los rostros de los técnicos manifiestan incomodidad, pero no sorpresa.
Son conocedores de la escasa receptividad que este proyecto museístico ha tenido en la
comunidad local, pasados los primeros meses de efervescencia inaugural. Tan sólo la
llegada de un grupo de turistas, participantes en un tour por diversas ciudades del entorno,
anima el panorama. ¿Por qué no han venido hoy tampoco? ¿Por qué nuestros
conciudadanos han dado la espalda a aquello de lo que tanto y tan bien hablaban? ¿Por qué
los excursionistas del entorno y los turistas de lugares más lejanos han obviado, por igual,
acercarse a disfrutar de nuestra cuidada programación? ¿Por qué?

Resumen Ejecutivo.
Pese a los antecedentes históricos que sitúan en la Antigüedad Clásica los primeros indicios de intervención del sector público en cuanto a asuntos culturales, es sin embargo recién a finales del siglo XVII, extendiéndose durante todo el siglo XVIII con las monarquías ilustradas europeas, donde esta acción toma su real forma. La preocupación del Estado por los asuntos culturales de la nación, ha estado puesta en asegurar la protección a las artes y las letras, la creación de bibliotecas y museos, academias, archivos y teatros nacionales. De esta manera es posible señalar, como un hecho importante, que durante el Siglo XVIII apareció una burocracia cultural que estimuló el mecenazgo público y el surgimiento de un incipiente mercado de académicos e intelectuales profesionales. No obstante, la idea de ortodoxia cultural ligada ahora a los intereses del Estado y el centralismo cultural, son características medulares de la intervención pública en cultura tanto en el siglo XIX como en buena parte del XX.
Un hito en este sentido fue la Declaración Universal de los Derechos Humanos de 1948, que en su Artículo 27 sostiene que toda persona tiene derecho a tomar parte libremente en la vida cultural de la comunidad, a gozar de las artes y a participar en el progreso científico y en los beneficios que de él resulten y que los Estados deben tomar las medidas necesarias para alcanzar esos objetivos.
La experiencia chilena no ha estado muy alejada de las tendencias mundiales a este tenor, sin embargo, carecemos de visiones de conjunto sobre la evolución de las políticas culturales en el país. Pese a esta situación, sabemos que el Estado ha manifestado una actitud activa en materias de política cultural, asumiendo aún inorgánicamente el deber de velar por el desarrollo cultural del país.
El presente trabajo describe someramente el sentido ulterior de las intervenciones estatales en lo cultural durante los cuatro primeros gobiernos democráticos, intentando identificar sus criterios básicos e inferir, con una metodología ad hoc, sus orientaciones más relevantes. Para ello se clasificaron las acciones más representativas en este campo, con los criterios usuales para describir el ciclo de producción de las actividades culturales impulsadas, legislativa, económica e institucionalmente desde el Estado. De ello se concluye finalmente que los gobiernos de la Concertación tendieron a promover medidas con un mayor acento en la Creación; impulsando políticas públicas vía la asignación de recursos financieros, intelectuales y/o técnicos para la concreción de obras artísticas, soslayando la necesidad de considerar equilibradamente las necesidades del resto de la población.

Rodríguez Oliva, Lázaro Israel.
Economía creativa en América Latina y el Caribe: mediciones y desafíos / Lázaro I.
Rodríguez Oliva; coordinación, Alejandra Luzardo.
p. cm. — (Nota técnica del BID ; 1488)
Incluye referencias bibliográficas.
1. Cultural industries-Economic aspects-Latin America. 2. Cultural industries-Economic
aspects-Caribbean Area. 3. Creative ability-Economic aspects-Latin America. 4. Creative
ability-Economic aspects-Caribbean Area. I. Luzardo, Alejandra. II. Banco Interamericano
de Desarrollo. División de Innovación y Creatividad. III. Título. IV. Serie.
IDB-TN-1488

The Management of Museums in Sharjah
by Daniel Simonet and Clément Vincent
in Public Administration, Governance
and Globalization. Editor: Alexander R. Dawoody
Editor. Publisher: Springer New York Heidelberg Dordrecht London. © Springer Science+Business Media New York 2015

Tema cărții este legată de procesul de creare de politici culturale în România postcomunistă, influența directivelor europene legate de cultură asupra acestui proces, precum și felul în care se construiește identitatea națională și europeană în noul context socio politic.

The doctoral thesis attempts to build a legal regime for the right to culture, which is an individual right with an important collective dimension. The aim of the doctoral thesis is to enable the right to culture to exert all its effects. The fog that still veils the right to culture, despite its fundamental importance and its growing engagement in political discourse, has fuelled a desire, which is the source of my doctoral thesis, to clarify the sources, the content, the obligations and the legal guarantees of the right to culture. To conduct a rigorous definition of the legal right to culture, three majors themes were chosen : the arts, the cultural heritage and the lifelong education. The research has mainly been devoted to constitutional law and international human rights. However, legal evolutions and problems have been clarified and examined by using an interdisciplinary approach, including the disciplines of legal theory and political philosophy. The whole thesis is devoted to the demonstration that the right to culture is a legal, an effective and a legitimate reality. Two hypotheses underlie the doctoral thesis. The first central hypothesis is that the right to culture, if defined, can be considered as a fundamental right because it comprises the eight constitutive elements of every fundamental right (sources, object, democratic values as fundaments, prerogatives, obligations, debtors, titulars and justiciability). The right to culture it entails a full legal regime that implies precise obligations for the State, which are guaranteed by concrete mechanisms. The right to culture is related to a precise content: the diversity of cultural expression and cultural heritage. This right implies concrete prerogatives: the right to artistic freedom of expression; the right to conservation, development and diffusion of culture; the right to access to cultural life and to cultural information; the right to take part in cultural life; the right to freedom of choice in cultural matters; the right to participate in the elaboration on and the implementation of cultural policies. This right can be hold against its debtors. It deploys itself at different levels of effectivity and of justiciability. The second central hypothesis is that the construction of the legal regime of the right to culture and the legitimacy of this right depends on its capacity to manage a permanent balancing between three of its elements which appear to be antagonistic in nature: on the one hand, artistic freedom, and on the other, equality and participation in cultural life. Especially in the theoretical justification of cultural policies, in the mutual enrichment between the different sources of the right to culture, in the definition of the object of the right to culture and in the definition of the elements of this right, this balancing occurs. Two ideas are determining for the whole doctoral demonstration. The first one concerns the definition of the right to culture’s legal regime on the basis of a conception of « culture » . This conception is limited to the diversity of cultural expressions and heritages. This first stance is explored by means of five methodological steps. First, a philosophical exploration of the concept of culture has authorized to discover that this concept has to be understood mainly in reference to the work on meaning that culture build and embodies. Subsequently, the peculiar conditions under which the legal system can apprehend the concept of culture have been identified: the legal concept of culture has to be understood in reference to the embodiment and the materialization of the work on meaning constructed by the « culture » in the anthropological sense of the word. Afterwards, on the basis of a historical analysis of the right to culture’s interpretation, it was observed that, in international law, the interpretation that is sometimes constructed, i.e. what the right to culture concerns, has been taken outside the limits of the legal systems. Indeed, the right to culture, after being set free from a very limited and academic approach of culture by an opening to the diversity of cultural expressions wherever they come, has been constructed in connection with cultural identities. Next to this analysis, this conception of the right to culture was evaluated from a critical point of view, and eventually rejected,, because its fundaments are too weak and because it denatures the right to culture and poses a threat to its effectiveness. Cultural identity is a particular dimension of the right to culture but cannot be its main object. The right to culture is concerned with the protection and promotion of cultural identity even if protection and promotion of cultural identity is not the actual content of the right. Finally, a definition of the right to culture’s object has been developed in connection with the diversity of works, methods, spaces and practices which express, from a critical and creative point of view or as a heritage to transmit, the work on meanings operated by culture in the anthropological sense. This apprehension of the right to culture can disappoint those who see in this right a « magical » right, capable to touch culture in its complexity and to solve all the problems posed by the multiplicity of cultural identities and by the so called « Clash of Civilizations ». But this restriction in the definition of the right to culture’s object is in fact a necessary condition for deploying it in the legal world. Here we come to the second determining stance, which concerns the identification of the effectiveness and of the justiciability of the right to culture, de lege lata et de lege ferenda. Constructing this right in connection to the diversity of cultural expressions and heritages lets us identify the prerogatives that the right to culture implies and the obligations that can be recognized for its debtors. This definition of the right to culture has enabled us to define this right as a justiciable right, i.e. as a right that individuals can seize and that judges can use in their legal reasoning. The justiciability of the right to culture varies of course from one element to another. But, the important finding is that all elements of this right could be recognized as justiciable. For certain elements, as the right to artistic freedom, the right to culture benefits already from “direct effect” in a narrow sense. This is also the case for the right to access to cultural diversity without barriers. Other elements of the right to culture have been contextualized in the legal system in such a degree that they could benefit from direct effect sensu stricto. This contextualisation is visible in for e.g. the right to be protected from abuses of copyrights when using artistic freedom: this particular right is so detailed in Belgian law that a judge already asserted that it has a direct effect, without conflicting with the separation of powers doctrine. Moreover, de lege feranda, a whole range of elements of the right to culture could be recognized as entailing direct effect sensu stricto, quod non today. The other elements of the right to culture donot have “direct effect” and benefit only from a “direct effect” in a broad sense.. For these elements, the standstill obligation is the determining factor because it indicates the compatibility control realized at the “contentieux objectif” by authorizing the judges to compare the litigious norm with the right to culture as it is materialized in Belgian law. Even if the right to culture is defined as it is suggested in the doctoral thesis, it remains a weak right and its effectiveness is far from being confirmed. This a-typical and ambivalent right can only be subjected to legal rationality when permanent conceptual efforts to apprehend this right in a legal way are made. However, the situation isn’t hopeless for all. Firstly, the right to culture opens great possibilities to defend, at the legal and philosophical levels, cultural policies and ways to rethink the conflict between economic law and cultural policies and laws. Furthermore, in a more positive way, the right to culture opens up new ways to rebase and re-legitimate the public law on culture and the cultural policies. These policies could indeed, thanks to the substantial and procedural elements of the right to culture’s legal regime, get a new lease after being out of steam for a long time.

En el informe se presenta lo realizado en el desarrollo de Políticas Culturales (período 2010-2014) por parte de la Dirección Nacional de Cultura (Uruguay), principal institución en el desarrollo de políticas públicas en cultura a nivel nacional de dicho país.

Cette publication est le résultat d’un travail d’un an, dans le cadre du projet MARSAD (Mediterranean Action and Research for Sustainability And Developement), initié par l’association Racines, en partenariat avec : l’association “Notre culture d’abord“ (Tunisie), “ElMadina for performing and digital arts“ (Égypte) et “Me’zaf“ (Liban).

This publication is the outcome of a one year of work, within the framework of the project MARSAD (Mediterranean Action and Research for Sustainability and Development). The project is initiated by Racines, in partnership with : “Notre Culture d'Abord“ association (Tunisia), “ElMadina for performing and digital arts“ (Egypt) and “Me’zaf“ (Lebanon)


KEY FINDINGS
* The cultural value chain is rapidly being transformed from a pipeline-like configuration to a network model – and few countries have a strategy in place to deal with these changes.
* Very few countries have designed and implemented digital culture policies that go beyond initiatives undertaken to digitize or strengthen specific nodes of the value chain.
* In the Global South, despite the advantages resulting from mass adoption of mobile broadband, many countries lack infrastructure and are unable to consolidate a market for cultural goods and services in the digital environment.
* The volume of data circulating on the Internet is growing exponentially and revenues are also increasing. In 2016, digital revenues in the music market grew by 17.7%, driven by a sharp 60.4% increase in the share of streaming revenues. This was the first time that digital revenues made up 50% of the recorded music market.
* The public sector may entirely lose its agency on the creative scene if a targeted approach to address the rise and market concentration of large platforms or the monopoly on artificial intelligence is not adopted.
* A new type of relationship between the public sector, private companies and civil society that is based upon interactivity, collaboration and the co-construction of policy frameworks has not yet emerged.

O segundo volume da Coleção Cultura e Pensamento, voltado às Políticas culturais para as cidades, traz uma grande amplitude de enfoques e aponta para a complexidade que é pensar esses dois campos: as políticas culturais e as cidades. Os capítulos aqui apresentados tratam tanto de políticas locais setoriais quanto da observância reflexiva de políticas nacionais em suas interações federativas. Abordam impactos culturais da produção de espaços contemporâneos regidos pela lógica do empresariamento urbano que tende a gentrificar os territórios impactados por mega-eventos e/ou produzidos prioritariamente pela lógica da atratividade turística. Políticas municipais e a política nacional de cultura são objetos aqui analisados, em especial quanto a desdobramentos territoriais.

Pensar as cidades e as políticas culturais que lhes impactam, e também pensar as culturas e as políticas urbanas que lhes tensionam, ora potencializando-as, ora as inibindo ou quase inviabilizando suas diferentes práticas. Eis o que temos como uma preocupação fundante e fundamental: refletir sobre os territórios e as ações e políticas culturais – tanto as que lhes são levadas quanto as que deles mesmos se aflora.

ISBN: 978-85-232-1680-1

Organizadores: Fabio de Castro, Luiz Augusto F. Rodrigues e Renata Rocha

Textos presentes:

Apresentação - Cultura e pensamento para o Brasil atual, por Luana Vilutis / Antonio Albino Canelas Rubim
Prefácio - Incentivos à produção de conhecimento na área das políticas públicas de Cultura e da gestão: uma visada histórica das ações MinC, por Lia Calabre
Introdução - Entrelaces entre lugar e cultura: pensando políticas culturais para as cidades, por Fábio Fonseca de Castro / Luiz Augusto Fernandes Rodrigues / Renata Rocha
A renovação “urbano-cultural” no projeto Porto  Maravilha: matrizes mobilizadas na reinvenção da área, por Amanda Wanis / Fernanda Sánchez
Cidadania cultural e direito à cidade: as políticas culturais em São Paulo na gestão Fernando Haddad, por
Luciana Piazzon Barbosa Lima
Direito à cidade: estudo sobre as obras de requalificação no entorno do Espaço Cultural Barroquinha, Salvador-BA, por Ana Cecília Chaves Silva / Patricia Silva Dorneles / Marina Helena Chaves Silva
Tecendo aproximações entre políticas culturais e territórios urbanos, por Deborah Rebello Lima / Lilian Araripe Lustosa da Costa
Um carrossel de grandes novidades: a economia criativa do segmento de patrimônio e artes em Aracaju (SE), por Janaina Cardoso de Mello
O São João nos relatos dos festeiros tradicionais do município de Ladário-MS, por Daiane Lima dos Santos
O carimbó nunca morre: mídias e políticas públicas na Amazônia paraense, por Keyla Negrão / Eliana Bogéa / Rosilene Vieira
Processos de patrimonialização e políticas culturais: uma análise sobre as memórias da experiência da escravidão e da experiência quilombola na Comunidade Negra Rural do Alto do Caixão (Pelotas, RS), por Cristiane Bartz de Ávila / Maria de Fátima Bento Ribeiro / Ângela Mara Bento Ribeiro
Bibliotecas Parque do Rio de Janeiro: ingredientes de políticas culturais e urbanas, por Luiz Fernando Zugliani
Política cultural: uma proposta de abordagem metodológica para a pesquisa de avaliação de implementação na Amazônia brasileira , por Fátima Lucia Carrera Guedes Dantas
O livro pode ser acessado poderá ser acessado através no Repositório da UFBA.

The complexity of the Cuban historical context in the 1960s results widely known from the Cuban institutional
version and echoed by left-backed European and Latino-Americans. The reduction of the historical and cultural
knowledge from the country has permitted the emergence of gaps in areas of knowledge, as art history. The
official historiography’s chequered analysis with micro-history enables us to rethink cultural facts as the 1960s
marked were achieving in Havana of the French’s May Salon.

Culture and development are two words which have not always gone together, or been worked upon within the same context. In recent years however, we come across new elements, instruments and ideas which place increasing emphasis on this pair of concepts.
This publication Culture and Development. Evolution and Prospects is set within the growing interest in studying the various aspects which form part of development, promoting a global and integral understanding.

Este trabalho apresenta o contexto de surgimento, objetivos, etapas, aspectos metodológicos e resultados preliminares da 1ª etapa do “Mapeamento da Dança nas capitais brasileiras e no Distrito Federal”, pesquisa desenvolvida a partir de Termo de Cooperação Técnica entre a FUNARTE/MINC e a UFBA. O  Mapeamento visa a identificar agentes da dança (indivíduos, grupos e instituições) que atuam com formação e produção artística em dança e, em sua 1ª etapa, em fase de conclusão, abrangeu oito capitais brasileiras de cinco regiões: Sul (Curitiba), Sudeste (São Paulo e Rio de Janeiro), Centro-Oeste (Goiânia), Nordeste (Salvador, Recife e Fortaleza) e Norte (Belém).

The fragmentation of the capacities and resources for the development of management of the fortifications of the Maltese islands for cultural purposes has created an over-reliance on government funding and hindered economic development in the sector. Culture, a long time receiver of precious funds, needs to give its contribution to Europe's fledgling economies by consolidating its position and embracing innovation for greater growth. The development of a cultural network as an effort for sharing valuable capacities and assets in order to improve the sustainability and resilience of cultural organisations, is an exercise in management planning and springs forward from European-wide policies to promote co-operation and knowledge sharing. This dissertation presents a proposal for a Cultural Network for Fortifications, steps taken towards the selection of potential members, the development of a management plan, strategies to pursue and assigning project priorities. The projects proposed for the network are assessed for their feasibility and the benefits they impart to both the visitors and the service providers.

In an increasingly globalized and interconnected context, the need to rethink cultural policies - their design, implementation, evaluation and impact- becomes an imperative. From a local perspective (and therefore, closer to citizenship) new proposals and administrative experiences arise. In the case of Barcelona, the city’s executive supports and engages a network of alternative cultural spaces, -hybrids between production centers, research laboratories and training school on the artistic, social and political field- also known as Art Factories. They distinguish for being managed by third-sector associations, although they remain public, and much of their budget comes from the treasury. The question that hoves in the air is to what extent the 'factories' are isolated strongholds reserved only for a selected minority or are they really democratic agglutinating poles capable of canalizing deep social changes?

Key words: cultural policy, art factories, community empowering, new public management, Barcelona

Le 6 janvier 2014, un article 135bis a été inséré dans la Constitution belge. Il est rédigé comme suit : « Une loi adoptée à la majorité prévue à l'article 4, dernier alinéa, peut attribuer, pour la région bilingue de Bruxelles-Capitale, à la Région de Bruxelles-Capitale, des compétences non dévolues aux communautés dans les matières visées à l'article 127, § 1 er , alinéa premier, 1°, et, pour ce qui concerne ces matières, le 3°» 1 .