This dissertation analyzes the image of the city of Ilhéus, contrasting the official discourse of the image of Ilhéus by the Instagram profile of the Municipality of Ilhéus (@prefilheus) with the day-to-day vision of the city presented in the digital environment, by its residents, in the Instagram profile of Ilhéus da Depressão (@iosdadepre). Thus, the research had as its principle that the global pandemic period, in 2020, and as such an event boosted the use of the internet, making it even more influential in people's lives and, therefore, advantageous in the dissemination and promotion of tourist images on social media. There is the importance of this study for the area of communication that has become even more present in the social fabric, namely the urgency of adapting various tourist products and services to the internet and, therefore, social media were used as an important tool. for the promotion and dissemination of tourism marketing in cities. Using qualitative research based on the methodology of content analysis and semi-narrative analysis, and a time frame from 2017 to 2020, it aimed to understand the image portrayed of the city of Ilhéus by the speeches of the municipal government on the internet, in comparison with the vision of the residents about the city, based on the contents of the Instagram profile @prefilheus and @iosdadepre. The dissertation is presented in four chapters, and the introduction reveals the interest in research, professional experiences with an emphasis on the area of communication, the research proposal, objectives, research outline and methodological assumptions. Then, chapter 2, the theoretical paths are pointed out, based on a multidisciplinary basis, which underlie the work as a key concept, a place mark, detailing the city and discursive positioning in municipal plans. The third presents a brief analysis of communication, digital culture and tourism. In short, we note that there is a place brand produced by public management and received by its Internet users, but distinct from its general context/scenario, aiming at an exchange between circulation and the production of meanings

The research deals with the tourist potential of Cachoeira/BA, a city that makes up the Recôncavo of Bahia, aiming to establish possible dialogues between culture, tourism and the constituted power located in the city, in the period corresponding to the years 2016 to 2019. The research aims to observe the phenomenon Touristification through the triad: cultural management, media and civil society. To do so, it analyzes, in a comparative way, the interweaving of three discourses about the city, subdivided into the chapters of this dissertation, namely: 1. the discursive positioning of municipal public management about the city when analyzing the Laws, Culture Plans, Plan of Tourism, and the Cultural Policy Council; 2. The media narrative about Cachoeira, analyzed in reports from the portals A Tarde and Correio*, and, finally; 3. The discourses of local cultural agents based on semistructured interviews. In this sense, the methodological treatment adopted consists of a qualitative/quantitative study with discursive and content analysis of primary and secondary data, such as: documents of the city's public culture policy, interviews with city managers and civil society agents, in addition to articles from the newspapers already mentioned. The method of the semi-structured interviews was used in order to offer space to city dwellers trying to expand the listening place of this research. In order to understand the overlaps between the production chain of tourism, culture and communication in a multidisciplinary way, it is necessary to look at the tourist marketing produced in the city by municipal management, relating it to the concept of “cities goods". This is because it is controversial, as the research suggests, what is discursively produced in terms of cultural management of the city, of the media narrative as opposed to the city perceived by its inhabitants. 

This research aims to understand the perceptions of teachers of the Municipal Education Network of Salvador about coloniality and racism in order to discuss possible ways to build an anti-racist education. To achieve this goal, a mapping of subjectivities produced from the interaction with the idea of race and an analysis of the gaps in the school and curriculum in relation to the subalternized people from the territory of Salvador is carried out. After two decades since the promulgation of the first anti-racist law in Brazilian education - Law number 10.639 - the question arises about the actions taken to effectively apply this legislation in Salvador. Studies developed by the Ministry of Education and by civil society organizations show the challenges, the gaps and the non-application of the legislation in many school systems in Brazil. Based on this scenario, the question is: how does the coloniality of the curricula and the school impact the application of anti-racist legislation? In order to carry out this study, I established an in-depth dialog with nine teachers who work in the Municipal Education Network of Salvador, in different school units, in the early and final years of elementary school, through individual interviews, to access the identities produced and how they enunciate their differences, their epistemic perspectives about the curriculum, the school, and how they respond to the challenges they find for the construction of an anti-racist education in a context of coloniality. The data generated were analyzed in two macro-categories: racial narratives and pedagogical narratives. Finally, it is expected that this study will contributes to the emergence of an anti-racist education in the territory of Salvador. 

The present dissertation aims to produce an interpretative analysis of the utterances conveyed in the most different spaces by Soteropolitan Drag Queens about their demands for recognition of transformista art as dignified work, the formation of regional Drag identity and their political strategies of resistance. It is considered how the statements are the result of situational challenges and are presented as answers to some of the problems that make the reality of these artists, such as poor remuneration, the undertakings of state and market devices for the subjectivation of bodies according to the heteronorma, the capture and standardization of art by the mainstream media and the policies of a government that deteriorated political institutions in the midst of the covid-19 pandemic. To this end, queer theory theorists such as Leandro Colling and Paul Preciado are used to support the debate on the political potential of dissident bodies, as well as the debates on recognition and redistribution between Axel Honneth and Nacncy Fraser to analyze the meanings attributed to the struggle for artists. The methodology is a creative effort to build a cartography that works the convergence between digital and face-to-face, in which, through the tracking of the lines of forces in the virtual and physical platforms, it becomes possible to assemble a unit of meaning of their speeches.

This paper aims to analyze one of the most burning topics of our time, the sexuality policies in Christian institutions. To do so, it is based on the case study of Pinheiro Baptist Church (Maceió/AL), which, in 2016, approved the proposal of its director to accept homosexual members, with equal rights as others. This decision led this church to a process of exclusion from the Brazilian Baptist Convention, an important entity representing this religious group. The study analyzes the controversy by observing how the principles of freedom put the two institutions in conflict, the principles of freedom that guide the Baptist denomination and characterize its internal diversity, as the local church autonomy in its decision, free understanding of the bible, religious liberty, freedom of conscience. 

This dissertation observes the emergence of Festa do Candeeiro, at the county of Sítio do Mato, Bahia.This party was created by João Gabriel Moreira, after his family migrated from São Paulo to Bahia in the seventies. I try to understand, based on cartographic research, the influence of Festa do Candeeiro and its main development, the Culture Point Casa Candeeiro do Oeste, in the culture of Sítio do Mato and in Moreira's family history. The research covers the historical period from 1979 to 2023, and part of a non-linear time perspective, in view of the wide time frame, and the comings and goings that were necessary throughout the writing. I also seek to contextualize the emergence, location and territorial extension of Sítio do Mato. In this observation about the history of Sítio do Mato, I reflect on other political and social crossings that directly or indirectly influenced the cultural, political and identity formation of the municipality, which has its first historical records dating from the middle of the 19th century, when the west of Bahia was still Pernambuco territory. 

This research aims to investigate new forms of art censorship in contemporary Brazil, taking as object of study the show The Gospel According to Jesus, Queen of Heaven. The case study methodology is applied to understand the subjects of censorship, as well as the arguments and procedures used to prohibit the presentation and restrict the circulation of the artistic work. Seeking to address the limits of freedom of artistic and cultural expression and question the contemporary understanding of censorship, this dissertation was structured into three chapters. In the first two, through bibliographical and documentary research, an analysis of freedom of expression and investigation of the concept of censorship are developed, considering the Brazilian sociopolitical context after the impeachment of Dilma Rousseff. The third chapter presents the case study of the theatrical play, considered representative of the acts of censorship of post-2016 artistic manifestations, highlighting legal actions, virtual attacks, and interviews with its directors. 

This dissertation aims to analyze the trajectory, perspectives, and actions of the National Forum of Secretaries and State Cultural Leaders, as well as how the political participation of this entity was characterized in the decision-making process of the Aldir Blanc Law. It explores aspects related to the agenda, formulation of proposals, and their implementation, along with the political engagements that took place during the legislative process leading to the promulgation of said law. From this perspective, this work employs theoretical frameworks from political science and public policy analysis, focusing on the agenda and drafting of the Aldir Blanc Cultural Emergency Law. Faced with the chaos exacerbated by the pandemic and the federal institutional neglect in the cultural sector, the National Forum of Secretaries and State Cultural Leaders played a crucial role in combating such negligence, advocating essential ideas for the development of cultural policies. Between 2020 and 2022, the institution had a prominent role concerning the Aldir Blanc Law, which proclaims emergency actions for the Brazilian cultural sector in response to the Covid-19 pandemic. Based on the above, this study provides an analysis of the performance of the National Forum of Secretaries and State Cultural Leaders, highlighting its impact and contribution to the cultural landscape in Brazil during a period of unprecedented challenges. 

This paper aims to present a self-reflection on the conformation of the mise-en-
scène in the documentary A vida de São Jorge, filmed by this documentarian-
researcher, with the intention of describing, through the examination of its camera-
images in movement, how encounters experienced in a take happened in the film,

during the shooting. Through the analysis of the body-media that shows-off and invents
itself for the camera, its interactions, attitudes and postures, the intention is to make the
singularity of the encounter experienced with the Other emerge, in the “game”
stablished in the moments of take, resorting to a descriptive approach with
ethnoscenological nature of actions and expressions of the people on the scene, both the
documentarian and the people filmed, in the camera shot. Based on the studies of
theorists such as Jean-Louis Comolli (2008), about the relationship between cinema and

encounter, Claudine de France (1998) and Deleuze (2005), about profilmia and self-
mise-en-scène, Armindo Bião (2007) and Jean-Marie Pradier (1999), regarding the

spectacular rites, and Paul Zumthor (2005; 2007; 2010), about the performance
vocality, the aims is to describe “the other filmed” in their ways of fabling and offering
themselves to the camera and to the documentarian in a take, highlighting, in this case,
the spectacular body practices of the playing mediums from São Jorge Umbanda yard
and their relationship, in the filmed camera shot, with the art, the ritual and the sacred.
This researcher intended to observe, in the process of assembling the images, his own
work as a documentarian, both in the camera shot and the space behind the camera,
through the processes of meaning production operated during the filmmaking, either
intentionally or not, seeking to document the conflict “between the one who films and
the one who is filmed”; action and expression in the take would be, for Fernão Pessoa
Ramos (2008), the documentary acting essence, named in this paper as the “encounter
mise-en- scène”. The filmed images represent vestiges. When producing the records and
after organizing them in the editing process, the documentary ended up covering the

construction of a memory of the artistic and spiritual ritual of that already lost space-
territory because, due to the House Ialorixá’s death, in 2020, the festivity ceased to

exist. As a filmed memory, A vida de São Jorge presents the spectator a culture of
resistance and its symbols, through images of excluded people and their speeches –
“behaviors that are unreplaceable and that cannot be reproduced” (RAMOS, 2016, p. 8),
except through the technical reproducibility inherent to the filmed image – with the
intention of contributing to fight the disappearance of peripheral existences in the
spaces of power, imposed by the hegemonic discourse, putting them as the protagonists
of their own stories.

This thesis has as its main axis to point out how the practice of Visual Arts
contributes to wonder the historical archives. By crossing an analysis of artistic
poetics, body memories, collective narratives and unraveling works of art, the text
reveals how the archives related to the Afro-Brazilian populations tell us an official
history, at the same time that - when investigated with more complexity and
bringing observations from subaltern knowledges - testify against this same view
now taken as the only truth. Written through essays, the thesis brings in each of
its parts specific episodes that serve as a backdrop for an investigation into the
links between art, archives and history. Following a path that weaves together
personal narratives with collective backgrounds, the text originates the writing of
an artist-researcher – who takes advantage of these two different positions to
promote different flows between artistic and academic production. The thesis
draws on references that permeate the fields of Visual Arts, History, black
intellectual production and activism and decolonial studies in an attempt to
establish interdisciplinarity as a way to resolve issues related to the right to
memory and racism structural. The author asks what comes to the fore when the
Visual Arts cross the walls of institutionalized spaces and begin to walk the paths
of history production, scrutinizing which other archives could be analyzed so that
we do not have, even today, an exclusive official history.

This research project aims to observe the production of meaning of the Pilgrimages of the Sanctuary of Bom Jesus da Lapa through the strategies of visibility of the city and its brand place - tourism bias - as opposed to local narratives from the reports of those (as) who experience the city. It is also possible to map the elements that make up the construction of the planning process of the Pilgrimages of Bom Jesus da Lapa taking into account the cultural aspects in their religious and economic aspects as well as analyze the cultural aspects in their aspects economic, symbolic and identity involved in the Pilgrimages, especially the Novenário and Bom Jesus da Lapa Festival that takes place in August, in the perspective of the Organizing Committee of the Festival. An ethnographic study was carried out, at first, with walks through the historic center of Bom Jesus da Lapa, a region that is located in the Sanctuary of Bom Jesus da Lapa and that underwent urban transformations between 2019 and 2021. These wanderings had as inspiration the interpretative anthropology proposed by Geertz (1989) beyond its dense culture, as well as the gaze of a flâneur, proposed by Benjamin (1994) and Jacques (2012). Then, during the Novenary and Feast of Bom Jesus da Lapa, indepth interview with pilgrims, tourists and street vendors. Then, during the months of September 2022 and June 2023, traders, residents, members of the municipal government were interviewed (Municipal Culture Coordinator, Municipal Secretary of Culture and Tourism, Communication Advisor of the City Hall and Municipal Mayor), members of the Shrine (Rector and Communication Advisor) as also partner owner of the Advertising Agency that has the account of the Municipality of Bom Jesus da Lapa. The analysis of the interviews were made in Atlas.ti is a software for qualitative data analysis developed in 1989 by Thomas Muhr, in Germany, with the theoretical contribution of discourse analysis from the perspective of Maingueneau (2002), Charaudeau and Maingueneau (2004) and Fairclough (2016) as well as in the conception of backstage and facade in the representations of everyday life proposed by Goffman (1985). On the façade of the show (The Pilgrimage) the municipal government helps to make the event happen in the best possible way, which is visible through the urban changes that happened in the city in 2020 and all the logistics that the event requires. In this interaction between Shrine and City Hall, the perception of those who live the Pilgrimage is that the city, since 2022, with the return of attendance at the party, became more modern and receptive, both for those who arrive and also for those who live in it. Thus, the results point to unveil the senses and meanings of the brand place: Bom Jesus da Lapa - Bahian capital of faith, both for its residents and merchants as well as for pilgrims and tourists and reaffirm that the city, a hieropolis, can be considered the Bahian capital of faith. 

I Brazil’s cultural diplomacy in contemporary times is faced with a central dilemma: to overcome internal obstacles that generate international self-blockades. Based on this reading, this doctoral research was developed from the following questions: how has the cultural diplomacy of the Federative Republic of Brazil been carried out today? What is the State’s discourse on its performance in this field/strand of national foreign policy? These questions unfold in the research problem that is the limited and non-coherent understanding on the part of the Brazilian State with regard to the reality of the 21st century. This assertion is justified because access to the means of production of cultural content – based on textual, audiovisual, imagery and sound discourses – has favored clashes of symbolic order, which implies in constant disputes between social actors for the definition of the political sphere. This motivated the identification of the hypothesis: to prove that it is possible to insert a new look at cultural diplomacy that would come to be seen and worked on as a strategic element of the power politics of States because it is, in its nature, an international policy that goes beyond traditional methods hitherto applied: simple symbolic-persuasive support to the foreign policy of countries in a perspective of instrumentalization of culture. To transform this interpretation into an academic text, we worked based on the following research elements: (a) population and sample – the corpus of analysis; (b) data collection – sources for six analyses present throughout the thesis: bibliographical, documental, discursive, informational, conceptual and imagery; (c) methods of analysis – relating to eight types: mappings, comparisons, schematizations, discourses, social networks, websites and blogs, journalistic texts and information in general; (d) statistical techniques – mainly for the generation of tables, frames and graphs; (e) theoretical framework – mainly through contributions from Michel Foucault, but also from other sources, depending on the argumentative necessity of the debate that developed throughout the writing. The discussion of the results indicates, therefore, that there is difficulty in building public policy for cultural diplomacy because, above all, of the instability and polarization that Brazil has undergone, motivated by national and international elites who have not accepted – and perhaps still do not accept – the fact that political forces of popular base entered democratically into the powers of the State – which strengthened the emergence of the discourse of the extreme right in the political-cultural field. Therefore, this investigative path allows me to defend the following thesis: although the ideological-cultural war of the Bolsonaro government has had hegemonic force in foreign policy, and in all actions at home, the cultural field has not succumbed: the approval of the Aldir Blanc Law, from the collective work between society and most of Parliament, allowed cultural production to be carried out in all geographic regions of the country with direct investment from the Union; at the international level, the bicentenary of Brazil’s independence was celebrated and Itamaraty created the Guimarães Rosa Institute. However, the Lula 3 government has the challenge of facing internal obstacles, such as the elitist vision of what it is and the way in which Brazilian cultural diplomacy is thought and done. 

What is the power of american pop culture in subjectivation of brazilian gays and queers? In this autoethnography, or auto performative writing, I analyze the construction of my queer, contemporary, soteropolitan identity, crossed by pop phenomena of 2000 and 2010, specially divas pop mainstrean american music of this period. Leaning over the culture and the drag queen making through the research, having the divas Lady Gaga and Madonna as main references, I sought to understand, in several levels, the meanings of belonging to the LGBTQIA+, the social dynamics of this identitary group, the relation of expenditure versus “gay culture”, the power of the midia’s subjectivation around those identities, the females represetations in midia, as well as the power of affectation of those images in the drag universe. Still on this work I reflect about the relations between life and art and art and expenditure; I describe and analyze my performance as a american diva pop drag queen, AZVDO, in addition to socially localize myself, understanding my speech places, also from the identity of non-binary queer I am today. Here I still approach in a post-structuralist, intersectional and non-academic vision, questions related to gender, sexuality and race social standards, amongst other markers, denouncing some of the oppression suffered by dissident bodies and also showing some of the ways we have managed to transgress these norms. This work is but a fragment of my eternal search for what builds me, for what I have been and for the meaning of my life. 

This work is the result of an autoethnography developed from the junction of two distinct paths, namely, a professional path in design and a religious path in candomblé. Its fundamental scope is to open paths, from the cosmological perspectives of axé, for a thought in design that overcomes the hylomorphic imperative of its modern tradition. There are, in all, three general sections. The first situates design as a characteristically modern poetry of objective realization, either because it relies on the rationalist principles of classical science, or because it operates under the metaphysical regime of separation between mind and matter. The second dives into experiences of a religious nature lived with stones with the intention of recognizing relational aspects between person and matter that escape the material inertia presumed by hylomorphism and the ways of agency related to matter forged by studies in material culture. The third takes an ebó and compares it to the modern object, breaking down some central aspects of design – such as project, material, form and function – to reinterpret them based on candomblé cosmologies. Finally, this work puts into dispute the cross between design and macumba to claim a conceptual revision that considers a thought in design that emerges from the terreiro cultures and not exclusively from the modern civilizational paradigm.

This “teia-tese” is a work made with layers and dialogue. The crossroads was adopted as a conceptual provider to observe how youths act politically, producing art and communication in the working-class suburbs of Salvador (Bahia, Brazil) and Cali (Valle Del Cauca, Colombia). After an initial mapping 173 collectives (127 in Salvador and 46 in Cali) were identified, 28 of which were followed in this research. Together, we organized a participatory research group. From dialogues (talks, writing workshops, virtual exchanges, etc.) the research hypothesis was consolidated, as well as the question that began to guide this “WebDissertation”: Using their artistic productions as tactics and protest, are the group of young people from the suburbs of Salvador and Cali producing knowledge capable of contribute to the emancipation processes of their territories? Would this process lead in the direction of an epistemology of the suburbs? To open this discussion, I found support in the interactions with the young groups and, additionally, in “Epistemologias do Sul” (SANTOS, 1989; 2017), in “Movimento Negro Educador” (GOMES, 2017), in “Pedagogia das Encruzilhadas” (RUFINO, 2018; 2019) and in “Letramentos de Reexistência” (SOUZA, 2011). The challenge was to observe the epistemes that stress a so-called “single epistemology”. I connected the youth experiences with the aim of identifying recurrences between their practices and productions and, from these, to observe convergences (not the equivalences, since this is not a comparative study). The identified convergences are related, therefore, to the ethical-aesthetic basis that supports what I call emancipating cultural push, configuring the possible epistemology of the suburbs. I noted that these “youths in movement” organize themselves having art and communication as pedagogical foundation, their ancestry as compass, their territory as anchor and the bet in the communal element as a catalyst for action. Through the political use of words, these youth elaborate epistemic bypasses: collective tactics that aim to give a new meaning to the stigmatized imaginary. This knowledge production that occurs under tension, in a constant negotiation with the establishment, finds support in the Afro-diasporic cosmovision. The construction of a community sense allows the initiatives to promote a continuous process of self-formation and peer-formation that, in turn, is related to a movement to defend the territory and the life that inhabit it. With their actions and artistic and communication productions, more than resisting, they are challenging different canons, remaking questions and pressuring what is conventionally called legitimate knowledge.

This study analyzes the shared and collaborative management that occurs in the three CEU squares located in the city of Feira de Santana, Bahia, from two conceptual keys - diversity and social participation. The program Praça CEU - Centro de Artes e Esportes Unificados - is a federal government initiative, executed in partnership with municipal governments, which houses actions aimed at promoting culture, sports, leisure, social assistance, and labor qualification and improvement. The program was conceived to be managed, at the governmental level, in an intersectorial way and, at the local level, in a shared way with civil society, based on a tripartite management group composed of residents, entities and local government, with deliberative power. Thus, the objective of the research was to analyze the effectiveness and applicability of the proposed management model and, above all, to verify to what extent the discourses of social participation and cultural diversity are or are not materialized in the researched squares. The methodological strategy included a bibliographic survey about the conceptual keys and about the program; interviews were also carried out with federal and municipal managers, as well as representatives of the management groups, in addition to field work. In general terms, the research found that among the main mistakes and weaknesses of the program in the city of Feira de Santana are the superficial operationalization of intersectoriality and the failure to achieve a truly deliberative participation, as proposed. As for the main achievements and impacts caused by the implementation of the squares, the most noteworthy are the feeling of belonging generated in the community and the offer of varied activities, with a certain regularity and systematicity, in the areas of culture, sports and assistance. 

The present work proposes a study concerned in particular forms of expression of the identity of the Maxakali indigenous people (Tikmũ’ũn) occurring in its filmography, having as an analysis scope the film Caçando Capivara - Kuxakuk Xak (2009) . More precisely, the text seeks to observe in this realization the appearance of evidence that can provide tangible subsidies for a proposed interface between worldview and cinema. For that matter, it is dedicated to analyze the highlights of extrafield and ante-field in the film as a method to identify these signs, considering these moments as aesthetic and narrative movements for a cinematographic translation of the way of life of these people. For this purpose, the text seeks initially to present a historical overview about the representation of indigenous people in Brazilian cinema to reflect later on a parallel between creative and inventive processes associated, on the one hand, with cultures of Western social and historical heritage, and on the other, with societies of traditional cultures, such as those of indigenous people. In a second moment, the work is dedicated to build a thought committed to a multinaturalist interpretation of the maxakali worldview, from the analyzed film, in order to confront it with the idea of a translation of this culture to the cinema, starting from new ways of reading the audiovisual language, born from the encounter between these two symbolic fields. Finally, the work seeks to focus on Caçando capivara in order to show from a detailed analysis the means and evidence that lead to the proposal of the occurrence of an interface between the maxakali consmovision and the language of cinema in the observed film.

This dissertation aims to identify the sociocultural and economic aspects, as well as the creational, political and economic management experiences, at the terreiro communities part of the organization of the Bembé do Mercado celebration, placed in the city of Santo Amaro, in the coutryside of Bahia state, a region also known as Recôncavo da Bahia. For that, initially a review of the academic literature was carried out, from the application of the Proknow-C method (ENSSLIN et al., 2010), in order to collect and present the state of the art related to the themes of the studies of the Economy of the Festival and the Bembé do Mercado celebration. After that, the research was applied on site, enabling the mapping and categorizing of the circulation and commercialization of goods and services from the terreiros that are part of Bembé do Mercado celebration, also identifying the main challenges and opportunities for the party's holders. Finally, this research places Bembé do Mercado celebration in the scope of the Brazilian and Bahian cultural and creative economy, in order to contribute to the stimulation and expansion of ethnic-racial discussion in the scope of cultural public policies that goals the African-based religious communities in the Recôncavo da Bahia.

The work discusses the emergence and urgency of a cultural management more committed to social transformation, considering the current Brazilian context. The object of this study is the phenomenon of black aquilombamento, understood as an ancestral technology of social organization and cultural production. Based on the understanding that we live in a historical moment of narrative disputes, cultural clashes and identity assertions, the aim was to reflect on the role played by culture today as well as on how cultural management can operate in the deconstruction of dominant social structures and in the creation of other possibilities for existence, in order to respond to emerging social demands. Considering existing convergences in post-colonial, decolonial theoretical-methodological perspectives and in contemporary black radical thought, I also highlight three experiences of aquilombamento in the field of scenic arts in Salvador-BA, analyzing them from the perspective of a political action and from the perspective of a insurgente and engaged cultural management practice.

This thesis predicts on how human's need to think, investigate and sample contemporary photography from three artists and six photographic work by each one of them exposed during the the 3rd Bahia Biennial, which took place in 2014. They are: Giselle Beiguelman (SP) – Beleza Convulsiva Tropical, site specific multimedia installation (Moss Grafite, audiobook and print), 2014; Eustáquio Neves (MG) – Jogos e Costumes, livro de artista, photography and text, 2014 and Ícaro Lira (CE) – Desterro: expedição etnográfica de ficção, book, 2014. This research presents an deep review on the visibility regimes of photography in contemporary art and enunciation systems that figured the conditions for the existence, creation and probate of photography in art as a symptom of the changes that have been occurring in the experience of the photographic in the space-time relationship. Limitation is justified by the triad that reflected photography as: experience, event and body. Three pillars of the triad that form the meaning of the contamination-ruin guiding concepts. It was also our interest to identify how artistic and imagery expressions provide sensitive experiences in society, strengthening culture and considering the changes that have occurred in photography in contemporary art. It adopted a mixed methodology, with an exploratory character, of analytical and interpretative approaches involving conceptual matrices derived from the theory of culture, photography, the arts, communication and visual culture.

This thesis analyzes Brazilian teledramaturgy works that have as their theme the Italian immigration to Brazil between the end of the 19th century and the beginning of the 20th. We chose three works: Anarquistas, Graças a Deus, Colônia Cecília and Terra Nostra. The miniseries Anarquistas, Graças a Deus was aired by Rede Globo, in 1984; the miniseries Colônia Cecília by Rede Bandeirantes, in 1989 and the telenovela Terra Nostra by Rede Globo, at the end of 1999. The period in which the study is delimited is focused between the first half of the 1980s and the end of the 1990s. From the 1980s onwards, when Brazil was experiencing the last years of the military dictatorship, the discussion on cultural policy reinvigorated the theme of identity and Brazilianness. At that time, the penetration of television is unparalleled and the acquisition of sets is widespread in all social strata. In this way, television becomes a vehicle with wide reach and easy access. Within the Brazilian television universe, teledramaturgy is highlighted as a narrative that is part of the process of building a national identity. In this sense, it constitutes a fertile space for reading the way in which, over the years, television has been promoting the representation of identity issues. Indeed, the aim of this thesis is to investigate the narrative of the construction of the image of the Italian immigrant. The discussion is guided through multiple perspectives, to analyze how teledramaturgy generates an Imaginary, through the social representation of the Italian immigrant. We investigate how his historical reality was used and reconfigured on screen, dealing with social and political elements, in different historical contexts. From this perspective, we discuss about some topics of images of Italian immigrants; how the discourse is structured and differentiated within the narrative of the three works, in order to verify to what extent they generate, reinforce (or not) a type of social imaginary and/or a stereotyped view regarding the representation of issues such as nation, gender and ethnicity. These allow a multiple analysis and help us to also reflect on the concept of migration, with a broad historical bibliographic review on the italian immigrant and dealing with the potential of a tool like TV, which allows us to go through the dramaturgical production about Italianity in Brazil. Therefore, the role of TV in Brazilian society is reconstructed in the 1980s, a historical time when the cultural industry intended to value the synthesis of a Brazilian "hybrid culture", and in the 1990s when, for 500 years of Brazil, as a milestone from that commemoration, the soap opera Terra Nostra was conceived and produced. Linked to this research are theoretical discussions and a rich historical and documentary record, enriched with several interviews. The thesis, therefore, aims to analyze this and other aspects, in order to verify how the narrative and representation of the Italian immigrant took place in the three works.

This thesis is the result of reflections around the displacement and movement of bodies
blacks in the diaspora, due to the historical fact of African dispersion in the world
caused by the invention of the notion of races, the dehumanization and sequestration of
million men and women from the African continent deported to the Caribbean,
North and South America. Since the establishment of this pathological project of the
European and white colonization, this movement has never ceased, despite attempts
multiple and repeated epistemicides on non-white bodies. Besides the unique dimension
geographic, important to understanding the idea of travel, reflection is
also grounded in an emotional perspective of the author's 'dark time' as
black afrodiasporic ‘corpoexperience’, capable of producing knowledge
intellectual values that can be defended within institutions of power such as the University,
reproduction of structural violence characteristic of 'whiteness'. From the
migratory trajectory of his family from Benin to France, which he describes as
'turméRICHE/RIQUE', the researcher, a black man born in France 41 years ago, and immigrated to
Brazil, in Salvador da Bahia for about ten years, operates technologies of
research such as 'l'escrevivência' (junction of the verb 'to write' and the noun 'lived' in
Portuguese) of Conceição Evaristo as a powerful epistemological assembly
to reflect on the contours and effects of black racialization on bodies
similar to his, as is the violence of structural racism in societies
Western. The experience of travel and its share of hazards, as well as life stories
other people, who have all crossed his path, have become events
important to analyze this 'black body in the world'. In this intimate conversation at the
first person, the author seeks to open a discussion so that black people,
regardless of their gender, sexualities, spirituality, social class, give themselves the right to
to enjoy their 'núdòwá(s)', i.e. to trigger '(re)inventions', 'becoming-afros' and
'reexistences' to extricate oneself from the hermetic social construction of 'race'.

The body of young elderly women in contemporary Brazilian culture is considered a distinctive capital to be conquered. In this process, the discourse about perfect health, the practice of physical activity, the performance of functional training, fashion, the use of nutritional products, dietary practices, the use of pharmaceutical products, hormonal replacements, the performance of aesthetic procedures and surgical, quality of life and longevity incorporate meanings of youth, strength, beauty, physical appearance, esthetics, youthfulness and rejuvenation of bodies. Based on these assumptions, this thesis aims to understand the processes of construction of social representations of the bodies of young elderly women (aged between 60 and 75 years), as a redefinition of their cultural identity. This research investigates the social representations of seven young elderly women about their bodies. The methodology used for this study was ethnography, with emphasis on qualitative research. We use the following resources, methods, techniques and tools: formal conversations, ethnographic observation, participant observation, individual interviews, in-depth interviews and questionnaires, structured and semi-structured interviews, field diary, questionnaires with open and closed questions, the audio resource of cell phone called “Voice Recording”, phone calls and also WhatsApp and Google Meet applications. As a result, the investigation reveals that bodily practices, fashion, proper nutrition, dietary re-education, the use of anti-aging cosmetics and all body culture from the ethnographic observations, narratives and analyzes undertaken in our study allow us to state that the ways and lifestyles of the culture of the body, in Brazil, adopted by these elderly young women in contemporary culture are marked by a logic of consumption. The social representations of their bodies in youth are understood under the following aspects: visibility, beauty, youth, physical well-being, health, absence of disease, vanity, strength, joy, the game of seduction , thinness and extreme concern with physical appearance. The social representations and identities that young elderly women have of the bodies in aging bring out experiences related to the emergence of diseases, physical dependence, care for existing diseases, lack of sex, lack of sexual appetite, lack of sensuality and lack of visibility. Young elderly women believe that, in old age, they have an “old phobia” body. All the elderly women showed resignation with the body in the process of aging, however, from the point of view of gain, none reported that they prefer the body of today, the old body, to the young body of the past.

This thesis investigates how Placar magazine produced and reproduced meanings of national identity through publications about the male Brazilian soccer teams that participated in the 1970, 74, 78 and 82 cups. in sports, football, world championships and Brazilianness, the notions of football-art, homeland of football boots and the country of soccer, understood as enunciations. They appeared as discursive elements ritualistically appropriated, at each quadrennium, by the communication vehicle, to affirm and reaffirm the ball game as a representation of Brazilian nationality, while they were used as instruments by which the subjects who wrote the journal positioned themselves politically, inside and outside the sports field, and disputed views of the world in the different situations that marked the dictatorship. The interpretations of written texts (editorials, articles and reports) published in Placar were prioritized, without losing sight of their relationship with other languages present in the magazine (images, cartoons), given the polysemic character that constituted the weekly as the most consumed space for media in Brazil in those times.

This master's thesis is based on the elaboration of a critical cultural analysis, aligned with the scientific methodology of the theoretical discipline called content analysis, about the comments of readers published in the letters section of Rolling Stone Brazil magazine, entitled Messages of Love & Hate. With such a qualitative analysis, we sought to understand, as a work issue, the different positions taken during the period: July to October 2016, in which the magazine published a special series commemorating its ten years. The analysis was initially constructed by a contextual approach to Rolling Stone magazine in the United States, as well as in Brazil (in its two distinct phases). From categories such as: pop music, popular music, pop culture, popular culture, aesthetic cosmopolitanism, distinction and value(s), others thought during the verification of the distinct comments of the readers regarding the editorial coverage (musical/cultural) of this In this publication, a conceptual approach was also performed as a further analysis proposal in order to provide a better understanding of the issues that were addressed in this research.

This research comes to understand the importance of the Center for Reflection and Interdisciplinary Studies for the Teaching of Arts - CRIA - of the Colégio Estadual Landulfo Alves, located next to the fair of São Joaquim, Calçada in the city of Salvador / BA. When analyzing its characteristics, such as interdisciplinarity, analysis and teaching of the Arts, the affective relationships between teachers and students. Confirming the differential of this place, the narrative memories / oral histories of fourteen participating students will reverberate through the Stimulus Package proposed by Beatriz Cabral (2006) methodologically. A Chest of Memories with objects that refer to the universe of the Era Vargas show will be delivered to each one separately; in addition to individual interviews with the interviewees and also five teachers. Therefore, to understand the symbolic power that “chests” have for cultural studies of memory, and from that, the thoughts of authors Aleida Assmann (2011) and Jan Assmann (2008) will be used. Noting the importance of objects for remembering. In the phenomenological field, memory will be approached by the philosophical principles of Henri Bergosn (1999) with spontaneous and learned memory; perceptions through Paul Ricouer (2007); collective memory with Maurice Halbwachs (2003) and forgetfulness with Michael Pollak (1989). To investigate with the rhizomatic concept conceived by Deleuze and Guattarri (1995) what was the space and surroundings in which the Oscar Cordeiro Multiple Center would become in the future. Reflect the place loaded with affection with the teachings of Yi Fu Tuan (1983). Conclude how CRIA and its workshops reverberated in the lives of these subjects, both in their social and professional choices. And confirm how that environment was soaked with affections attributed by the subjects who passed by and how they keep them in their own Memory Boxes.

This Master's dissertation consists of an analysis (much more poetic than musical) of two albums that Caetano Veloso recorded in exile: The first album is Caetano Veloso from 1971 and the second album is Transa from 1972. I chose this period, because in the midst of suffering, agony and revolt, Caetano manages to produce two completely different records and this has always caught my attention. I analyze two songs from each album: from the 1971 album, I analyze the songs London, London and Asa Branca; from the 1972 album, I analyze the songs You don’t know me and It’s a long way. Songs that reflect the feeling of those who are far from everything they love. This dissertation starts from my musical memories about the life and work of Caetano Veloso. I could see, during the writing of this work, that my life was, and is, “stitched” on Caetano's Work. I dialogue, in an interdisciplinary way, with theorists who helped me analyze periods such as: the military dictatorship, anthropophagy, tropicalism, music festivals and important records, which marked Caetano's career. I tell a little about this trajectory of the Bahian, of Santo Amaro da Purificação (before, during and after exile). I also tell a little of my story with my father, since he was my first guitar teacher, a great musical supporter and who introduced me to the work of Caetano Veloso. Writing this dissertation made me unearth moments that were asleep in my memory, directly affecting my emotion. Moments of pleasure, moments of pain, moments of longing. I hope, with this work, to be able to contribute and encourage (mainly) young people, so that they get to know a little more about the life and work of one of the greatest Brazilian composers today.

This dissertation aims to study the political participation triggered by the activism of the four editions of the National Forum of Black Performance - 2005, 2006, 2009 and 2015 - identifying the demands listed in the period from 2005 to 2015 and how these contributed to the debate on the absence of affirmative policies within the Ministry of Culture. To this end, documentary research was carried out in the Forum's archives, through the full transcripts of all editions, photos and journalistic articles. The documents provided by the Federal Government, through the Transparency Portal, were also used, such as the Work Plan, Execution and Evaluation Report and Budget allocation worksheet. In addition, a semi - structured interview was conducted with the creator of the movement. The central categories are launched, in this work, to think about the relationship between structural racism, black activism, triggered by participation and the dispute for inclusive narratives in a democratic dimension. The event was born out of the concern of two Brazilian theater companies, Bando de Teatro Olodum and Rio de Janeiro Companhia dos Comuns, who denounced the state's silence regarding affirmative policies in the cultural sphere. It is from this movement, driven by an art with a strong identity mark and political reflection that the concerns flourish, unfolding and materializing in the format of this collective action movement. The Forum, after four editions, consolidates itself as a political space of activism and resistance, surpassing the strictly aesthetic and performance debate, having as its starting point a reflection on the socio-racial dimension, which permeates the exclusion and physical and symbolic violence that black population continues to be subjected. With the expansion of the definition of the term culture, which began in the post-war period and was incorporated into Brazilian public policies in recent years, it was possible for the emergence of cultural movements demanding a more inclusive cultural policy that represents the country's diversity, such as the National Black Performance Forum.

This work analyzes the ways in which four non-heterosexual and black students experience the school environment from the markers of race and sexuality. The search was held with students and former students of Colégio Estadual Bolivar Santana who, through interviews, reported their experiences in the teaching environment and outside the institution's walls. The analyzes presented here were carried out in the light of gender, race and sexuality studies. from an intersectional perspective. The investigation points out violence suffered by the informants in the school environment and, mainly, the resignifications and forms of coping they adopted. In this sense, the relationships established with other people who share similar experiences and art played great relevance to face homophobia and racism.

In Brazil, the field of fostering culture was thought by and for an elite,
representative of certain expressions of culture. From 2003, with the
Gilberto Gil's management at the head of Minc, the challenge was raised to make the promotion of
culture, its procedures and practices, a means for the promotion of Citizenship
Cultural to a diversity of Brazilian cultural agents. This scenario highlighted the
the need for the formulation of democratic culture promotion instruments.
This research investigated the formulations and the results of the Notice ―Calendar of
Artes‖, carried out by the Cultural Foundation of the State of Bahia - FUNCEB, among the
years 2012 and 2014. From the notion of Cultural Citizenship, and using methods
quantitative and qualitative aspects, territories, municipalities, people and
the cultural actions contemplated by him.

This dissertation presents a discussion on the presence and participation of women in the musical production chain, highlighting three artists from Bahian independent music and the relevance of each one of them and their productions to the local and national independent music scene. For this, the trajectories of the chosen singers - Josyara, Livia Nery and Luedji Luna, were taken as references to understand the relationships that have been established between genre and music in an independent production scenario. It observed the beginning of the relationship of both with music, the formation of their careers - considering the conjuncture of cultural policies experienced by the three, and also observed the discs released by each one, which gave them prominence in the Bahian and national scenarios. The research made it evident that the greater female presence in music has led to the weakening of power relations that are established against women, and how the expansion of that presence has been crucial both to rescue and to boost invisible narratives. The discussion made in this work was guided by a feminist perspective on music, understanding it as a social practice that is localized and embodied. The notion of independent artist adopted here includes those and those who develop the stages of the music production chain in an autonomous way in relation to the phonographic industry conglomerates that, historically, have maintained control over the worldwide musical production and distribution.

The present work aims to analyze the community-based cultural practices and manifestations organized by the traditional community of shellfish gatherers and fishermen in Matarandiba, Bahia, located on the coast of Itaparica Island. Through the analysis 12 cultural practices and expressions, we sought to understand how the community uses these practices to collectively reaffirm and empower itself, building solutions for realities that threaten its existence. In this sense, the cultural conceptions and actions of the community are taken as symbolic devices that reveal cultural routines and the impacts experienced from collective action. The perception of the facts was being built with methodological support from ethnography which enabled a greater connection with residents, extending the period of coexistence and sharing an experience lived over eight discontinuous months. This experience, confronted by a theoretical framework, contributed to the interpretation of this daily life recorded in the field notebook, generated from participant observation. The organization of the festive calendar, incorporated into the practices, highlighted the way in which the community is structured and its added development process, the economic and solidary conduct developed in the territory. Connecting lived knowledge and practices, we contact the metamorphosis experienced by its residents from what has been built, produced and reframed, going beyond the look projected on material inequalities, to settle in a place of power and transformation, acting in the resolution local difficulties.

The work identifies the intangible cultural heritage related to the traditional knowledges and practices that promoted the processes of territorial formation in the Bahian hinterland. The analysis is mainly dedicated to the traditional construction activities at Chapada Diamantina and to the crafts that use clay as a raw material in the municipality of Morro do Chapéu, such as potters and crude brick crafters. For this, we used the information of the master craftsmen of traditional construction at Chapada Diamantina inventory, made by UFBA and Iphan. We considered the disputes between traditional and contemporary production models in the field of symbolic territories. In this way we can understand the dynamics of territorialization, deterritorialization and reterritorialization of the traditional construction structures at Chapada Diamantina.

The present work aims to evaluate the importance of public policies in communities impacted by mining activities in the state of Bahia, Brazil, particularly in the communities of Canavieira and Itapicuru in the city of Jacobina-Bahia, contributing to a reflection on the need for an interface between culture and environment, in government actions. These locations, along with nine other municipalities, are part of the Diamantina's Piemonte Identity Territory. From a methodological point of view, it is an exploratory qualitative research, with a theoretical review in the areas of environment and mining, culture, public policies and territory, in addition to a documentary survey. Interviews were conducted with residents of the communities of Canavieira and Itapicuru, as well as with local researchers, to recognize the main environmental problems. The results of this research point to the urgency of a dialogue between environmental and cultural policies in the State and the protection of these communities, in response to the negative impacts of mining activity. 

This paper, ―Fabião das Queimadas: improvisations on fiddle sounds – between identity and ethnicity‖, aims to reflect on thematic and stylistic resources poet Fabião das Queimadas – a man who was born as a slave in Rio Grande do Norte state, in 19th century – used to narrate his social and ethnic life experiences, from an appreciation of elements of his poetics. Fabião das Queimadas‘ poetics legacy to contemporaneity, especially oral and mnemonic, highlights black man‘s voice in a context marked by the success of colonial project that turns invisible the black presence and alterity protagonism in a historical and cultural scenario of Rio Grande do Norte state, a place where it is possible to notice an ―almost vanishing of black people presence‖, according to Luís da Câmara Cascudo.

The present thesis is based on the assumption that the reconfiguration of the music industry requires not only new strategies for the circulation of recorded music, but, above all, the emergence of new formats and experiments in the live music market, especially festivals. In this way, it intends to understand independent festivals in their cultural, economic, social and communicational aspects, considering them as spaces in which diverse actors (artists, producers, critics, audiences, etc.) are articulated, through collective experiences. In the search for an accurate analysis of the live music sector, an area of interest for the thesis, a dialogue with the Actor-Network Theory (TAR) is proposed. Thus, it suggests that concerts and festivals can be understood as dynamic networks that enable the materialization of the face-to-face experience of music consumption, in certain contexts and conditions. To this end, the proposal is to develop case studies of three independent festivals in Bahia: Suíça Bahiana from Vitória da Conquista; Feira Noise from Feira de Santana and Radioca from Salvador. The corpus of analysis can be considered representative of the contemporary musical context, since they are performed both in capitals and inland cities, at different times of the year and with different aesthetic proposals. In addition, it includes festivals marked by the intense appropriation of digital technologies, the development of collaborative practices and the use of incentive laws and public bidding processes in fundraising. The proposed study was made possible based on a multidisciplinary theoretical articulation and using methods such as collection, selection and analysis of materials published about the events on websites, blogs and social networks, field observations and semi-structured interviews conducted with producers, musicians and the public . The intention was to show singularities and find the likely points in common that allowed to glimpse a panorama of independent festivals today. Thus, the thesis contributed to the understanding of the role played by festivals in consolidating the productive practices of the independent market, through an approach that allowed to trace the complex networks that are formed around musical practices and that result in the circulation of artists, in forming and consolidating audiences, sharing cultural repertoires and strengthening local music scenes. In addition, the intention was to rescue an affective memory of festivals in Bahia and to present how Bahian music scenes dialogue in independent events.

For a long time, comics were stigmatized as a minor art, being a leisure reading exclusively for
children, motivators of mental laziness, and, above all, banned from academic universe. In
contemporary times, the comics language consolidates its autonomy in the artistic and cultural
locus, in addition to legitimizing the poetic performance of the sequenced narratives. This thesis
aims to investigate the territory of the voice in the comics such as Turma do Xaxado by comics
artist Antônio Cedraz. The corpus of this qualitative research, based on the perspective of
discourse analysis, consists of six comics (2003, 2006, 2007, 2010, and 2012) published by
Cedraz, HQ Maniacs, and Martin Claret and Turma do Xaxado website. To this end, a
multidisciplinary approach was adopted based on the contributions of Zumthor (1993, 2005 and
2007), Groensteen (2015), Orlandi (2007), Bakhtin (2011), Postema (2008), Vergueiro (2009),
Rancière (2012) among others of huge relevance in strengthening theoretical reflections. The
results of this study legitimize comics as producers of meaning, in addition to enhancing the
movement of plural voices in the horizon of comics narratives. Thus, it is expected to expand
the debate on the communicative power of comics in the discursive and contemporary
dynamics, bringing the images to the field of performative reading.

This study analyzes the phenomenon of young individuals in England joining the group Islamic State (IS), focusing on the trajectories of four of them. Its proposal is not simply to examine the ways in which followers relate to the group and the factors that contribute to this, but to understand how they interact with a set of elements of contemporaneity – multiculturalism and public policies for the management of cultural diversity, globalization, mediatization – and explore the process through a cultural perspective, with an emphasis on an interdisciplinary approach. The thesis put forward here is that it is a multicausal phenomenon with a markedly cultural character, associated with the formation of the identity of these individuals at a time of crisis in contemporary European societies, in which the Muslim identity came to occupy a central place, notably after the September 11 and the subsequent invasion of Iraq in 2003. This thesis involves the idea that the constitution of the identities investigated is not fundamentally informed or influenced by a radicalization of a religious-theological nature, but is better understood based on the conception of that, in the process, a dimension symbolically associated with Islam is incorporated into an already contentious context. The adherence to the IS narrative and its very existence are explored through the prism of its function as an agglutinator of dynamics, dissatisfactions and problems already underway, which the connection of Western young people to the group makes explicit and strains. The group is treated as a communication phenomenon, the existence and influence of which are inseparable from the technological and communicational circumstances characteristic of contemporary times. The methodology of life history, even taking into account the limitations related to its employment in a work of this nature, provided the inscription, in the research, of the subjective dimension of the individuals focused, allowing the observation of emotional and affective aspects generally neglected in the analyses of the subject. Through this approach, it was possible to apprehend not only the personal trajectories but also the vectors, networks and circumstances that they articulated with, to perceive how they adapted to the situations and which factors were involved in this dynamic.

This thesis seeks to understand whether and in what way the digital games developed in the

country dialogue with brazilian culture and society. To this end, from the multidisciplinary

area in Culture and Society, the work brings considerations and reflections on the socio-

cultural dimension that circumscribes the act of playing, as well as the dimension of ludicity

that is inherent both in games and in the very dynamics of cultures. At this point, it highlights

the aspects of know-how, expressed in the final product through processes that are not only

technical, but artistic, that engender the imaginary and the social daily, that outline a form of

cultural expression. Then, it traces a path from the arrival of the video game in Brazil to its

development in the current context, in possible demarcations as to the aspects that precisely

touch the country's socio-cultural characteristics. Observing more recent moments, when the

digital games sector begins to emerge as a valued industry in the country, the research brings a

look at public policies of funding, especially those from the area of culture, with a focus on

brazilian social and symbolic aspects promoted from these public notices and the games

eventually contemplated, especially between the years 2014 to 2018. Finally, the research

launches an investigation of the games developed in the country in the indicated period,

through a survey on the most well-known platforms and devices. Thus, we start from a

methodology designed to account for both diffuse access data and information that appears to

be unreliable, such as that published in news media, or even apparently shielded from other

researches that points to production indicators. In other words, how and where to find

brazilian games actually launched and, after, what is possible to extract from them that could

be related to brazilian culture and society – presenting a quantitative that serves, therefore, to

assist qualitative research. In this way, brazilian digital games were the object of study as a

representative set, in a sample that was later grouped by their thematic interchanges, revealed

in content and narratives of symbolic, social and affective references, in which the brazilian

video game set is understood as an expressive medium of the brazilian himself.

.

The present dissertation proposes to analyze children's narratives through the experience of Poteca, a library of oral stories that in the place of books has pots, in a context of suture between research and extension of the Federal University of Bahia. The intention of this work* is to approach this practice inside the context of childhood, since it has the stigma of occupying a position of silence in view of its cultural production and the capacity to check the meaning in an autonomous way. To do this, we will bring inside the studies of culture and identities new perspective about this social group based on a multi referential approach, having as methodological choice the qualitative research. In this way, we will reflect on the Poteca based on a theoretical framework from the studies of the human sciences about the children and their nuances. It is worth emphasizing that the intention here is also to go beyond the social construction of the concept of childhood, understanding this stratum as a group lacking a sensitive look and its conception as something that is beyond the socially accepted age range. Although the research going through some spaces of learning, the focus given in the text will be for the experience lived in the city of Pintadas - Ba, a city pioneer in the adhesion to the solidarity economy as way of production. The analysis is made based on the process of approaching with the city during the construction and execution of the 12th Cultural Week of Pintadas. The overlap with cultural programming took place through the organization of Experience: university out, proposed by the Movement of Youth Live People (Movimento de Juventude Viva Gente), in partnership with the Central Directory of Students (DCE - UFBA), with the support of the Pro-Rectory of Extension (UFBA). It also permeates the context of a city that turns to new practices of social and economic technologies based on cooperativism and self-management that were motivated by the movement of Liberation Theology that began in the 1960s. The theoretical framework aims to deal with childhood cultures and their developments, of oral performance in dialogue with the psychodynamics of orality, as well as the concept of experience and the dimensions of time in western culture. 

This dissertation analyzes movements of resistance and identity affirmations carried out
by the Tupinambá from Olivença-Ba, starting from the event known as Caminhada dos Tupinambás de Olivença, made since 2001, it was produced in an intercultural and interethnic context of material and symbolic disputes. These movements run through the dispute of the meanings of indianity and also the place that these identities occupy in the constitution of society and the State. This research sought to identify the aspects of a positive reconstitution of its subjectivities, to the collective strengthening of the sociopolitical organization, the cultural dynamics and the material life of the Tupinambá. The analyses are made mostly from oral sources of the Tupinambá, through direct interviews or brought from researches and publications, seeking to perceive the senses and effects produced by these movements that feature especially the Caminhada, besides the ways in which they mobilize, present, update and affirm narratives and representations of ethnic identity, in regard both internally and externally
to this identity.

In this dissertation, we chose as object of research the dance performances presented between 2011 and 2016 in Salvador / BA - a period of changes in the state and municipal cultural policies - with a view to analyzing the contemporary scene of montages and circulation of choreographic works. In approaching the relations between representation, identity and territoriality, this study identifies aspects that are presented as hegemonic in the development of the soteropolitan stage dance scene, which refer, through social phenomena, historical facts and related symbolic elements, to the understanding the dynamics of local / global culture and the insertion of its socio-cultural and political processes in the so-called contemporaneity. In addition, this study contributes to the discussion about the role that choreographic works play in the current cultural context of the city, evidencing its impacts in the mobilization of socio-cultural, political and economic spheres that determine the enjoyment of dance.

This research treats the implementation process of the indigenous free radio station Kiriri FM, located in the indigenous territory of Mirandela, Banzaê City, State of Bahia. The rádio has been created as a common project developed by the indigenous community and the activists collective Rádio Amnésia, and has been consolidated as an active instrument in the Kiriri proposals of ethnical and cultural retomada, after the processes that put  the  community their territory back in the middle of the 90's, but developed since the 70's by the local leaderships. The radio   was launched in 2012, and since this year has been configured as one of the most important figures in the local cultural production, working not only like a mean of communication, but as a mechanism able to register practices and the Kiriri culture and history, stablishing very important internal dialogues, specially within the youth, and also dialoguing with communities out of the indigenous territory. I take place in this process since the beginning, collaborating as an audio production teacher inside the radio.  From this participation, decided to transform my collaboration there in an academic discussion, taking the indigenous concept of retomada as the start point, bringing it into the culture field. From this start point i also decided to investigate how can we place this indigenous radio into the brazilian free radio movement. This research is acomplished by a radiodocumentary called Raízes Kiriri (Kiriri roots), and a serie composed by four programs, Momento Kiriri. They had been produced through specific methodology developed during the research, from 2017 to 2019. 

ABSTRACT

During eleven years young people from popular neighborhoods of the capital of Bahia lived experiences in art and technology through the formation, in four languages (graphic computation, graphic design, picture and video), offered by the Oi Kabum! School of Art and Technology. An Oi Futuro initiative, Social Responsibility Instituteof Oi (telecommunications services dealership), maintainer of the project, coordinated by a non-governmental organization: CIPÓ Comunicação Interativa. After the finalization of the project, it is proposed through this study a questioning concerning the unfoldings of the formative process, of the roads trodden by the exits and of the main sociocultural impacts, prioritizing as cutting the group VI / year 2014, last group of students linked to the project. Considering in this process positive aspects, as well as tensions and contradictions there implicated. The central categories are put starting from the interconnection youth-violence-territory, and when thinking as category socially built, it is looked to understand that way the youth, black and outlying, becomes a synonymous of social problem and how the violent neighborhoods are configured in Salvador. For such purpose, data were collectedthrough aonline questionnaireapplied with 22 young, through which was possible to draw a general profile of the exits. Moreover, a special attention is addressed to the narratives and paths of 10 young, with the intention of deepening the subjects and themes directly linked to the experience and to think in that measured the program influenced in the process of identity construction and in the redetermination of paths. Subjects those that will be treated starting from the categories young of Kabum and subject of the experience.

The present interdisciplinary research, structured as a case study, aims to analyze aspects of the virtual presence and collective identity narrative construction of the candomblé community known as Casa de Oxumarê in its Facebook fanpage.  Thus, discourse analysis tools and concepts as proposed by Dominique Maingueneau are applied, in symbiosis with notions of culture, cultural and identity by Appadurai, Bhabha, Canclini and Hall. The research takes into account possible implications of practices and world views pertaining to the ethnical-religious group observed, prioritizing contents produced by or with great participation of members of its community, in parallel to interactional and communicational particularities of the social network site Facebook. From the 2.657 posts published between 2011 and 2016, 1.065 with more than 300 characters were considered. An analytical form specially designed for the present research was then applied to 70 posts considered to reflect the overall characteristics and tone of the narrative. The research observed: patterns linked to the construction of discursive ethe and argumentation applied by the enunciator to attest its legitimacy (as a discourse agent); ways of communicating its presumed coenunciators; explicit criteria applied to content curatorship. The results indicated that, as far as the enunciator is concerned, its active presence in the virtual arena is not a contradiction, but a new way to preserve what it considers to be essential.  

This dissertation investigates the cultural consumption of young college students from Senhor do Bonfim, city in the countryside of Bahia, in order to understand which cultural activities are present in their personal trajectories and the factors that act as motivators to that consumption. This research used as methodology the quantitative and qualitative field research and as tools of data collects the online form and semistructured interviews. The dissertation is divided in three chapters of development, being the first one about the comprehension of concepts that guides the research – culture, youth and cultural consumption –, and introduction of the main Brazilian researches about the cultural consumption topic. The second one is dedicated to the analysis of the cultural scene and the college network of Senhor do Bonfim, besides describing the university in which the young people investigated are attached – the Universidade do Estado da Bahia (Uneb). The last one is about the exposition and interpretation of the data collected during the field research step, formulated from 132 declarations from students that answered to the form and five students that gave in-depth interviews. We believe that this research can contribute to the recognition of the cultural aspects from countryside cities, spaces so far not prioritized by the big researches developed about the Brazilian cultural consumption, and yet contribute to the creation of local cultural policies guided by the real Senhor do Bonfim public interest.        

Over the past forty years, the hip-hop movement has gained a huge chunk in the music

industry, with the consecration of its actors, as rappers, MCs, disc jockeys and graffiti artists.

From the late 2000s, a sound cultural practice starts to occupy public spaces, such as squares,

parks, sidewalks and subway outskirts, led by young people. A peculiar manifestation is

associated with improvised rhyming battles that shape a new aesthetic within hip-hop. From

this movement, artists such as Emicida, Criolo, Barbara Sweet, Flora Matos, Projota, Rashid,

Baco Exu do Blues, among others, achieved greater visibility. This project aims to establish a

systematization of rap battles inserted within the hip-hop movement, in Salvador, from its

inception in 2007. The objective of this research is to understand how improvised rap battling

are configured as territorial resistance of urban art. The aim is to trace a history of hip hop in

Salvador from the 1980s to the present day. From “ethnographic experiences” carried out in

rap battles, we will analyze how these environments become pieces of hip-hop (concept

formulated by anthropologist José Guilherme Magnani), that is, spaces occupied by young

rhyme makers where social networks develop. In this sense, rhyme battles are understood as

sowing of youth protagonism.

Relations between the legislature and culture in 21st century Bahia.

This dissertation constitutes an analysis of the cultural policies developed by the Workers Party in the city of Vitória da Conquista - BA between the years 1997 to 2016. This is a case study, in which the studied period comprises specific moments of the institutionalization of culture in the federal, state and municipal spheres, crossing different conceptions of culture and cultural politics. These conceptions directly adopted influenced the way of thinking and working the culture programs and projects for Brazil, for the State of Bahia and arrived, to some extent, in Vitória da Conquista, including the creation of the Municipal Secretariat of Culture, Tourism, Sport and Leisure (SECTEL) in the year 2004. For this reason, the research was organized in three periods, in which the political changes are used as a systematic guide: 1997 to 2002, when the Workers Party (PT) wins the municipal elections and it is politically isolated; 2003 to 2006, when the Workers Party (PT) reaches the Presidency of the Republic and, from 2007 to 2016, when the Workers Party (PT) ascends to power in the State of Bahia, having, finally, the political alignment in the three spheres of power. This research was conducted through the analysis of the municipal legislation relevant to the matter, especially the Budgetary Guidelines Laws (LDO) and Annual Budgetary Laws (LOA), reports of governments, the municipal decrees and contracts, documents found in the municipal public archive about the actions of the public power in the city, besides bibliographical references and interviews with personalities who were part of the government and civilians who act in the cultural production of the city in several dimensions. Regarding the analysis of the information, some categories appointed by Rubim were chosen to verify the data obtained on the cultural management in Vitória da Conquista during the period approached as: the notion of politics and culture adopted; the actions developed and implemented; the pursuit of objectives and goals; the social actors involved; the public served by the policies and the evaluation of the human, material, financial and legal resources triggered by the administration; by the cultural system and its compositional elements. The research demonstrates that, despite the political alignment and the discussions about the direction of the cultural policy that took place in the city from the accomplishment of four municipal conferences, a territorial conference and a state conference, the local government action remained limited to two major events (Christmas and the June Festivitie known as São João) and to punctual actions without a systematization of the objectives or goals to be achieved that generates a waste of public money and the permanence of a policy made for some few privileged people. .

This dissertation thinks about the current concept of cordiality proposed by Sérgio Buarque de Holanda. The research seeks to investigate whether the concept of cordiality from Sérgio Buarque's view is perennial even in contemporary social phenomena. To this end we begin by punctuating the movement of the concept between editions of the book, especially between the first and second editions. After all Sergio Buarque de Holanda himself mentioned that the cordial man was a deceased. Sérgio Buarque de Holanda also believed that urbanization would make cordiality diminish or even end. There are authors who maintain that cordiality is still present in Brazilian society, as well as there are studies still today about cordial man or cordiality, such as the works of Luiz Feldman, João Cezar de Castro Rocha, Pedro Meira Monteiro, etc. Just as there are works that, although not directly linked to the subject of cordiality, refer to the conception of Sérgio Buarque de Holanda's thought, such as works by Jessé Souza and Luís de Gusmão. After marking certain characteristics of Raízes do Brasil, and making considerations about the current concept of cordiality, we will support from the songs of Brazilian popular music, notably from the work of Chico Buarque de Hollanda, son of Sérgio Buarque de Holanda. We will also mention the importance of Pixinguinha, Dorival Caymmi, Antonio Carlos Jobim, João Gilberto and Caetano Veloso in this musical context of cordiality. We also consider the existence of the beyond-cordial man who from the potentialities of Brazil may constitute a reality in the face of universal civilization, for this concept of beyond-cordial man we borrowed the Nietzschean superman and the buarquean cordial man, passing by Eduardo Giannetti's considerations about the utopia of civilization in the tropics and the praise of our viralatism. The cordial beyond-man points to the possibility of higher paths of the presence of the heart.

This dissertation aims to understand several aspects of the reconfiguration of the independent musical circuit of Bahia from 2007 till the currently year (2019). Supported by the testimony of 17 agents (producers, managers, journalists and musicians), who have been working in the Bahian music market during this period, this dissertation also highlights the trajectory analysis of two groups: BaianaSystem and OQuadro. Therefore, the methodology applied was focused on a qualitative perspective, using the semi-structured interview and document analysis as the main research tools. The data for this report has been gathered from governmental bodies such as Bahia State Secretariat of Culture (SECULT), Bahia Culture Information and Indicators System (SIIC), Bahia State Cultural Foundation (FUNCEB), Bahia Official Gazette. Both print and electronic reports and newspapers interviews were used as sources of data research, some academic discussions about the conception of the category “independent music production” (emerging in the United States of America) were presented according to the literature and also how the prelude and the development of a systematic organization of this segment took place in Brazil and Bahia. Regarding to a general perspective the authors Leonardo de Marchi (2006), Eduardo Vicente (2002), Marcia Tosta Dias (2008), Davi Nakano (2010) and Michael Herschmann (2010) were used as reference. In a local perspective, the understanding of the Bahian music market was supported by authors such as: Goli Guerreiro (2010), Paulo Miguez (2002), Ayêska Paulafreitas (2004), Carolina Santos (2009), etc. Hence, a brief historical overview of the main transformations that the phonografic industry passed throughout the years 1950s to the 2000s was undertaken, correlating global, national and local phenomena. The main changes in the technological, economic and political fields were also observed, as substantial factors to guide the reconfiguration of the music market. Regarding the technological advances in the informatic field that directly affected the phonography, can be mentioned: mp3, social networks, virtual sharing programs, streaming platforms, etc. With respect to the political scenario, after 2007 there was a special emphasis on the cultural policies carried out by the SECULT, especially those that focused on the Bahian musical area. Finally, it was concluded that technological transformations, the development and professionalization of the independent segment, state investments, among other factors contributed to the current reconfiguration of the independent Bahian music market. 

This dissertation aims to study the process of publicizing the Bahia Symphony Orchestra
(OSBA), from the perspective of its managers, artistic and administrative body. Organized
into four chapters, the first brings a bibliographic review of concepts that guide this research -
politics and public management of brazilian culture - and the presentation of different models
of orchestra management. The second chapter focuses on the contextualization of emergence
and strengthening of non-state public management models, as well as a brief overview of the
expansion of the management model called “publicization” in the cultural field, presenting
prominent cases at national and regional levels, such as the State Symphony Orchestra of São
Paulo (OSESP), Minas Gerais’s Philharmonic, Cidade do Saber and NEOJIBA Program. The
third chapter is dedicated to presenting OSBA, exploring the orchestra's challenges during the
period under direct management of the Government of Bahia, and from statements by former
and current managers, revealing the main reasons for implementation of the “publicization”
management model. The last chapter explore the process of transition from state to non-state
public management model, which lasted a long time from discussions on the topic to the
signing of the contract. It is of particular interest to reflect on the participation in the
construction process and the discussions promoted during the OSBA’s publicization,
contributing to the deepening of the discussions about the impacts and repercussions of this
management model in the cultural field.
Keywords:

This dissertation proposes to present some of the main limits and openings for the con- temporary realization of cinematic arts, created, produced and disseminated under very low budget conditions, seeking to answer which aesthetic, narrative and discursive re- sults were built by the 15 films made at CLIC - Free Film Course, an extension project conceived and performed by artists and professors from the area of concentration in Cinema and Audiovisual of the Interdisciplinary Bachelor of Arts of the Institute of Humanities, Arts and Sciences, at the Faculty of Communication of the Federal Univer- sity of Bahia between the years 2016 and 2018, in its five editions already completed. In this sense, we intend to understand the ways in which activities of this nature contribute to a displacement of the traditional structures of film making in a post-industrial per- spective. For this we will use dialogues with poststructuralist foundations, cultural stud- ies and contemporary theories of cinema, so that it allows an analytical and critical in- vestigation of the strategies of creation, production and diffusion of short fiction films produced collectively in that period. through CLIC, for the elaboration of a theoretical reference that can collaborate with processes of formation and accomplishment in cine- ma and audiovisual for the present and virtual generations of artists, producers, re- searchers and teachers. 

This research has as corpus the project SoundSystem, developed by the artists Franz Manata and Saulo Laudares since 1996. This designation covers the whole of its production and expresses the duo itself. The process, in action to this day, consists of to share sound experiences through installations, performances of djs, urban interventions and lectures. Artists use signs such as heart beats, bird songs, jigsaw puzzles, signage, microphones and loudspeakers. The duoassumes ethical concern of affecting the participant, promoting pulsating encounters and creating ties in contrast to the human distance found in the information and the communication age. Using the scriptural power of Roland Barthes, who also had ethical and aesthetic concerns, as well as the influence of artists such as Hélio Oiticica, Lygia Clark, Cildo Meireles and John Cage, Manata and Laudares are market of contemporary art acting in the invisibilities and inaudibilities, giving greater emphasis on the experience of forces than of forms, through sensations vibrations of body encounters. Accompanying its creation process, which covers the conceptual design, the production of the installations, the spatial arrangement curated works, the work done by galleries and art fairs, we can think of the artists’ proposal. The main issues discussed are collaborative events that take place during the meetings through an immaterial and rhizomatic work, the delation of time and the intensity provoked by the Dionysian impulses of the music and dance. For this, we will use as a methodological basis a multidisciplinary perspective, through aesthetic, philosophical, psychoanalytic, literary, etc. reflections. The methodology of performing a cartography of desire or a sentimental mapping seemed the most pertinent way of working with this process. The SoundSystem project proposes the invention of a new possibility of life, of a mode of existence, through the power of the proposition of “good meetings” and the invention of other temporalities.

Abstract

This research focused on creative processes in dance, based on field experience in the complex knowledge network of Capoeira Regional, with special consideration of its movement realm. This led to identification of concepts which emerged both from the multidimensionality of experience – including observation and analysis – and the interlacement between experience and different fields of literature. This interlacement was able to establish dialogue with issues perceived during the field research – taking as reference Muniz Sodré, Mestre Nenel, Mestre Cafuné, Edgar Morin, Ciane Fernandes and Helena Katz – in order to contrive pathways and possibilities (in theory and practice) to create and perform new artistic works.

It is a comparative study based on the works of two writers: Moacyr Scliar and Régine Robin.

With the election of its first female President, Dilma Vana Rousseff, in 2010, Brazil joined Chile and Argentina (which had already elected Michelle Bachelet in 2006, and Cristina Fernández de Kirchner, in 2007) in constructing new political scenarios in Latin America. The expectation generated following this achievement, a realistic example of women's empowerment, was that there would indeed be a shift in defined gender roles and greater growth of female representation in politics, for example. However, after the novelty of the first election, the Presidents experienced second terms involving intense deterioration of their images and falls in popularity ratings. In Brazil, more traumatically, the experience of the first female president ended in 2016, fulfilling less than half of the term that had begun in 2014, in a tumultuous process of impeachment. The public domain narratives that attempt to explain the Rousseff government crisis mostly concern economic deficits, corruption scandals and problems of political articulation. The gender issue is suppressed, restricted to a few comments or footnotes. Thus, this study recovers the gender category as a premise to analyze the stewardship of the first female at the Presidency of the Brazilian Republic. The aim of this thesis is to investigate how the gender category has permeated the media narratives regarding the crisis of Dilma Rousseff's government, noting the gender bias used in the Brazilian press coverage, drawing on the feminist theoretical matrix. The research corpus, including covers and respective reports from the country’s four largest weekly political magazines (Veja, Isto É, Época and Carta Capital), is addressed using the concept of framing and the assumptions of critical media analysis, through a multidisciplinary approach. The paper suggests a homogenization of media coverage of women in politics, dismissing their public role and with reference to their relationships in the private sphere. In detailed fashion, this study reveals how press coverage represented Dilma Rousseff as a "woman out of place", a figurative and lonely leader, devoid of the qualities to perform as President.

The thesis examines the construction of meanings surrounding scenes of violence in historical films by Japanese director Akira Kurosawa. Considering the violence staged as a fundamental element in the processes of signification of the works, such scenarios are taken as events, fruits of the meeting of structures proper to the cinema as narrative art, with structures anchored in the history and culture of Japan. We take a look at the staging of violence seeking intercessions between culture and cinema, manifested both in content and in form. We are interested in issues such as the cinematographic style, the narrative and the performance of the actors, in the relationship they establish with the culture represented and can be thought historically. The bushido, the code of honor of the samurai, is taken as a moral beacon of violence taken to the canvas and source of inspiration for dramas with which Akira Kurosawa cast a critical eye on the past, while responding to political, social demands and aesthetic of your time. The analysis of the films takes as a methodological strategy the coming and going at the levels of description (film, sequence and plan) to examine points of encounter between culture and cinema, seeking to highlight the multiple aspect that such scenarios acquire: they are images of violent acts inserted in the narrative, are violent imagery constructions in terms of cinematographic style and are discourses that are inserted in discursive chains anchored in the history, when tensing the figure of samurai, important symbol of the nipônica culture.

The present work refers to a doctoral research entitled “A (techno) cena: art as politics of subjectivation”, whose scope is to study the issues of subjectivation processes present in the cultural discursive practices of theater companies: “ATeliê voadOR Companhia de Teatro ”and“ As Travestidas Artistic Collective ”, supported by the shows“ O Diário de Genet ”and“ BR-Trans ”, respectively. This study was constituted from the problematization about the discursive practices of the contemporary theater, as cultural artifact of the production of the desire and subjectivities, of the theatrical making as a mode of cultural politics that is realized in lines of fissures and in the comprehension of the theater as a machine of nomadic war that refers to the power of the minor-becomings. This study is organized as an analysis of theatrical production modes with emphasis on the scenic assemblages of heterotopias. To this end, its methodological perspective is anchored from the postulations of Cultural Studies and Queer Theory allied to the idea of Ecology of Knowledge (Southern Epistemology), in order to outline a process analyzes of cracks, strangeness and deviations from the methodological models. majority, grounded in cultural and political contexts defined by the modern Christian Western world, colonialism and capitalism. Therefore, it constituted a methodological insurgency capable of becoming effective in the analysis of the production of desire in the contemporary theatrical scene. In its operational aspects, it is worth considering that this research was carried out from March 2014 to June 2019, with the Federal University of Bahia / UFBA, Institute of Humanities, Arts and Sciences Professor Milton Santos / IHAC, Multidisciplinary Postgraduate Program. Graduation in Culture and Society, Culture and Art Research Line, under the incentive of the Bahia State Research Support Foundation / FAPESB.

The subject of this doctoral thesis is the process, and its subsequent consolidation as a project, of indigenous school education in the Tupinambá community of Serra do Padeiro (Terra Indígena Tupinambá de Olivença, Bahia-Brazil). The different phases and transitions of the Tupinambá trajectory of struggle are examined by the implementation of a differentiated educational system, which has required constant reorganization from the loss of the indigenous territory and the desire to provide a formal education to the new generations as a means of reversion, positive, of the contemporary situation. The thesis also seeks to highlight the violation of legal frameworks regarding indigenous peoples as an extremely important dimension for the understanding of this educational project. In this context, interethnic relations have a direct effect on the process in question. It emphasizes the particularity represented by the formal education project of the Serra do Padeiro community, as it is guided by the encantados – main entities of their worldview – who act as "educational agents" and, complementarily, by welcoming the Other, in this case, non-indigenous students. In addition to the Tupinambá discourses about the advantages of the Colégio Estadual Indígena Tupinambá de Serra do Padeiro (CEITSP) for the region, it is described, how day-to-day teaching is developed and understood as "doubly differentiated" - being indigenous and welcoming non-indigenous- and how the "traditional" and the “western” knowledge are chosen and systematized in this context. Finally, the thesis aims to show that the community of Serra do Padeiro transmits its teachings in the course of the struggle for their rights, configuring an educational model that could be expanded beyond its own borders, through adaptation to other contexts under new parameters of interethnic relations.

Esta tesis busca entender cómo se relaciona la capoeira con la modernidad. Los pensadores decoloniales argumentan que la modernidad no se puede pensar sin su rostro oculto, la colonialidad y sus procesos brutales de esclavitud y genocidio. A pesar de ser una manifestación cultural que apoya su identidad en un discurso de tradición, la capoeira es el resultado de este violento encuentro de pueblos. Nos proponemos pensar en ella como una contracultura de la modernidad, que oscila con ella, dentro de ella, con un pie dentro y otro afuera, para operar con lógica y racionalidad distinta. Capoeira, en nuestro trabajo, es considerado como un símbolo de la sociedad brasileña con todas sus paradojas, ambigüedades y contradicciones. Un representante de nuestra modernidad, nuestro propio modelo construido por la intersección e intersecciones de diferentes herencias y temporalidades. Aquí desafiamos la profecía weberiana de que el advenimiento de la modernidad (o como lo define Marx, la expansión del capital) llevaría irreversiblemente a la racionalización y al desencanto del mundo. Pretendemos demostrar que, por un lado, la capoeira fue racionalizada de diferentes maneras, con sus procesos deportivos y estandarización. Incluso las políticas culturales que buscan salvaguardar el conocimiento tradicional llevan a maestros y grupos a burocratizarse para obtener acceso al poder público y sus fondos. Por otro lado, este mundo permanece encantado, con conexiones sutiles y secretos que, al mismo tiempo que desafían el sentido común del materialismo científico hegemónico, mantienen relaciones cercanas con otras formas de describir la realidad. Aquí es donde la capoeira, la herencia bantú, se conecta con la física cuántica. Trataremos esta estrecha relación entre la capoeira y el candomblé, a través del caboclo, el Exu y los antepasados.

This study is dedicated to the analysis of cultural policies for the Bahian Philharmonic Societies (Brazil) and for the Valencian Musical Societies (Spain) developed since the end of the second half of the last century to the present day. It aims to understand the motivations of the precarious state of Bahian Philharmonic societies today, taking as a starting point the statement of Schwebel (1987) that attributes such condition, among other factors, to the abandonment of public power to these civil entities. The Valencian context is assumed as an object of comparison given the conjunctural antagonism of their musical societies, which has been growing rapidly and vigorously in recent decades. This research adopts as methods the bibliographic and documentary survey and the conduction of qualitative interviews in Bahia and Valencia. Its comparative approach reconstructs, initially, the history, the contemporary profile, the current role, the cultural management and the associativism of these cultural entities in their respective realities. Afterwards, it deals with the historical and reflective compilation of the Funarte Music Bands Project / Federal Government of Brazil, House of Philharmonics and Program of Support of Philharmonics of the Government of the State of Bahia, in addition to engaging in discussions about the relationship between Neojibá x philharmonic societies, the drive for indirect support by these entities, the politics of events and the representative capacity of Bahian philharmonics in spaces of formal participation in state cultural policy. The analysis goes to the Spanish context considering the Music 92 program, the Valencian Law of Music, the policies of the autonomous and provincial governments dedicated to the Valencian musical societies, reaching the private initiative, the indirect fomentation, the events and the instances of participation. The approach culminates in the discussion that confronts the two cases under study from the theoretical foundation of Public Policy Analysis, cultural policies and the notion of participation. The research concludes that cultural policy is crucial for the survival of philharmonic or musical societies, as long as it is understood as a locus of integrated action by the public power and civil society.

This dissertation analyses the Museum of Modern Art of Bahia (MAM-BA) in its contemporary context and the relationship that existed between its management and the recent changes and advances in the cultural policies of the state of Bahia. The temporal cut is concentrated in the period between 2007 and 2010, when the State of Bahia reorganized its administration to have an autonomous Secretariat of Culture, independent of Tourism activities. During this period the curator Solange Farkas took over the management of the museum and sought to energize it with an intense activity, with the objective of inserting it into the national and international scenario of the contemporary art. The research considers the original MAM-BA, as originally designed by the Italian architect Lina Bo Bardi as a legitimating element of the institution in the scene of the visual arts. In this sense, aspects are confronted between the Farkas administration (2007-2010) and the Bo Bardi management (1959-1964), to identify approximations and differences. To understand the different management aspects, the influences of cultural policies and the reference of the Lina’s thought, interviews were carried out and a questionnaire was applied with managers, artists, curators and researchers in the Bahia’s cultural scene.

Over the last two decades, cinema and television in Brazil have undergone structural and technological changes to adapt to the demands of a new digital environment, the emergence of new means of mass communication and politically, with new public policy of culture focused on the audiovisual sector. Some of this ongoing policy seek to guarantee and expand the presence of national cinema and cultural diversity in the programming of paid television channels in the country, aiming to increase the demand for regional and independent audiovisual production, boosting the entire cinema and television industry chain. Law 12.485/2011, the 'Lei da TV Paga' (TV Pay Law) was enacted with the purpose of establishing a legal framework for the pay television market in Brazil and was reinforced by the implementation of the Audiovisual Guidelines and Targets Plan and Brazil All-Screen Program in 2013 and 2014, respectively. In this research, we propose to monitor the performance of Law 12.485/2011 in the first five years of its implementation, specifically referring to the guarantee of the presence of the national cinema in the programming of qualified channels of pay television in Brazil.

This dissertation aimed to analyze the cultural action by the arts as a vector of re-signification of relations and 

coexistence in the urban space of Salvador, in the CHS and in the Politeama neighborhood, in the process of 

appropriation by the Other Theater Company. It is also worth mentioning the experience of the theater group 

of resignification of their relations living with the neighborhood, residents, merchants, passers-by through the 

Poli-Te-AMA Movement and the role of the Gregorio de Mattos Foundation in supporting these activities.

This ethnofilmography is the result of field research, ethnographic and audiovisual, cultural and religious manifestations linked to the Mother of Water, the Caruru de Cosme and Damião and popular Catholicism, practiced by Dona Conceição and her family in the rural area of municipality of Maragogipe, in the Guaí district, in the town of Iriquitiá, Recôncavo Baiano, almost 70 years ago. The intention is to contribute to studies on identities from the observation of the construction of a religious identity and the transmission of varied cultural repertoires. In addition to the audiovisual record of these demonstrations, made in 2016 and 2017, testimonies were collected from family members. Several other family encounters were needed in order to deepen the research and verify data collected. The objective was to highlight how this religious identity is constructed and how it contributes to the construction of the cultural identity of the family and the community involved in the ritual. The result of this research is a dense ethnofilmography, in which the role of women in the construction and transmission of tradition is highlighted. As a theoretical contribution of this research, we used, among others, studies related to Culture and Identity, Afro-Brazilian culture and popular Catholicism, as well as to written and audiovisual ethnography.

The theme of this work is the popular culture expressed from traditional, religious or scheduled festivals in a rural black community, self-recognized as a quilombo community located in the city of Lençóis - Chapada Diamantina - Bahia, Remanso. As a proposal of the initial analysis, we chose the celebration of the patron saint of São Francisco das Chagas to understand how the processes of maintenance and updating of cultural practices interact in the forms of organization and articulation of this celebration. This perception comes from the social life built in the daily life, which organizes and conducts its festive moments. We have the coexistence in the field in the months preceding the party as the basis for the construction of the texts and arguments presented here and the methodological support of ethnography, participant observation and the field diary as fundamental tools for translating and interpreting lived experience. The party itself, of a public and religious nature, gives us the opportunity to ask how material and symbolic relations take place not only through it, but also of other festive moments of the community that have emerged in the field: the participation of the marujada in the IV Meeting of Cheganças of Bahia and the accomplishment of the Caruru in homage to Cosme and Damião. Joining the three vertices of this festive triangle, we have the mythical universe of “Jarê” that renews values and influences behaviors, connecting and giving meaning to a diverse, singular and hybrid symbol system. Today, the reinvention of these singular cultural practices occurs from decentralization, fragmentation and contradiction, constituting political environments of resistance and affirmation, where solutions emerge from the subjects themselves. We highlight the ways in which problems are solved by observing how festive moments act in the convergence of local difficulties and potentialities.

The dissertation presents a panorama of the alternative music scene of Salvador, Bahia, at the beginning of the second decade of the year 2000. From this section, aspects related to music, sociality, representations, distinction and digital culture in the alternative music scene of Salvador are discussed based on a case study of the humor page of Hipster Baiano facebook and the communication and marketing strategies of the groups Baiana System, Cascadura and Opanijé in social networks. The research aims at detecting the new patterns of behavior and the dynamics of this scene, from the understanding of the public, the artists and the influence of these as influencers, in the production and diffusion of information about a song that reflects a mainstream cultural scene and that gains visibility by being in congruence with contemporaneity. Also analyzed are the ways of interacting with the various actors, the creation of ties mediated by technology but based on affection, social capital, proxemia, neotribos present in the work of Michel Maffesoli (1998). Based on the interviews and analysis of the posts of the groups in their social networks, categories were created that indicated that the changes in the behavior of the local music scene accompanied transformations of cultural, economic, political and technological issues and had the musicians as main influencers. The study also allowed to justify the relevance of the cut-off period for local music.

This dissertation seeks to analyze the female characters, constructed by Claudio Assis, in the trilogy composed by the films: Amarelo Manga (2002), Baixio das Bestas (2006) and Febre do Rato (2011). The study makes an analysis of the six female characters of these films that we consider most significant from the place they occupy in the narratives in question. They are Lígia and Kika, Auxiliadora and Dora, Vanessa and Eneida. With the analysis of these characters, both from the perspective of content and form, we intend to understand how the film architectures of this filmmaker, presents the female characters in his film, a historical instrument of communication that, in general, has reproduced the female characters, stereotypes linked to patriarchal society.

The present research focused on narratives of quilombolas women from the community of Nova Esperança, located in the municipality of WenceslauGuimarães, in the south of Bahia. Throughout the work are presented narratives of the older inhabitants centered on the interweaving of their memories, in which they present the trajectories of the founders of the community and the process of quilombola self-recognition. We seek to tell the story centered on the female figure of Antonia Maria de Jesus. We also present the labor relations and daily life, the identities shaped by cultural and religious aspects, especially the Suit of Kings, sambado on January 6 and the celebrations to the patron saints - Our Lady of the Rosary and St. Anthony. The Saints were brought to the locality by the Founders Faustino dos Santos and Antônia Marias de Jesus, respectively. Finally, we present the identity ethnicity of the place, from what the women who live there say. In their narratives it will be possible to understand the ethnic relations of the group, both by approximation and by ethnic borders in the intimate relation between the Nodes and They. In the course of all work it is possible to find traces of ancestral experiences, allowing mapping of a history hitherto invisibilized.

This study aims to analyze the correlation between culture and violence, using narratives of young black men that live in the Calabar neighbourhood, City of Salvador-BA, and to examine the daily coexistence of black men and the military police of the communitarian base (Base Comunitaria de Segurança - BSC). The research objective is to gather information about these relationships and how they influence the subjects lives and their interactions with the environment, neighbours, and in the construction of life projects. The study was made by using a qualitative analysis and the study of case methodology. By using interculturality studies as a reference, discussions were made around culture and the comprehension of violence. The interviewed group comprised of four young men of different ages. Their stories were used in the construction of this study. Nevertheless, aiming to recognize the effectiveness of a public program, the military police responsible for the communitarian base and the neighbourhood leaderships were also interviewed. While this study focused on understanding the the impacts and worries presented by the youth in their reports, the families were also interviewed in this study as additional resources ( Mother, Aunt, Grandmother and Wife). We asked these people to describ, institutionally or not, their daily analyses of the violence phenomenon, while having the young black men as the center of the discussion, or in other words, the crossfire between fear and apprehension of walking in the neighbourhood as a black man, the sensation of constant vigil and the dream of a better life. 

A critical study of the cinematic constructions of subalternity in the films Five times favela (1962), Film thieves (1977) and 5x Favela - now by ourselves (2010) is promoted here, trying to understand how the narrative incorporates culture, sets the history and is configured by it, in order to find symptoms, gestures or erasures, that work "against" subalternity. For that, three methodological keys are used: the relational and microphysical proposal, associated to the post-structural thought; hybridity and inter-place, derived from postcolonial studies; and the advances on the figural and the imaginary turn associated with the philosophy of cinema. The three methodological operators have one point in common: the question of difference introduced by Nietzsche, focusing on the crisis of representation. Research of a multidisciplinary character, has theoretical-critical references linked to poststructuralism, postcolonial criticism and the philosophy of cinema proposing a constant work of thinking (with) the films to perform an exercise of criticism of culture and society.

Two motivations drove the writing of this work. The first one was intended to contextualize the pagode as a historical-cultural manifestation, which unfolds from the samba, updates the senses and makes visible the codes of belonging, ideologies, and the models of identity mobilized by the subjects reached by it. The second motivation sought to analyze the discourses present in the compositions of the Bahia pagode, in order to understand the significant contexts and repertoires that involve the enunciation of the woman's identity, body and sexuality. In this sense, I took as an initial hypothesis the understanding that symbolic violence directed against women, based on the solidification of an ideal of black masculine power, crosses the whole cultural scene of the Bahia pagode, which today is marked by enunciation and also by exaltation, of essentially misogynistic, racist and exalting speeches to consumption. Methodologically I launched Discourse Analysis as the central axis of a methodological plot directly through the Theory of Male Domination and the Concept of Symbolic Violence, both coined by Pierre Bourdieu. At the end of the work the initial hypothesis was confirmed, and the understanding was confirmed that the compositions of the Bahia pagode have acted as a circuit for the reproduction and amplification of misogynist, sexist and racist ideologies

This research focuses on the cultural policies promoted by the state of Mozambique during the period following the Independence to late 1980s. Particular emphasis is placed on the political interactions shaping the symbolic struggles and the material efforts of national building. Departing from an analysis of Mozambique’s colonial past, this study comprises the periods of the national liberation movement’s struggle, the adoption of a Marxist-Leninist ideology by the new government, and the country’s transition towards a market economy. From the socio-political effervesce that marked Mozambique’s first years as a nation-state, this study also considers other factors that further fueled the dawn of this nation, namely: a) the Cold War worldwide divide; b) regional conflicts with neighboring white supremacist, racist regimes in sub-Saharan Africa; c) attempts of accommodations with the political, economic and cultural legacy inherited from the Portuguese colonial past; d) nationwide structural changes in social, economic and cultural dynamics after Independence; and finally, e) shifts in structure and purposes of the Mozambican Liberation Front (Frelimo), which, after championing the war of independence against Portugal, remained in power throughout the entire period considered on this research. This study’s argument is that Mozambique's cultural policies can be understood as an apparatus for national building; therefore proxies for national identity narratives formulated and advanced attached to the national projects on quarrel. Inconsistent and provisional, those policies are simultaneously products and consequences of practices that shaped political conflicts in their spatial-temporal formulations. To strengthen this argument, cultural policies will be further enriched by the analysis of relevant public policies in the fields of education, economy and religion, and its implication on the field of culture. Changes and permanence in cultural policies will be considered based on field bibliographical work, historical milestones, internal legislation, adherence to multilateral institutions and regulations, evaluative reports and official speeches.

This work analyzes and prospectively indicates concepts for Brazilian television advertising with homosexual representation, based on the publicity film developed by O Boticário in 2015, as part of the campaign of Valentine's Day. Although it is not clear about its reception, based on the case study of O Boticário commercial and its repercussion in society, besides an analysis of Globo TV telenovelas that presented homosexual characters between the years of 1970 and 2013, it intends to list influences which were engendered by television and advertising in the maintenance and perpetuation of negative and outdated stereotypes that tend to contribute to gender-based violence, whether symbolic or physical, directed at persons of sexuality who are considered "deviant." In this sense, the investigation has a historical survey of the dynamics established by Brazilian television, especially through the telenovela, establishing a parallel of the influences that this product exerts in portions of the public that adhere to the advertising narrative and/or consume the product. It is a counter-hegemonic prism, that is, another way of standing in the face of a social problematic, by destabilizing prejudices and crystallized stereotypes in the collective imaginary, in order to reach publics previously absent from the receptive/advertising. The work also examines homosexual representations produced in other television commercials that compete for the establishment of a pattern in the process of building the gay character in advertising films. The bibliographical review was carried out through inquiries in annals of congresses, in periodicals of the social sciences and humanities that deal with homosexual themes, besides the survey and analysis of commercials and soap operas on the subject. Finally, the research advocates that advertising can and should establish a break with its own standards regarding information and communication, in order to play a more challenging role in society, not only relegating the reproduction of messages aimed at consumption, but also exercising a social role of awareness towards the various social sectors.

CULTURE AND SHARING OF THE SENSITIVE: A STUDY OF ASPECTS OF THE FILM SAWS OF THE DISORDER FROM THE THOUGHT OF JACQUES RANCIÈRE

Investigating Behavioral traits of Afoxé Sons of Gandhy revelers in the scene of the Soteropolitan Carnival during the two first decades of the 21st century. In particular, the street party. We understand that this party is an environment with a certain climate of liberality, where the momentary break of the behavioral patterns of the subjects would occur. These subjects assume performance postures to experience the Carnival, in spite of policy of normatization and discipline of the party thought and organized by the public and private sectors that organize such event. Therefore, the festive scene of the Soteropolitan Carnival in the two first decades of the twenty-first century would have its own dynamics and unpredictability in the moment that the direct contact between the revelers in general, of different places and social means happens. Moreover, in the case of a traditional cultural manifestation and present in the Soteropolitan society, revelers experience this environment as a habit and custom that repeats itself year after year. Initially, the concepts of Author / Intellectual, Forms of Knowledge and Ethnography are discussed. Next, some theoretical and methodological aspects of the concept of Carnival in the light of the thought of Mikhail Bakhtin, in addition to other authors that allow to think Carnival as a festivity that involves habits and customs of the inhabitants of Salvador. A brief history of the Soteropolitan Carnival of the first two decades of the XXI century, with emphasis on the organization and space / time relation, is presented, finally, to discuss the reveler, converging in an ethnography of the Afoxé Sons of Gandhy in the scene of the carnival.

Parmi les discussions récentes dans le domaine des politiques publiques, il y a celles liées à la démocratie participative et aux espaces de participation sociale. Dans la sphère culturelle, entre autres mécanismes insérés dans le cadre de la démocratisation du pays, il apparaît à travers l’institutionnalisation de mécanismes de participation sociale dans les politiques publiques, la création, par le biais de législation spécifique, des conseils de politiques publiques de la culture, qui constituent l'un des piliers du système national de la culture, mis en œuvre par le ministère de la Culture. Ces conseils, redéfinis à partir d'une nouvelle architecture juridico-politique qui leur confère une plus grande légitimité, sont au cœur du processus de restructuration des politiques, légitimés par les nouveaux principes constitutionnels de participation et de décentralisation politico-administrative. La configuration assumée par ces nouveaux espaces après la Constitution de 1988 fut une véritable révolution institutionnelle. Les conseils possèdent diverses attributions juridiques, telles que: la formulation de stratégies et la définition des priorités de politique publique, y compris l'approbation des ressources publiques destinées à la mise en œuvre des programmes et des actions gouvernementaux ainsi que l’exercice du contrôle social de la politique par le biais de la surveillance et de l’évaluation des actions du gouvernement. Le présent travail vise à analyser l'efficacité (entendue comme la capacité à générer et contrôler les politiques publiques et garantir ainsi l'accès aux droits culturels de manière participative et démocratique) de la participation sociale au sein des conseils municipaux de la politique culturelle, dans deux gestions des Conseils Municipaux de Politique Culturelle (CMPC) de Fortaleza / Ceará (2011-2012 et 2013-2014) et du Conseil Municipal de la Culture (COMUC) de Belo Horizonte / Minas Gerais (2012-2013 et 2014-2015). Pour ce faire, cette étude cherche à démontrer, dans un premier temps, la relation complexe entre la représentation, la participation et la légitimité dans le contexte des politiques publiques au Brésil, la reconnaissance de l'insuffisance des instances représentatives et la conséquente expansion des instances participatives; vérifier les différents degrés d'institutionnalité, d’attributions, de compositions et de pouvoir de décision des conseils ainsi que leur influence sur l'efficacité des délibérations avec le pouvoir public. L'étude vise à saisir les significations de cette participation, en cherchant à comprendre les relations, les tensions et les conflits qui se produisent au sein de ces espaces de gestion partagée. Parallèlement, la recherche prétend réaliser une analyse documentaire des procès-verbaux des réunions, des lois de création ainsi que des régiments internes qui traitent de la composition, du fonctionnement, des crises et des tensions, ainsi que des entrevues avec des gestionnaires et des conseillers pour compléter les informations de ces procès-verbaux. La recherche se propose d'élaborer une méthode d'extraction et de compilation des données qualitatives afin de développer des outils analytiques et méthodologiques qui peuvent rendre compte de la « qualité de la participation » ainsi que du « produit du processus participatif », c’est-à-dire, qui évaluent la dynamique délibérative des conseils mais aussi, comment ces institutions participatives (IPs) ont un impact sur l'opérabilité de la démocratie et se répercutent dans les politiques publiques. Il s’agit d’extraire les résultats distributifs générés par les conseils, c'est-à-dire dans lesquels les délibérations prononcées affectent les politiques publiques des municipalités enquêtées. En ce qui concerne les conceptions participatives qui articulent l'État et la société, le Brésil est un terrain fertile pour les chercheurs étant donné qu’avec la promulgation de la Constitution de 1988 et la création de lois qui réglementent ces dispositifs, les espaces de participation des citoyens dans les processus de formulation et d'inspection des politiques publiques, parmi lesquels les conseils sont la référence principale, se sont multipliés.  

Placed in the semiárido of Bahia, region that in the social imagery was often linked to poverty and backwardness, the small city of Pintadas tries to subvert the hegemonic discourse and it is enunciated as a possible place building up a set of experiences from civil society in the perspective of sustainable development and in the light of the coexistence with the semiarid. The aim of this research is to discuss the relationships between culture and development and, with his network, analyze the contributions and incidences of cultural projects directed by the Rheluz Performing Arts Company at the local and territorial level. The choice of this object was determined, among other aspects, by the importance of giving visibility to the social protagonism that grows outside the great urban centers, as this collective subject that played an important role in the mobilization of young people and cultural activism for almost two decades,creating new forms of participation and political action at the local and territorial level. For this study the memories are the main source of investigation and the qualitative method is used in the interviews, which will serve to understand the pathways and the transformations that have occurred through the experiences with the different artistic languages. The methodological procedures also include bibliographic review, documentary analyzes and records in photos and videos to obtain information. We understand that the actions analyzed have generated effects in the development process and are fruit of the synergy of social forces, which have become fragile, but this does not detract from the lessons that result from them.

The main objective of this research is to analyze the process of construction of the National Culture System (NSC) from 2002 to 2016. The expectation is to understand the reasons why the policy was developed by the Ministry of Culture (MinC) in a discontinuous way. The secondary objective is to understand how the NCS has incorporated and developed dimensions and elements typical of federalism. The main premise of the thesis is that the actions of the actors linked to the Ministry of Culture have contributed to the fact that the construction of the NCS has been configured intermittently. The research used as a methodological strategy the observation about the performance and interaction dynamics of public and private actors, within the framework of a socio-historical analysis of cultural policy. Field research consisted of interviews with politicians, managers, technicians and specialists who participated in the development of the NCS. Documentary sources, such as reports and documents formulated by MinC, were also used. The main conclusions of the research are: the development of the NCS underwent advances and setbacks depending on the process of interaction between the actors linked to the Workers Party (PT) and the high level of the Ministry of Culture; the NCS didn’t enjoy stability even in governments of continuity; some actors external to the MinC have consolidated themselves as privileged interlocutors in the NCS; most of the difficulties for implantation of the NCS stemmed from political-institutional resistance.

The Literatures of the Official Portuguese Language Countries - mainly from the second
half of the twentieth century - committed themselves to the purpose of re-signifying the values
colonization based on racial hierarchies that would imply in other excluding concepts.
The aesthetic productions of these countries construct speeches that, besides denouncing the colonial action,
reflect the dilemmas and conflicts of subjects who have undergone a process of domination in
social fields; which allows us to bring to the fore the history of the excluded. The Mozambican Paulina
Chiziane is one of the authors whose writing turns to this purpose. The fictional universe of his
The cheerful song of the partridge (2010) presents a vision of colonized Mozambique by bringing
a plot permeated by a variety of issues such as slavery, forced labor,
assimilation, poverty, gender, race, identity, which marked the relationship of the colonized with the
colonial oppression. Based on these aspects, this thesis aims to analyze this work to
to identify the discourses constructed by imaginary subjects, to understand how the
conflicts and tensions created and / or accentuated by colonial domination in Mozambique mark the
and the extent to which they created strategies for
domination. Thus, in view of a multidisciplinary proposal, the Chiziane
as a source for a literary and historical study in which reality and fiction, fact and imagination
they cross the offer field to problematize political and cultural aspects of Mozambique
colonized, especially with regard to the history of the subalternized in the colonial context.

This is a research about the constitutive aspects of the culture of consumption of children and adolescents manifested in the habits, practices and behaviors of consumption of parcels of preterm adolescents in the age range of 8 to 13 years, seeking to understand the relations that these subjects establish with the consumer culture. In this sense, we performed a dense and interpretative analysis of these relationships, with attention to every detail of their speeches, gestures and silences that could reveal the symbolic vectors that compete with the media communication to motivate their consumption habits and practices, a guiding question our study. It is a study oriented by the [work] hypothesis that the motivation for the infanto-juvenile consumption culture occurs within the scope of daily interactions, involving media communication, verbal (often mediated) communication and non- verbal behavior triggered by the gestures and objects used by the subjects participating in these interactions. Assuming, therefore, that media communication (especially advertising) acts together with other socializing agents and socio-cultural aspects involved in the worldview of these subjects, that is, in their perceptions, beliefs, attitudes and values to motivate the consumer culture children. This hypothesis of work, therefore, opposes the affirmation of most studies on the culture of child and youth consumption that this culture is primarily motivated by media communication. This proposed research was supported by the inductive method, using as methodological procedures the Survey method in the first stage of this research and the Case Study Collective (Multicasos) in the second stage, having the structured questionnaire and the semistructured interview as research instruments. Regarding the nature of the data, it is a qualitative research that also made use of quantitative instruments to introduce and complement the proposed analysis, seeking to deepen the understanding about the phenomenon studied. With regard to the objectives, it is a descriptive and interpretative research. It is also an exploratory research, because it seeks an approximation with a socio-cultural phenomenon still little explored in the perspective proposed in this thesis - that is, valuing the child-youth agency and the culture of peers within the framework of the relations that these subjects establish in the dimensions of consumption. In this sense, it recognizes the symbolic character of these relations, from an interactionist perspective that considers the relation between pairs, the meaning of objects and the representation of symbolic forms as a way of interaction between individuals and society. For the analysis of the collected data we follow a theoretical-methodological path guided by the interpretative paradigm, supported in the perspective of symbolic interactionism. The results of this study indicated parents and other family members, friends, the media as socializing agents that participate in the daily interactions of the subjects studied and different socio-cultural aspects that act together with the media communication, as symbolic vectors, to motivate the habits and consumption practices of these subjects; such as peer culture, media culture, personal taste, stereotypes, fashion, and valuation (cultural and psychosocial) attributes attributed to the social groups with which they identify, belong, or wish to belong.

This case study has as general objective to understand the perceptions of the cultural activists of Jarê on the politics of valorization and preservation of the memory and the identities of the popular culture in the city of Lençóis / BA. Its specific objectives are to identify the perceptions of cultural elements related to memory and identities in Jarê; to analyze the relations of ethnicity, religiosity and the social forms of identity affirmation of Jarê in the contemporary cultural scene; besides identifying aspects of the policies of valorization and preservation of the memory of the Jarê as possible material and immaterial cultural patrimony of the Chapada Diamantina / BA region. This is a qualitative research, consisting of a case study composed of the analysis of the informants' narratives. In the context of the question of memories and identities in the Jarê it was possible to identify the perceptions of the cultural elements present in the oral tradition of the practitioners and revealed through their narratives about the same phenomenon. Among these perceptions were highlighted elements linked to the place of religious practices that they considered of greater relevance. The concepts of ethnicity and religiosity emerge related in the narratives using Jarê as reference in the contemporary scene to present the social forms of identity affirmation related to this religious manifestation. The concept of cultural policies for the valorization of the material and immaterial heritage used proved to be relevant and was a key element of this research, as it was able to highlight the main aspects of a culture heritage in the Chapada Diamantina / BA region. Therefore, it is also fundamental that the results presented here stimulate the realization of new studies and researches that can also contribute to the reflection on other aspects related to the way this religious manifestation exists, is structured and relates to the local culture, with its practitioners and other social actors.

This research aims to change the perception of Neguinho do Samba’s creativity in the development of samba-reggae. Point out that samba-reggae enables the creation of a blackBahian tradition inspired by the main example as of a strategy of liberation of the enslaved black population, the Quilombo of Palmares. From its ability to reconnect individuals, the rhythm of samba-reggae reveals itself as an effective tool in the power shift. It is able to develop new discourses on the skin of their agents, greatly interfering with the aesthetics, gestures and literary production of an important musical movement installed in the city of Salvador. While black-diasporic expression, samba-reggae still works as a performance influenced by a musical cultural contingency of the city that , onwards Neguinho do Samba’s inventiveness, will develop itself as a musical symphonic structure, that way working out its erudition. Given the power of its organization samba-reggae will unfold, influencing new musical expressions and statements such as the Axe Music and Didá Feminine Band. The research develops a discussion with theoretical foundation guided by the multidisciplinarity. Thus, concepts such as identity, territoriality, performance and organic intellectual, were essential for the development of this research and the conclusive analysis. Theorists such as Stuart Hall, Paul Gilroy, Frantz Fanon, Leda Martins, Hommi Bhabha, Milton Moura, among others, supported the discussion.

This work is situated in the context of political and symbolic disputes existing in public actions that aim at valuing cultural diversity. These actions target the promoting of community autonomy and sustainability of groups and cultural initiatives. The contradictions between the possibilities of power sharing and the concentration-oriented culture characteristic of capitalist logic of accumulation make up the backdrop of the reflection proposed here. In other to address these tensions we propose to analyze the presence and absence of solidarity economy in Brazilian cultural policies from 2003 to 2014, particularly in the Living Culture program. The limits of the mechanisms for public funding of cultural associations were observed in the broader context of the challenges of the relationship between the state and civil society. More specifically, these were verified in the context of the awards given to culture points throughout the history of the Living Culture program. The field research focused upon a public action of this program called Living Economy that took place between 2010 and 2012, and investigated its intentionality, its practical achievements and the profile of the awarded initiatives. The three main objectives in this research were: understand the challenges faced by culture points to form cultural enterprises and carry out productive projects in a continuous and participatory manner; research the mode of organization and the meaning of culture points’ associative work and networking and the relationship with theirs sustainability in a multi-dimensional understanding; and analyze the role of the state in promoting economic diversity of cultural initiatives aimed at territorial development and collective autonomy.