Dans les années d’après-guerre entrent en ligne de compte des données démographiques et économiques nouvelles qui font évoluer la société française et lui imposent d’adapter son système éducatif, de décloisonner les disciplines et de favoriser l’interdisciplinarité. Seule l’école peut vaincre le déterminisme social lié à la naissance. C’est le colloque d’Amiens (1968) qui pose les bases d’une réflexion qui a nourri toutes les avancées sur l’éducation artistique depuis. Les années 70 sont celles de la réforme pour l’Education nationale et celles de la réflexion et des premières expérimentations pour la Culture. Les années 80 marquent une réelle ouverture de l’école, que ce soit vers les établissements culturels, à l’intervention de partenaires extérieurs au milieu scolaire ou à de nouvelles matières. Ouverture, mais aussi compromis entre les acteurs. Le protocole d’accord d’avril 1983 signé entre le ministère de la Culture et celui de l’Education nationale et la loi sur les enseignements artistiques de 1988 ont cédé aux compromis. Dans les années 90, penser l’éducation artistique de manière globale et à l’échelle d’un territoire apparaît comme le meilleur moyen de faire travailler ensemble les écoles et les équipements culturels à l’échelle d’une ville, d’un département ou d’une région, de garantir un maillage parfait du territoire et donc d’atteindre à la démocratisation culturelle. Mais finalement s’impose surtout le constat d’un empilement quelque peu désordonné des dispositifs. Le plan Lang/Tasca qui doit se réaliser sur cinq ans à partir du 14 décembre 2000 ouvre un nouveau chapitre. Mais l’exécution de ce nouveau plan n’est pas garantie par sa décision. / After the 2nd world war, the french society has to deal with new demographic and economic datas. It has to be taken into account by the french education system which should adapt, break down barriers between disciplines and promote intedisciplinary because just school can overcoming social determinism linked at birth. The Amiens’ symposium (1968) lays the foundation for reflection which fed all the thoughts about artistic education. The seventies see the amendment for School and first thinking and experimentations for Culture. Eighties tag an actual opening of school for cultural institutions, the mediation of external partners and new topics. Opening, but also agreement between all the characters. The protocole d’accord signed in April 1983 between ministry of culture and ministry of education and the law about arts education (1988) are the results of an agreement. In the nineties, thinking globally about arts education and on a territory scale seem to be the best way to make work together schools, cultural facilities and to ensure a perfect network coverage, and so to reach cultural democratisation. But actually, we observe a stack of messy contracts. The plan Lang/Tasca which should come true till december 14, 2000, opens a new chapter. But the achievement of that brand new plan is not insured by its decision.

Invention révolutionnaire, le musée d'art ouvert au public est une institution qui offre un espace contradictoire, cela à plusieurs niveaux : dans les origines conflictuelles du musée, dans la validation de ses relations avec un pouvoir institutionnalisé, dans la conceptualisation de sa dimension publique. Une approche croisée de l'histoire de l'institution et de l'évolution de la question politique nous fera relever précisément ces contradictions et mettra en évidence une tension entre deux pôles antagonistes, en dialogue constant, le principe républicain et la question démocratique. Cette tension s'avère pertinente pour évoquer les musées nationaux et les politiques culturelles de la Cinquième République. On voit alors en quoi le musée national est une institution républicaine et dans quelle mesure la « démocratisation culturelle » s'articule avec la question démocratique. C'est à partir de ces réflexions que l'on peut questionner l'évolution des musées nationaux à partir des années 2000 et leur vaste mouvement de réforme. La réforme des musées nationaux se présente comme la modernisation de leur mode de gestion. Nous en analysons les effets dans deux cas significatifs que sont les musées du Louvre et d'Orsay, à partir de la dimension législative de ces mutations, de déclarations publiques des directions des établissements et d'entretiens réalisés avec des personnels de ces musées. Après avoir contextualisé/caractérisé ce mouvement de réforme, celui-ci est interrogé à partir de la tension définie plus haut entre principe républicain et question démocratique. On verra comment cette tension se reconfigure et se déplace dans un nouveau type de musée, le musée-entreprise. / As a revolutionary invention, art museum opened to the public in France is an institution that offers a contradictory space, in different levels: in the conflicts of the origins of the museum, in the validation of its relation of an institutionalized power, in the conceptualization of its public dimension. Mixing the particular history of this institution with an evolution of political issue, is a way to name these contradictions. This highlights a tension between two antagonistic poles, but in a constant dialogue, republican principle and democratic question. This conflictual dialogue has to be understood as an identification process and its crisis. This tension appears relevant to analyze national museums and cultural Policy during the french Fifth Republic. Therefore, national museum seems to be a republican institution and how “cultural democratization” enunciate itself with democratic question. From these reflexions, evolution of national museums and cultural Policy since 2000, and, the large amendments they know, are analyzable. Amendment of national museums presents itself as a modernization of their management and administration, by alleviating their ministerial tutelage. We analyze these amendments effects from two examples, Louvre and Orsay museums, by studying legislative dispositions, public statements of their directorate and interviews with employees in the museums. After this amendment movement has been contextualized and defined, it is analyzed from the tension between republican principle and democratic question. It is reconfigured and shifted in a new kind of museum appearing: company-museum.

This thesis is the written result of a practice-based PhD. The thesis presents a 'located' model of curatorial practice that aims to actively benefit the cultural landscape of host regions. It challenges existing definitions of 'the curatorial', taking a multidisciplinary understanding of curatorial practice and evaluating curatorial methods in light of recent geo-political developments. Concerned with the effects of changes in European cultural policy, and the geopolitical position of the Mediterranean basin, this thesis evaluates contemporary curatorial practices in the Euro-Mediterranean Partnership context and, through practice-based interventions, suggests ways to develop situated curatorial processes, appropriate to their geographical context. Specifically, I argue that the temporary, large-scale exhibition formats financially supported by EU policies, such as the European Regional Development Fund, are not necessarily the most appropriate or beneficial to the cultural development of their host regions. I therefore propose an alternative set of methods, tools and considerations for a self-reflexive model of curatorial practice. This proposal takes the form of a curatorial initiative 'Vessel'; a long-term practice-based research project that seeks models of practice that effectively enable local engagement in cultural production, allowing culture to flourish independently of larger hegemonies. Several of Vessel's experimental initiatives are presented here, and appraised in order to build a theoretical understanding of 'located' curatorial practices that can inform alternative approaches. This research is developed through case studies of Manifesta, Liminal Spaces, Matadero and Intermediae; all of them testing grounds for 'Vessel', a curatorial initiative based in Puglia, Italy. Puglia has been chosen as a site for this research because of its central role in the current Mediterranean situation. This thesis illustrates the theoretical, geographical and historical context of this investigative project, and documents the evolution and outcomes of the curatorial initiative attempted. This thesis represents the first practice-based study of contemporary curatorial practices in the Euro-Mediterranean Partnership (EUROMED) context, which seeks primarily to develop situated curatorial processes appropriate to their geographical context. The thesis discusses aspects of human geography, cultural studies, social science and European studies, all filtered through practical implementation and reflective examination of the main discipline of interest: curatorial studies. This research acknowledges the role of the curator as a mediator between cultural producers and the political and bureaucratic conditions for cultural production. This role offers the opportunity to develop an awareness of the potential influence of those conditions on the artists, their work and their audiences. In other words, the curator is in a unique position to have an overview of the practices, interests and concerns of cultural producers, as well as those of policy makers and administrative bodies, and any potential conflicts of interest that may arise. Thus, curators are in a privileged position to operate as proactive agents, particularly when they observe that cultural policies are not achieving the aim of fostering cultural development. This thesis, therefore, invites curators to consider their responsibility to critically assess the long-term effects of their practice on cultural and epistemological development in Europe. The thesis is divided into four chapters. Chapter 1 presents the research questions, clarifying their terminology and broadly discussing their rationale, context and theoretical focus. The chapter questions current EU cultural and economic strategies and suggests that they may be misguided. In Chapter 2, the level of analysis shifts from the geo-political context to a more specific situation: the position of art practitioners involved in the above situation, and the outcomes produced. Since the exhibition format is popular and has been envisioned by the EU cultural agenda as one of the most effective instruments for creating a dialogue between different geographical areas, Chapter 2 challenges this understanding of the format and the ways of production embedded in it. Chapter 3 presents a series of alternative curatorial approaches coming from the South and related to the four theoretical pillars of the self-reflexive approach: geography, time, process and epistemology. Starting with the methods used to investigate the case studies, the chapter traces connections between theory and practice. The chapter moves through close readings of the alternative case studies and comparative analysis, to the use of self- reflexive practice. Chapter 4 is at the heart of the thesis: it presents the methodologies underpinning both the approach to case study analysis and the practical research. This involves the curatorial proposal put forward and practised through Vessel. Vessel is therefore presented, in Chapter 4, as a self-reflexive model of located curatorial practice that is appropriate for located curatorial engagement. The conclusion addresses the capacity of curatorial practices to cultivate local epistemologies. I propose the outcome of the Vessel research project, and associated case studies as a set of curatorial methods and considerations for a 'located' model of curatorial practice.

O Programa Descentralização, da Secretaria Municipal de Cultura de Porto Alegre, foi resultado de uma luta social, travada por grupos de teatro de rua, grupos locais e movimentos comunitários, pela ampliação e qualificação da participação no âmbito do governo municipal. Sua proposta política foi construída a partir de experiências como o Projeto Teatro como Instrumento de Discussão Social, do grupo Ói Nois Aqui Traveiz, em oposição às primeiras ações da Secretaria Municipal de Cultura em 1990 - de desconcentração cultural do centro da cidade. O discurso do Programa apontava para um processo de descentralização no qual as comunidades locais, organizadas coletivamente, passavam a se auto-organizar em termos de política cultural. Entretanto, é importante ressaltar que os espaços de participação na gestão pública têm sido aproveitados para controle social, por meio da colaboração e não do antagonismo da sociedade civil. Esse tipo de participação gerencial não tem como horizonte a emancipação social, mas sua cooptação. Deste modo, é necessário identificar em que medida o discurso do Programa desencadeou práticas de participação que facilitaram a obtenção de respostas para as demandas coletivas, e ampliaram a comunicação entre governados e governantes, fornecendo parâmetros para a tomada de decisão, fortalecendo a expansão da cidadania e “deselitização” da gestão pública. Neste trabalho, foi analisado em que medida a experiência de participação no Programa Descentralização de Cultura de Porto Alegre estimulou a formação de novos valores, pautados pela ética coletiva. A pesquisa de campo, entrevistas e observação participante, subsidiaram a constituição do discurso do Programa e análise das práticas de participação. Para a análise e tratamento dos dados foi utilizada uma abordagem qualitativa, identificando em que medida as práticas de participação que ocorreram ao longo do Programa resgataram os laços entre sociedade civil e Estado, transformando este último em um campo de disputa. Foram identificadas, no início do Programa, novas possibilidades de participação da sociedade civil no âmbito da gestão pública. Entretanto, os espaços de participação que se apresentavam com maior potencial de estímulo a novas possibilidades de participação, ao longo dos anos, perderam o potencial de transformação, distanciando-se deste modo, da proposta inicial de atuação do Programa. / The Decentralization Program of the Municipal Department of Culture in Porto Alegre was the result of a social struggle waged by groups of street theater, local groups and community movements, for the expansion and qualification of participation in municipal government. Its proposed policy was constructed from experiments such as Project Theatre as an Instrument of Social Talk, of the group Ói Nóis Aqui Traveiz, in contrast the first actions of the Municipal Culture in 1990 - the cultural desconcentration of city center. The speech of the program pointed to a process of decentralization in which local communities, organized collectively, began to self-organize in terms of cultural politics. However, it is important to highlight that the opportunities for participation in public management have been exploited for social control, through collaboration and not antagonism in civil society. This kind of participation does not have the managerial horizon to social emancipation, but his co-optation. Thus, it is necessary to identify the extent to which the speech triggered Program participation practices that facilitated obtaining answers to the collective demands, and increased communication between rulers and ruled, providing parameters for decision making, strengthening the expansion of citizenship and "deselitização" public management. In this work, which was analyzed at what extent the experience of participation in the Decentralization Program of Culture in Porto Alegre stimulated the formation of new values, guided by ethics conference? The field research, interviews and participant observation, supported the establishment of discourse and analysis of program practices of participation. For the analysis and processing of data was used a qualitative approach, identifying the extent to which the practices of participation that occurred throughout the program rescued the links between civil society and state, turning the latter into a playing field. It was identified early in the program, new opportunities for civil society participation in public management. However, the spaces of participation that had the greatest potential to stimulate new ways of participation, over the years, lost the potential for change, distancing them, this way, from the initial performance of the proposed program.

190f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-08T17:52:55Z No. of bitstreams: 1 disertacao Daniele Canedo.pdf: 1947470 bytes, checksum: 5f1cf7d6772f7811f5a83a7ed4d24d3c (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-08T18:22:11Z (GMT) No. of bitstreams: 1 disertacao Daniele Canedo.pdf: 1947470 bytes, checksum: 5f1cf7d6772f7811f5a83a7ed4d24d3c (MD5) / Made available in DSpace on 2013-05-08T18:22:11Z (GMT). No. of bitstreams: 1 disertacao Daniele Canedo.pdf: 1947470 bytes, checksum: 5f1cf7d6772f7811f5a83a7ed4d24d3c (MD5) Previous issue date: 2008 / A presente dissertação analisa a participação social na elaboração de políticas públicas de cultura, tendo como objeto de estudo a II Conferência Estadual de Cultura da Bahia, realizada entre agosto e outubro de 2007. Buscando compreender a importância da deliberação popular para as políticas culturais, foi realizada uma pesquisa com participantes da II Conferência Estadual de Cultura. Este trabalho apresenta os resultados da pesquisa, analisando-os a partir de reflexões sobre a democracia, nos aspectos da representação e da participação; sobre o papel central que a cultura ocupa na sociedade contemporânea; e sobre o contexto histórico das políticas públicas de cultura nos âmbitos nacional e estadual. Nesta investigação foi possível constatar que a gestão pública da cultura deve ter por objetivo a cidadania cultural, de modo a incentivar o envolvimento popular na esfera de decisão para que as ações possam efetivamente contribuir para o desenvolvimento humano. / Salvador

175f. / Rubim, Linda Silva Oliveira ver Rubim, Lindinalva Silva Oliveira / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-09T18:23:31Z No. of bitstreams: 1 dissert_Renata Souza.pdf: 980525 bytes, checksum: b53dc6eacf841a8a51e020b6175e6f3b (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-10T16:59:36Z (GMT) No. of bitstreams: 1 dissert_Renata Souza.pdf: 980525 bytes, checksum: b53dc6eacf841a8a51e020b6175e6f3b (MD5) / Made available in DSpace on 2013-05-10T16:59:36Z (GMT). No. of bitstreams: 1 dissert_Renata Souza.pdf: 980525 bytes, checksum: b53dc6eacf841a8a51e020b6175e6f3b (MD5) Previous issue date: 2010 / Esta dissertação tem como principal objetivo compreender a forma como a Televisão Educativa da Bahia, emissora estatal com finalidade pública, pertencente à estrutura do Instituto de Radiodifusão Educativa da Bahia, assimila e põe em prática as políticas culturais implantadas pelas distintas administrações do governo estadual. As discussões sobre a televisão pública foram levantadas e problematizadas, bem como as trajetórias dos sistemas televisivos com finalidade pública no Brasil e na Bahia, em suas relações com as políticas para a cultura. Além disso, com o intuito de investigar e compreender como se estrutura e se organiza a TVE-Ba, a pesquisa se ancorou em três aspectos, considerados essenciais em um serviço público de radiodifusão: suas formas de gestão, financiamento e programação. Temporalmente, toma-se como ponto de partida a inauguração desta emissora de TV, em 09 de novembro de 1985, até dezembro de 2008. [en] The main objective of this dissertation is to understand how Televisao Educativa da Bahia (TVE-Ba), a public broadcasting television station affiliated with the Instituto de Radiodifusao Educativa da Bahia, implements cultural policies set by differing state government admnistrations. This work presents and problematizes discussions about public broadcasting television. The history of public broadcasting television in Brazil and in Bahia and its relations with cultural policies is debated in this thesis as well. The research also examines, in the context of baiano culture, the history of TVE-Ba since its inauguration in November of 1985 until December of 2008, focusing on its managements, finances, and programing. / Salvador

O presente trabalho procura estabelecer uma relação entre as manifestações culturais, do ponto de vista do teatro, e a geografia das cidades. Tem-se como hipótese que cada cidade possibilita expressões culturais distintas e que estas, por sua vez, impulsionam dialeticamente sua dinâmica e vida urbana. Considerando as cidades como lugares de expressão da modernidade e do modernismo, discute-se a expressão teatral no eixo Rio-São Paulo, entre 1940-1960. As capitais situadas nesse eixo desempenharam importante papel de pólos de desenvolvimento e modernidade, irradiadores de tendências modernistas para o restante do país. A princípio, o Rio de Janeiro exportava teatro para São Paulo, mas a situação modificou-se com o crescimento econômico da região Sudeste e da concentração industrial em São Paulo, que transformou a capital paulista no coração da vida econômica do país, possibilitando investimentos privados na área da cultura, incluindo a área teatral, até então pouco expressiva naquela cidade. Concomitantemente, a cidade do Rio de Janeiro, como Distrito Federal, perdia força econômica e cultural. Foi o desempenho dos grupos amadores cariocas e paulistas em modificar o panorama do teatro brasileiro que propiciou a renovação da linguagem cênica nacional. Entre 1940-1960, o teatro realizado nas duas cidades não chega a arrebatar a sociedade como um todo, tendo as melhores respostas com as platéias paulistas, embora o ponto de ebulição do teatro moderno tenha ocorrido no Rio de Janeiro, em 1943, com os amadores Os Comediantes. Na verdade, a institucionalização do teatro moderno só aconteceria com a profissionalização da atividade teatral, empreendida pelo mecenas Franco Zampari na estrutura empresarial utilizada na criação do Teatro Brasileiro de Comédia (1948), traduzindo assim o ideal modernista que os grupos amadores pretendiam expressar desde o final dos anos 30. De fato, durante os anos 1940-1960, o Rio de Janeiro, por ser a sede do Governo Federal, recebe maior apoio financeiro para a atividade teatral e se mantém como referência, apesar do sucesso alcançado pelo teatro paulista. Com a mudança da Capital Federal para Brasília (1960), a cidade sofre um esvaziamento econômico e, conseqüentemente, ocorre o enfraquecimento do teatro carioca, agravado pela instalação da censura, que colocou um obstáculo nos avanços até ali alcançados. Todavia, o Rio, ainda hoje, mantém forte tradição cultural. / This work was developed with the aim of determine the relation between de cultural manifestations, seen through the theater and the geography of the cities. It has as hypothesis that each city makes possible cultural and distinguished expressions and these, in turn, impel dialectically its dynamic and urban life. Forasmuch the cities as places of expression of the modernity and of the modernism, it is discussed the theatrical expression in the route Rio-São Paulo, between 1940-1960. The capitals located in this route played an important part of focus of interest of development and modernity, which emanate modernist inclinations for the others cities of the country. At first, Rio de Janeiro exported theater to São Paulo, but the situation has changed itself by the economic increase of the southeast region and the industrial concentration in São Paulo, that has turned the capital of São Paulo into the center of the economical life of the country, by making possible private investments in the culture area, including the theatrical area, up to now little expressive in the city. Concomitantly, the Rio de Janeiro city, as Distrito Federal lost the economic and cultural strength. It was the amateur groups performance from Rio and São Paulo by aiming to change the panorama of the national theater which provided the renewal of the national scenic language. Between 1940-1960, the theater performed in both cities cant surprise the society as a whole, having the better responses with the public from São Paulo, although the boiling-point of the modern theater has happened in Rio de Janeiro, in 1943, with the amateur group Os Comediantes. Truthfully, turn the modern theater institutional only would happen if the theatrical activity undertaken by the supporter Franco Zampari in the organizational structure used inserted in the construct of the Teatro Brasileiro de Comédia (1948), achieving like that the perfect modernist that the amateur groups have intended to express since the last in the 30s. In fact, through the years 1940-1960, Rio de Janeiro as the headquarters of the federal government receive greatest financial support for the theatrical activity and keep up itself as a cultural reference despite the reached success by the theater in São Paulo. Due to the relocation from de Federal Capital to Brasília in 1960, the city suffer an economic emptying, and consequently, occur the weaking of the theater in Rio de Janeiro, grown worse by the establishment of the censure, which restrain the advances up to there reached. However, Rio de Janeiro, still nowadays, keeps up a strong cultural tradition.

Esta dissertação propõe-se a estudar o modus operandi do Ministério das Relações Exteriores do Brasil (Itamaraty) na condução de sua política cultural externa entre 1945 e 1964. A pesquisa articulou, analiticamente, os diversos fatores envolvidos, tais como os antecedentes históricos desta dimensão da política externa brasileira, as discussões no âmbito da política interna do país, os desafios e evoluções pelas quais passou a cultura nacional. O contexto internacional do período e as ações culturais empreendidas pelo Itamaraty foram os fios condutores para a formulação da principal hipótese da dissertação: a de que o Itamaraty, a despeito de momentos de inflexão e refluxo, forjou uma sólida tradição no planejamento e execução de uma política cultural brasileira no exterior que, por sua vez, tornou-se elemento fundamental na construção da imagem internacional do Brasil. / This dissertation aims to study the modus operandi in which the Ministry of Foreign Relations of Brazil (Itamaraty) conducted its external cultural policy between 1945-1964. The research considered, analytically, many factors such as the previous historical records of this dimension of brazilian foreign policy, the discussions that took place in domestic policy, and the challenges and evolutions in which national culture went through during that time. The international context and the cultural actions undertaken by Itamaraty were the guiding lines to develop the main hipotesis: Itamaraty, although alternating moments of struggle and weak actions, constructed a solid tradition of planning and execution of cultural policy, in its became an essential element in the shapping of the Brazil international image.

abstract: This research explores and deepens our understanding of an element of arts infrastructure in the United States: the arts incubator, an organizational form or programmatic initiative that exists at the intersection of artistic production, entrepreneurship, and public policy. The study is a qualitative cross-case analysis of four arts incubators of different types: Arlington Arts Incubator, Intersection for the Arts, Center for Cultural Innovation, and Mighty Tieton, situated within the context of the literature of arts incubators, business incubator evaluation, and a theoretical framework for understanding entrepreneurship in the US arts and culture sector. The research opens the black box of incubator operations to find that arts incubators create value for client artists and arts organizations both through direct service provision and indirect echo effects but that the provision of value to communities or systems is attenuated and largely undocumented. Arts incubators, like many small arts organizations, tend to look retrospectively at outputs rather than at the processes that convert inputs to tangible impacts, or means into ends. This is an issue not relegated only to the arts and culture sector; business incubators share some of these tendencies. Despite these issues, arts incubators remain a potentially impactful tool of cultural policy if their processes and activities align with their strategic goals and those processes and activities are assessed formatively and summatively. / Dissertation/Thesis / Doctoral Dissertation Public Policy 2015

Made available in DSpace on 2014-06-11T19:27:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-24Bitstream added on 2014-06-13T19:47:38Z : No. of bitstreams: 1 moura_pc_dr_ia.pdf: 3049788 bytes, checksum: d90ff93a61c7b2359c02a5ed3e008b2f (MD5) / Neste trabalho aborda-se o contexto de algumas políticas para cultura no Brasil sob o ângulo dos circuitos culturais, locus privilegiado para sua realização, contemplando suas interações com as práticas do Canto Coral em São Paulo. Tem como principal objetivo caracterizar as diversas práticas do Canto Coral como um circuito cultural híbrido resultante de processos de construção e desconstrução de sentidos sócio-culturais ao longo do século XX. A partir do retrospecto histórico apresentado, e baseando-se em conceitos de Brunner (1987), Canclini (1997), Teixeira Coelho (2004), Hall (2004), Vargas (2009) e Furtado (2012) reflete-se sobre os cenários de realização cultural híbrida e suas características na pós-modernidade. Esse processo permitiu enquadrar o objeto de estudo nessa categoria, e assim apresentar algumas considerações sobre possíveis mecanismos de apoio e incentivo a seu desenvolvimento / This work covers the context of government policies for Culture in Brazil under the views of “Cultural Circuits”, privileged locations for these events, covering the interactions with Chorale practices in São Paulo. Its main objective is to characterize the different Chorale practices as a hybrid circuit resulting from socio-cultural construction and deconstruction processes along the 20th Century. From the presented historical retrospect and based on concepts from Brunner (1987), Canclini (1997), Teixeira Coelho (2004), Hall (2004), Vargas (2009), and Furtado (2012), the work examines scenarios for the hybrid cultural realization and its characteristics in post modernity. This process allowed the object under analysis to be clarified and led to conclusions on mechanisms for support and incentives aiming its development