Le classement des institutions pastorales peules du yaaral et du degal (Delta intérieur du Niger) à la liste des chefs-d’œuvre du patrimoine oral et immatériel de l’humanité de l’UNESCO est au fondement d’une interrogation sur les modalités de l’appropriation et de l’application des politiques internationales du patrimoine culturel immatériel. Dans un contexte de décentralisation politique et de transformations des sociétés agro-pastorales, le croisement des enjeux contemporains du pastoralisme transhumant à l’application du programme de sauvegarde conçu selon les nouvelles normes patrimoniales de la protection de la diversité culturelle, de l’implication des populations et du développement durable, alimente une réflexion sur les pratiques politiques de la tradition et de l’appartenance. Les interactions entre ce système politique et symbolique d’usage du passé et les représentations et pratiques ordinaires, parfois conflictuelles, du bien classé, révèlent les relations de pouvoir relatives à la gestion des identités et à l’exploitation du foncier entre l’État malien et divers acteurs. Le croisement et le recyclage mutuel de stéréotypes sur le pastoralisme peul mobilisés dans des stratégies contradictoires à des échelles locales, nationales et globales produisent une scène originale des fêtes de transhumance. Une lecture continuiste entre tradition et patrimoine dans laquelle celui-ci serait une forme extravertie et institutionnalisée de la tradition rend compte du caractère historique des processus de patrimonialisation et de leur inscription dans une histoire longue marquée par des usages et des reformulations dynamiques des symboles culturels. / The proclamation of the yaaral and degal pastoral institutions (Inner Niger Delta) on the UNESCO’s list of “masterpieces of the oral and intangible heritage of humanity” is the basis for the study of the forms of appropriation and implementation of international intangible heritage policies. In a context of political decentralization and transformation of agro-pastoral societies, the intersection of contemporary challenges of transhumant pastoralism with the application of a safeguarding program developed according to the new patrimonial standards for the protection of cultural diversity, the involvement of populations and sustainable development, fuels consideration of political practices of tradition and belonging. The interactions between this political and symbolic system of use of the past and ordinary representations and practices of the listed item, sometimes conflicting, reveal power relationships relative to the management of identities and land exploitation, between the Malian State and miscellaneous actors. The intersection and mutual recycling of stereotypes about fulɓe pastoralism mobilized in contradictory strategies at local, national and global scales, produce an original stage for transhumance festivals. Considering the continuum between tradition and heritage, in which heritage would be an extroverted and institutionalized form of tradition, highlights the historical nature of heritagization processes and their inclusion in a long history marked by uses and dynamic reformulations of cultural symbols.

Cette thèse porte sur le film de reconstitution historique réalisé en Roumanie pendant la période communiste et vise à analyser les enjeux politiques et culturels de la mise en scène du passé national. La compréhension de cette problématique passe d’abord par la mise en exergue des différentes logiques qui ont présidé l’action étatique à l’égard de la culture et en particulier de la cinématographie tout au long de la période communiste. Nous envisageons d’analyser les conditions économiques, politiques et idéologiques de la production cinématographique, les directives concernant la thématique générale et l’orientation que le parti tente d’imprégner au cinéma. Afin de compléter le tableau des relations sociales, cette étude cherche à mettre en évidence également les positions prises par les créateurs et les bureaucrates en rapport avec une politique ou une autre, les résistances, les convenances et les collaborations. Dans un second temps, cette étude envisage la restitution des processus socioculturels qui ont donné naissance aux films historiques. Il nous intéresse de comprendre la conception interne de chaque œuvre, les forces sociales qui se mettent en route, les positions idéologiques du parti, des artistes, des bureaucrates ou des historiens, les mécanismes de prise de décision. Nous essayons de mettre en corrélation la vision des créateurs avec la position des historiens et celle du parti à travers la focalisation ciblée sur les différents niveaux d’écriture cinématographique ainsi que sur les opérations de négociations souterraines pour défendre une vision ou une autre. Enfin, le troisième niveau d’analyse s’intéresse au décryptage du film, en tant que produit artistique complexe réunissant trois formes d’expression (l’image, le dialogue et le son) dans le but de dégager les significations politiques ou culturelles de la mise en scène du passé. Nous étudions les représentations cinématographiques des mythes historiques, leur évolution des 1960 aux années 1980 et l’apport spécifique du cinéma dans leur reproduction. / The subject of this PhD dissertation is the historical reconstructions films produced in Romania under communist rule and more precisely between 1960 and 1989. It analyses the social and cultural significance of the representation of national past but also the social and political aspects involved in the production process. In order to understand these research objectives our approach we stress first various logics which chairing the state action towards the culture and in particular towards the cinematography. We intend to analyze the economic, political and ideological conditions of the film production, the directives concerning the general thematic and the orientation that the party tries to induce to the cinema. To complete the picture of social relationships, this study tries to emphasize the stand taken by the creators and the bureaucrats towards different policies, the resistances, the liking, the collaborations. Second, this study envisages the restoration of the sociocultural processes that gave birth to the historic movies. We try to understand the internal conception process of every work, the social dynamics, the ideological positions of the party, the artists, the bureaucrats or the historians and the decision-making mechanisms. We try to correlate the vision of the creators with the position of the historians and the party through a targeted focus at the various levels of film writing as well as at the operations of subterranean negotiations in order to defend a vision or another. Finally, the third level of analysis, is interested in the deciphering of the movie as a complex artistic product combining three forms of expression (image, language and sound) aiming at reveal the political and cultural meanings of past reconstruction. We study the film representations of the historic myths, their evolution from the 1960 to 1980s and the specific contribution of the cinema in their reproduction.

A presente dissertação analisa o processo de construção do Plano Municipal do Livro, Leitura, Literatura e Biblioteca (PMLLLB) para a Cidade de São Paulo, que ocorreu de 2012 a 2015. Apresenta o histórico das políticas públicas para Livro e Leitura no Brasil e analisa a participação social na construção e articulação dos diferentes atores em torno do Plano Municipal do Livro, Leitura, Literatura e Biblioteca. Para isso, em sua metodologia, foi realizada pesquisa bibliográfica e documental, análise de atas, relatórios e entrevistas com participantes do grupo de trabalho e das plenárias. Esta dissertação aponta como o PMLLLB foi um diferencial no âmbito das políticas públicas do livro e leitura, sobretudo pela força da participação social. A sociedade civil e o poder público constituíram um grupo de trabalho e se articularam para a confecção do Plano, por meio de plenárias temáticas e regionais, que envolveram profissionais, militantes e gestores de vários segmentos do livro e leitura. Os resultados gerados mostraram os conflitos existentes entre os atores dos segmentos do livro e leitura e o poder público na confecção do Plano, explicitando lacunas existentes entre as demandas da sociedade civil e as políticas públicas. Tanto nas entrevistas realizadas como nos documentos das plenárias identificamos as principais expectativas que a aprovação do Plano gerou nos atores e segmentos envolvidos. As principais conquistas, ao longo do processo de construção do Plano, que merecem destaque no âmbito da proposição de políticas públicas do livro e leitura no Brasil, são: 1) a proposta de criação de programas que integram as áreas de educação e cultura; 2) a proposta de política de formação de acervo para as bibliotecas de acesso público que contemple a diversidade da produção literária (em especial, a literatura periférica ou não-hegemônica); 3) a proposta de fomento às pequenas e médias livrarias e às feiras literárias populares; 4) a proposta de formação de uma rede colaborativa que inclua as bibliotecas comunitárias; e 5) proposta de elaboração de uma política de formação de mediadores de leitura. / This dissertation analyzes the process of development of the Municipal Plan of Book, Reading, Literature and Library for the City of São Paulo, which occurred from 2012 to 2015. This work presents the history of the public policies for book and reading in Brazil and analyzes the social participation in the construction and articulation of actors around the Municipal Plan of Book, Reading, Literature and Library. For this, in its methodology, bibliographic and documentary research, analysis of minutes, reports and interviews with participants of the working group and plenary sessions was performed. It points how this Plan was a differential in public policies for book and reading, especially by the force of social participation. Civil society and public authorities set up a working group and articulated themselves for the elaboration of the Plan, through thematic and regional plenaries involving professionals, activists and managers of the various segments of book and reading. The results generated showed the conflicts between the actors of the segments of the book and reading and public authorities in making the plan, showing the gaps between the demands of civil society and public policy. Both in interviews and in the plenary documents we have identified the main expectations that the approval of the Plan generated on the actors and sectors involved. The main achievements over the plan building process, which should be highlighted under the proposition of public policy of book and reading in Brazil are: 1) the proposal to create programs that integrate the areas of education and culture; 2) the proposal for a collection development policy for public libraries that addresses the diversity of literary production (especially including the literature of the outskirts, from the undergrounds or non-hegemonic literature); 3) the proposal of policies of funding for small and medium-sized bookstores and popular literary fairs; 4) the proposal to form a collaborative network that includes community libraries; 5) the proposal to develop a policy for training of reading mediators.

Made available in DSpace on 2016-04-27T19:31:36Z (GMT). No. of bitstreams: 1 Fernando Santomauro.pdf: 4626789 bytes, checksum: 7c779cdd962f42e1ced6f4df9fe8b930 (MD5) Previous issue date: 2007-10-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The main goal of this Master s Thesis is to observe how a Cultural Policy is structured and directed in International Relations as a political instrument or important complement to achieve the interests of a country abroad. Based on the main studies of the area and mainly on the documental research of diplomatic files, the Cultural Policies of France and United States in Brazil in the interwar period were analysed / O objetivo principal desta dissertação é observar como a Política Cultural nas Relações Internacionais se estrutura e é dirigida quando adotada como instrumento político ou um complemento importante para a consecução dos interesses de um país no exterior. Para isso, com base nos estudos sobre o assunto e principalmente na pesquisa documental dos arquivos diplomáticos, foram analisadas as Políticas Culturais de França e Estados Unidos no Brasil no período do entre-guerras

nÃo hà / O objetivo deste trabalho à avaliar o Centro Cultural Banco do Nordeste em Fortaleza, enquanto lÃcus pÃblico de produÃÃo, formaÃÃo, fruiÃÃo e difusÃo de bens e produtos culturais, como uma estratÃgia da polÃtica pÃblica de fomento à cultura do Banco do Nordeste. Traz um breve histÃrico das polÃticas pÃblicas culturais no Brasil e no Nordeste e mostra a missÃo, os objetivos, o funcionamento e a atuaÃÃo do Banco do Nordeste do Brasil e dos seus Centros Culturais. Aborda conceitos de cultura, cultura popular, circularidade cultural, identidade cultural e marketing cultural. Procura estabelecer linhas de base quanto à avaliaÃÃo dessa polÃtica pÃblica, visando subsidiar a sistematicidade de processos avaliativos futuros. Empreendeu-se uma breve anÃlise histÃrica do processo de gestaÃÃo e desenvolvimento da polÃtica cultural em discussÃo, realizada por meio de levantamento bibliogrÃfico e documental, alÃm de pesquisa de campo, com aplicaÃÃo de questionÃrios aos gestores, produtores culturais e usuÃrios do Centro Cultural Fortaleza. Os dados foram analisados por meio da tÃcnica de anÃlise de conteÃdo e apontaram na direÃÃo de uma avaliaÃÃo positiva da atuaÃÃo do Centro Cultural Banco do Nordeste, sede Fortaleza, como local de produÃÃo, fruiÃÃo e disseminaÃÃo cultural atravÃs de produtos e serviÃos culturais que atendem Ãs expectativas de gestores, produtores culturais e usuÃrios, que consideram o referido centro cultural como local que, alÃm de promover lazer e entretenimento, pode provocar transformaÃÃes socioculturais e contribuir para o desenvolvimento regional, atravÃs da promoÃÃo do acesso à cultura. / The objective of this study is to evaluate the Centro Cultural Banco do Nordeste in Fortaleza, while locus of public production, education, enjoyment and dissemination of cultural goods and services as a public policy strategy for promoting the culture of the Northeast Bank. Presents a brief history of public cultural policies in Brazil and Cearà and shows the mission, objectives, operation and performance of the Bank of Northeast Brazil and their cultural centers. Covers concepts of culture, popular culture, cultural circularity, cultural identity and cultural marketing. It seeks to establish baselines and evaluation of public policy to subsidize the systematicity of future evaluation processes. Undertook a brief historical analysis of the process of pregnancy and development of cultural policy under discussion, conducted through a literature review and documentation, and field research with questionnaires to managers, cultural producers and users of the Cultural Center Fortaleza. Data were analyzed using the technique of content analysis and pointed towards a positive assessment of the performance of the Centro Cultural Banco do Nordeste, Fortaleza headquarters and local production, and dissemination of culture through the enjoyment of cultural products and services that meet expectations of managers, cultural producers and users, who consider such a cultural center as a place that, in addition to promoting leisure and entertainment, social and cultural transformations can cause and contribute to regional development by promoting access to culture

A presente dissertação analisa o processo de construção do Plano Municipal do Livro, Leitura, Literatura e Biblioteca (PMLLLB) para a Cidade de São Paulo, que ocorreu de 2012 a 2015. Apresenta o histórico das políticas públicas para Livro e Leitura no Brasil e analisa a participação social na construção e articulação dos diferentes atores em torno do Plano Municipal do Livro, Leitura, Literatura e Biblioteca. Para isso, em sua metodologia, foi realizada pesquisa bibliográfica e documental, análise de atas, relatórios e entrevistas com participantes do grupo de trabalho e das plenárias. Esta dissertação aponta como o PMLLLB foi um diferencial no âmbito das políticas públicas do livro e leitura, sobretudo pela força da participação social. A sociedade civil e o poder público constituíram um grupo de trabalho e se articularam para a confecção do Plano, por meio de plenárias temáticas e regionais, que envolveram profissionais, militantes e gestores de vários segmentos do livro e leitura. Os resultados gerados mostraram os conflitos existentes entre os atores dos segmentos do livro e leitura e o poder público na confecção do Plano, explicitando lacunas existentes entre as demandas da sociedade civil e as políticas públicas. Tanto nas entrevistas realizadas como nos documentos das plenárias identificamos as principais expectativas que a aprovação do Plano gerou nos atores e segmentos envolvidos. As principais conquistas, ao longo do processo de construção do Plano, que merecem destaque no âmbito da proposição de políticas públicas do livro e leitura no Brasil, são: 1) a proposta de criação de programas que integram as áreas de educação e cultura; 2) a proposta de política de formação de acervo para as bibliotecas de acesso público que contemple a diversidade da produção literária (em especial, a literatura periférica ou não-hegemônica); 3) a proposta de fomento às pequenas e médias livrarias e às feiras literárias populares; 4) a proposta de formação de uma rede colaborativa que inclua as bibliotecas comunitárias; e 5) proposta de elaboração de uma política de formação de mediadores de leitura. / This dissertation analyzes the process of development of the Municipal Plan of Book, Reading, Literature and Library for the City of São Paulo, which occurred from 2012 to 2015. This work presents the history of the public policies for book and reading in Brazil and analyzes the social participation in the construction and articulation of actors around the Municipal Plan of Book, Reading, Literature and Library. For this, in its methodology, bibliographic and documentary research, analysis of minutes, reports and interviews with participants of the working group and plenary sessions was performed. It points how this Plan was a differential in public policies for book and reading, especially by the force of social participation. Civil society and public authorities set up a working group and articulated themselves for the elaboration of the Plan, through thematic and regional plenaries involving professionals, activists and managers of the various segments of book and reading. The results generated showed the conflicts between the actors of the segments of the book and reading and public authorities in making the plan, showing the gaps between the demands of civil society and public policy. Both in interviews and in the plenary documents we have identified the main expectations that the approval of the Plan generated on the actors and sectors involved. The main achievements over the plan building process, which should be highlighted under the proposition of public policy of book and reading in Brazil are: 1) the proposal to create programs that integrate the areas of education and culture; 2) the proposal for a collection development policy for public libraries that addresses the diversity of literary production (especially including the literature of the outskirts, from the undergrounds or non-hegemonic literature); 3) the proposal of policies of funding for small and medium-sized bookstores and popular literary fairs; 4) the proposal to form a collaborative network that includes community libraries; 5) the proposal to develop a policy for training of reading mediators.

Trata-se do processo de disseminação ou difusão de políticas públicas de cultura, a partir da análise de implantação do Programa de Valorização de Iniciativas Culturais, VAI-SBC, programa de fomento à produção cultural da prefeitura de São Bernardo do Campo, em relação com o programa homônimo e sua matriz conceitual, o Programa VAI, desenvolvido na cidade de São Paulo. Embora ambos se filiem ao mesmo campo político-ideológico, ao ser adaptado à localidade do Grande ABC, variáveis internas e externas ao programa, tais como a experiência acumulada pelos fazedores de política (policy makers), os constrangimentos impostos pela situação político-administrativa do município e as características de desenvolvimento especificas do campo cultural local influenciaram o modo como ocorreu a escolha do modelo de formulação, agindo decisivamente na construção do seu objeto e de suas diretrizes. O estudo foi realizado a partir de pesquisa de documentos, leis, imprensa comercial e oficial, programas, entrevistas, depoimentos, projetos e ações, considerando aspectos políticos, culturais, artísticos e sociais na realização da política pública de cultura / It is about the process of dissemination or diffusion of culture public policies, from the analysis of the Cultural Initiatives Valuation Program, VAI-SBC, development program to cultural production of the São Bernardo do Campos city hall, in relation to the homonym program and its conceptual basis, the VAI Program, developed on the city of São Paulo. Although both join the same political-ideological field, when being adapted to the location of Grande ABC, internal and external variables to the program, such as the accumulated experience by the policy makers, the embarrassments imposed by the political-management situation of the city hall and the development characteristics of the local cultural field, influenced the way how the choice of the formulation model occurred, acting decisively on the construction of its object and its guidelines. The study was based on research on documents, laws, commercial and official press, programs, interviews, testimonies, projects and actions, considering politcal, cultural, artistic and social aspects in the accomplishment of the public policy of culture

L’Afrique n’échappe pas aux débats sur les industries culturelles, déjà en vogue, au niveau mondial. Bien développées dans les pays du Nord, les industries culturelles connaissent cependant un développement très faible en Afrique. Dans le continent, si quelques pays ont des modèles réussis de développement de ce secteur, à l’instar du Nigéria ou de l’Afrique du Sud, les industries culturelles des pays francophones d’Afrique subsahrienne demeurent encore dans un état précaire. Cela semble probablement dû à une prise de conscience tardive de leurs enjeux, à des considérations socio-politiques, ou encore à une mauvaise compréhension des rôles des acteurs. D’où notre intérêt à étudier le rôle des pouvoirs publics dans le processus de développement des industries culturelles au Burkina Faso, à travers le sujet suivant : Les industries culturelles dans les pays francophones d’Afrique subsaharienne : cas du Burkina Faso. Pour mener à bien notre réflexion sur le sujet, la méthodologie a consisté aussi bien à un débroussaillage théorique et à des enquêtes de terrain, permettant de confirmer les hypothèses émises. Au Burkina Faso, les industries culturelles connaissent, par leur organisation, une certaine dynamique, malgré quelques insuffisances dans le développement des filières culturelles. Cette dynamique, favorable à la mise en place d’initiatives et d’évènements culturels d’envergure, fait sans doute considérer le pays comme un « carrefour culturel » en Afrique. Les industries culturelles génèrent des enjeux sociaux, politiques et économiques considérables pour le pays. Cependant, ces enjeux sont l’objet de conflits entre surtout les industriels de la culture et l’Etat. Aussi, est-il indispensable que les pouvoirs publics et les industriels de la culture travaillent en synergie, avec des rôles bien définis, pour prendre au sérieux les défis, pour un secteur plus viable, dynamique et durable. / THESIS SUMMARYAfrica is no exception to the debates on the cultural industries, already in vogue, at the global level. Although well developed in the North, cultural industries are less developed in Africa. In the continent, while some countries have successful models of development in this sector, like Nigeria or South Africa, the cultural industries in francophone countries of sub-Saharan Africa are still in a precarious level. This seems likely due to a late awareness of their issues, socio-political considerations, or a misunderstanding of the roles of the actors. Hence our interest in studying the role of public authorities in the process of cultural industries development in Burkina Faso, through the following subject: Cultural industries in francophone countries of sub-Saharan Africa: case of Burkina Faso. To carry out our reflection on the subject, the methodology consisted as well of a theoretical brusaillage and field investigations, allowing to confirm the hypotheses emitted.In Burkina Faso, the cultural industries are dynamic, by their organization, despite some shortcomings in the development of cultural sectors. This dynamic, favorable to the implementation of major initiatives and cultural events, makes the country as a "cultural crossroads" in Africa. Cultural industries generate considerable social, political and economic impacts for the country. However, these profits are the subject of conflicts between mainly industrial culture sector and the public sector. It is therefore essential that public authorities and cultural private sector work in synergy, with well-defined roles, to take the challenges seriously, for a more viable, dynamic and sustainable sector.

Uppsatsen utreder populärmusikens ställning i den svenska kulturpolitiken med fokus på musikarrangörer. Bakgrunden består delvis i grundandet av riksförbundet Svensk Live och deras publikationer "Vi fortsätter spela pop (men vi håller på att dö)" och "Maktens Musik" som menar att delar av populärmusiken inte kan överleva eller utvecklas utan stöd. Stödet menar man att populärmusiken oftare nekas än andra genrer med en längre historia av att organisera sig och beviljas statliga stöd. Bakgrunden redogör även för musikvetenskaplig forskning och diskussioner kring begreppet "populärmusik" samt en historisk överblick av modern svensk kulturpolitik med musikarrangörer i fokus och ett redogörande för dagsläget utifrån rapporter från Myndighet för Kulturanalys och Kulturrådet. Populärmusik definieras utifrån Svensk Lives definition att begreppet innefattar all musik som inte är jazz eller konst-, folk- och världsmusik. Undersökningen görs genom en närläsning av hur sökande populärmusik-arrangörer motiverar sin rätt till medel i bidragsansökningar från 2007 och 2017 till Musikverket, Kulturrådet och Stockholms Kulturförvaltning. 2007 och 2017 jämförs för att notera eventuella skillnader då det tidigare kulturpolitiska målet om att motverka kommersialismens negativa verkningar togs bort 2009 och bildandet av Svensk Live 2017. För att komplettera och skapa underlag för diskussion undersöks även ansökningar från genrer som tillhör konstmusiken och jazzen. Även genrefördelningen undersöks genom att ta fram statistik över fördelning och hur den förändrats under samma tidsperiod. Resultatet av undersökningen visar att genrefördelningen skiljer sig mellan institutionerna, samt att populärmusikens del generellt sett har ökat i takt med ett ökat söktryck men att den generellt sett fortfarande får mindre än en majoritet av övriga genrer. Undersökningen visar att argumentationen från populärmusiken har förändrats mellan 2007 och 2017 samt att den skiljer sig från övriga genrer genom att generellt sett motivera med fler utommusikaliska aspekter och värden samt ett större behov att hävda icke-kommersialism. 2017 riktar man även kritik mot bidragsgivarna och visar i flera exempel på inflytande från Svensk Lives publikationer och opinionsdrivning som bland annat menar att "s k pop ska ses som kultur". Utifrån resultatet görs en analys och diskussion grundad i Pierre Bourdieus teorier om fält samt kulturproduktionsfältet två värdepoler där den ekonomiska setts som negativ och kulturella positiv. Begreppen populär- och konstmusik diskuteras med fokus på dess historiska konnotationer betydelse för ansökningarna samt hur begreppen ställs på tvären när ett ökat söktryck tyder på att en del av populärmusiken inte längre är tillräckligt kommersiell för att överleva utan stöd. Paralleller dras till hur jazzen gick från populärmusikalisk genre till konstmusikalisk status när den tappade sin popularitet och hur samma utveckling just nu håller på att ske med delar av den undersökta populärmusiken.

Trata-se do processo de disseminação ou difusão de políticas públicas de cultura, a partir da análise de implantação do Programa de Valorização de Iniciativas Culturais, VAI-SBC, programa de fomento à produção cultural da prefeitura de São Bernardo do Campo, em relação com o programa homônimo e sua matriz conceitual, o Programa VAI, desenvolvido na cidade de São Paulo. Embora ambos se filiem ao mesmo campo político-ideológico, ao ser adaptado à localidade do Grande ABC, variáveis internas e externas ao programa, tais como a experiência acumulada pelos fazedores de política (policy makers), os constrangimentos impostos pela situação político-administrativa do município e as características de desenvolvimento especificas do campo cultural local influenciaram o modo como ocorreu a escolha do modelo de formulação, agindo decisivamente na construção do seu objeto e de suas diretrizes. O estudo foi realizado a partir de pesquisa de documentos, leis, imprensa comercial e oficial, programas, entrevistas, depoimentos, projetos e ações, considerando aspectos políticos, culturais, artísticos e sociais na realização da política pública de cultura / It is about the process of dissemination or diffusion of culture public policies, from the analysis of the Cultural Initiatives Valuation Program, VAI-SBC, development program to cultural production of the São Bernardo do Campos city hall, in relation to the homonym program and its conceptual basis, the VAI Program, developed on the city of São Paulo. Although both join the same political-ideological field, when being adapted to the location of Grande ABC, internal and external variables to the program, such as the accumulated experience by the policy makers, the embarrassments imposed by the political-management situation of the city hall and the development characteristics of the local cultural field, influenced the way how the choice of the formulation model occurred, acting decisively on the construction of its object and its guidelines. The study was based on research on documents, laws, commercial and official press, programs, interviews, testimonies, projects and actions, considering politcal, cultural, artistic and social aspects in the accomplishment of the public policy of culture