Submitted by Tatiana Lima (tatianasl@ufba.br) on 2017-02-07T18:08:59Z No. of bitstreams: 1 Campos, Israel Marques.pdf: 1870430 bytes, checksum: b35f0aee5f0f4530bda48df6ecee9007 (MD5) / Approved for entry into archive by Tatiana Lima (tatianasl@ufba.br) on 2017-02-07T18:29:46Z (GMT) No. of bitstreams: 1 Campos, Israel Marques.pdf: 1870430 bytes, checksum: b35f0aee5f0f4530bda48df6ecee9007 (MD5) / Made available in DSpace on 2017-02-07T18:29:46Z (GMT). No. of bitstreams: 1 Campos, Israel Marques.pdf: 1870430 bytes, checksum: b35f0aee5f0f4530bda48df6ecee9007 (MD5) / A capacitação de jovens artistas em empreendedores culturais, especialmente nos contextos dos bairros periféricos, é uma importante ação para o desenvolvimento tanto dos jovens quanto dos territórios potencialmente criativos. No entanto, alcançar esses jovens por meio do ensino formal ou convencional do empreendedorismo apresenta muitas dificuldades, seja pela falta de ensino do empreendedorismo cultural nas escolas ou pela forma do ensino que repele os jovens nas instituições de ensino. Carecemos de atualizações pedagógicas para alcançar as novas gerações em contextos de aprendizagem mais fecundos ou adequados. Essa dissertação configura-se em uma tecnologia social, pois propõe um saber que possa ser utilizado em comunidades para fomentar e desenvolver as forças empreendedoras locais no âmbito da cultura e das artes. Tratamos os empreendedores culturais como aqueles que são voltados para a emancipação e a promoção de mudanças sociais, através de um trabalho coletivo, participativo e com fundamento na identidade cultural local. A tecnologia social se constitui através de três elementos: empreendedorismo cultural, a pedagogia artística e a gestão participativa. A dissertação busca contribuir na capacitação de empreendedores atuantes na dinamização da cultura a partir de um formato que é familiar e desejável aos jovens: o sarau, a arte, a sociabilidade comunitária e o lazer. Cada comunidade aplicará a tecnologia social de ensino do empreendedorismo cultural através das artes. Implicações e orientações para aplicação do desenho da tecnologia social são formuladas, apresentadas e debatidas. / The training of young artists into cultural entrepreneurs, especially in peripherical neighborhoods contexts, is an important action for the development of both young people and potentially creative territories. However, reaching those young people through formal or conventional education presents many difficulties due to the lack of teaching of cultural entrepreneurship in schools or the current way of teaching that repels young people in schools. We lack pedagogical updates to reach new generations in a more fertile or appropriate learning context. This dissertation proposes a social technology to be used in communities to promote and develop local entrepreneurial forces within the culture and the arts. We recognize as cultural entrepreneur those focused on emancipation and the promotion of social change thought participative and collective work based on local cultural identity. The social technology is composed by three elements: cultural entrepreneurship, artistic pedagogy and participative management. This dissertation highlights the contribution on the training of cultural entrepreneurs on a format that is familiar and desirable to young people: the “sarau”, art, community sociability and recreation. Local cultural identity is the basis of cultural entrepreneurship since it is through their now identity that each community will apply cultural entrepreneur teaching social technologies though the arts. Implications and guidelines for implementation of the social technology design are formulated, presented and discussed.

This master's thesis explores the continuity and change of the men's folk costume in Leksand parish, Dalecarlia, between 1770–1870. It also investigates societal changes as a reason for these changes and uses the theory of local cultural identity and tradition as explanatory models for continuity and change. Primary sources include probate inventories, extant garments, depictions and written records from the time. The investigation reveals that the probate inventories show both continuity and change in the men's clothing possessions. New garments and materials appear during the latter period, 1850–1870, but the combined sources suggest a parallel usage with the more traditional garments and materials, for some time. The lack of dating of the extant garments made the use of depictions crucial, to be able to see the small changes the garments have gone through over the years. In general, the extant garments and depictions show continuity as well as small changes. The new garments and materials can be seen as the beginning of a transition into non-local, fashionable costumes. When comparing how this transition manifested in the neighbouring parish, Åhl, differences in time and process can be seen. Further comparisons are also made to other areas of Sweden, to highlight differences and similarities.