Uma política cultural para as práticas criativas

16
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Transcript of Uma política cultural para as práticas criativas

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Uma política cultural para as práticas criativas

Barbara Peccei Szaniecki

Introdução

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O Ensino e a prática do design no Brasil: um começo problemático do ³VHWRU�FULDWLYR´

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É considerando a alienação do contexto social, econômico e político que SRGHPRV�D¿UPDU�TXH�R�GHVLJQ�LPSODQWDGR�QR�%UDVLO�H��VREUHWXGR��QR�5LR�GH�-D-QHLUR��VH�EDVHRX�QXPD�³LGHLD�IRUD�GR�OXJDU´�±�FRPR�PHQFLRQRX�:DVKLQJWRQ�'LDV�Lessa usando a expressão cunhada por Roberto Schwartz –; e é talvez mais uma YH]�LJQRUDQGR�R�FRQWH[WR�VRFLDO��HFRQ{PLFR�H�SROtWLFR�TXH�HVWDPRV�LPSRUWDQGR�DO-JXPDV�LGpLDV�GH�³FULDWLYLGDGH´��&RP�HIHLWR��D�LQGXVWULDOL]DomR�EUDVLOHLUD�IRL�WDUGLD��LUUHJXODU��QmR�FKHJRX�D�DEUDQJHU�R�WHUULWyULR�GH�IRUPD�KRPRJrQHD��H�LQFRPSOHWD��QmR�FKHJRX�D�LQWHJUDU�D�SRSXODomR�QR�HVTXHPD�SURGXomR�H�FRQVXPR�GH�PDVVD�WDO�FRPR�VH�GHX�QRV�SDtVHV�GR�KHPLVIpULR�QRUWH���+RMH��QXPD�HUD�GLWD�SyV�LQGXVWULDO�RQGH�SRU�XP�ODGR�RV�SURFHVVRV�SURGXWLYRV�WUDQVIRUPDGRV�SHODV�LQRYDo}HV�WHFQROy-JLFDV78 indicam um possível futuro feliz e, por outro, os recursos naturais reduzi-dos pela atividade racionalizada embora descontextualizada – e, portanto, profun-GDPHQWH�DOLHQDGD�±�DSRQWDP�SDUD�XPD�FDWiVWURIH�LPLQHQWH��R�³DWUDVR´�EUDVLOHLUR�DGTXLUH� XPD�RXWUD� VLJQL¿FDomR�� VREUHWXGR�� DEUH�XP�HQRUPH�FDPSR�GH� DWXDomR�SDUD�GHVLJQHUV�H�FULDWLYRV�TXH�GHVHMDP�VH�DJHQFLDU�FRP�D�FXOWXUD�ORFDO��3RVVXtPRV�HQRUPH�GLYHUVLGDGH�GH�OLQJXDJHQV��VtPERORV��VLJQRV��SUiWLFDV�H�PHWRGRORJLDV�FXO-WXUDLV�H�DUWtVWLFDV��e�IUXWR�GR�HQFRQWUR�ItVLFR�H�VLPEyOLFR�GH�GLYHUVDV�HWQLDV�Ki�����DQRV�DWUiV�FRPR�WDPEpP�IUXWR�GD�QRVVD�KLVWyULD�FRPXP�GHVGH�HQWmR��SRU�YH]HV�KRVWLO�SRU�YH]HV�FRUGLDO��(�p�VHPHQWH�GH�XP�SRUYLU�TXH�DEUH�QRYRV�GHVD¿RV��

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A produção dos Pontos de Cultura foi muito bem avaliada pelo IPEA, mas é preciso considerar que, quantitativa e qualitativamente, essa produção vai EHP�DOpP�GD�VXD�DYDOLDomR��D�VXVWHQWDELOLGDGH�GRV�3RQWRV�GH�&XOWXUD�H��HP�JHUDO��da produção cultural e criativa nas metrópoles possui uma complexidade irredutí-YHO�D�XP�VHWRU��e��SRUWDQWR��D�WHVH�GD�³VXVWHQWDELOLGDGH´�SUHJDGD�SHORV�QRYRV�JHV-WRUHV�GR�0LQ&�TXH�VH�UHYHOD�LQVXVWHQWiYHO��DR�LQYpV�GH�DSRVWDU�QD�PXOWLSOLFLGDGH�H�DR�PHVPR�WHPSR�VLQJXODULGDGH�GDV�SUiWLFDV�FXOWXUDLV�H�FULDWLYDV�QDV�UXDV�H�QDV�redes, optaram por submeter sua autonomia aos ditames econômicos de um “setor FULDWLYR´��$R�ORQJR�GR�DQR�GH�������HVVD�WHVH�IRL�WRPDQGR�FRUSR�H�VH�D¿UPDQGR�FRPR�SROtWLFD� FXOWXUDO� R¿FLDO��PDV�QmR� DSHQDV��2� UHIRUoR�GD�(FRQRPLD�&ULDWL-YD�HP�GHWULPHQWR�GD�&XOWXUD�9LYD�SURVVHJXLX�SRU�YiULRV�PRWLYRV��1mR�SRGHPRV�DERUGi�ORV�DTXL�FRP�D�SURIXQGLGDGH�QHFHVViULD��PDV�SRGHPRV�HQXPHUDU�DOJXQV��$�YLVmR�GH�TXH�D�FXOWXUD� �H��FRP�HOD��DV�SUiWLFDV�FULDWLYDV��GHYH�VH�VXEPHWHU�j�HFRQRPLD�FRUUHVSRQGH�SHUIHLWDPHQWH�DR�SURMHWR�QHRGHVHQYROYLPHQWLVWD�GR�JRYHU-QR�GD�SUHVLGHQWH�'LOPD�5RXVVHI��FRUUHVSRQGH�DRV�LQWHUHVVHV�GD�LQG~VWULD�FXOWXUDO�UHFLFODGD� HP� LQG~VWULD� FULDWLYD�GHIHQGLGD�SHOD�0LQLVWUD�$QD�GH�+ROODQGD� H�SRU�VHJPHQWRV�VRFLDLV�TXH�YmR��SDUDGR[DOPHQWH��GH�HPSUHViULRV�GD�iUHD�DWp�SDUWLGRV�SROtWLFRV�H�VLQGLFDWRV�GH�WUDEDOKDGRUHV��H�SRU�¿P��FRUUHVSRQGH�DR�RSRUWXQLVPR�GH�movimentos culturais que se apresentam como os portadores dos novos modelos GH�QHJyFLRV�SDUD�D�FXOWXUD�H��QHVVH�PRYLPHQWR�DPEtJXR��H[FOXHP�RXWUDV�H[SHUL-rQFLDV��6HP�R�GHYLGR�UHIRUoR�GD�6HFUHWDULD�GH�&LGDGDQLD�&XOWXUDO��D�FULDomR�GH�uma Secretaria de Economia Criativa no Ministério da Cultura85 sela a instrumen-talização da cultura a serviço do desenvolvimento econômico (e, eventualmente, a interesses políticos e eleitoreiros afastados do exercício da cidadania). O que aconteceria se fosse criada uma Secretaria de Cultura Criativa no Ministério do

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�FULDU�SUiWLFDV�TXH�OHYHP�HP�FRQVLGHUDomR�DV�SDUWLFXODULGDGHV�FXOWXUDLV��VRFLDLV�H�HFRQ{PLFDV�GR�SDtV�TXH�VmR�GLIHUHQWHV�±�VHP�TXH�LVVR�VHMD�QHFHVVDULDPHQWH�XP�problema – das características da Europa dos séculos XIX e XX onde e quando R�GHVLJQ�QDVFHX�H�ÀRUHVFHX� MXQWR�FRP�D�HUD� LQGXVWULDO�H�D�FRQVHT�HQWH�GLYLVmR�WpFQLFD�±�GLYLVmR�HQWUH� WUDEDOKR�LQWHOHFWXDO�H�PDQXDO�±�RX�VHMD��VHSDUDomR�HQWUH�R�SURMHWR�H�VXD�H[HFXomR�TXH�JHUD�GH�LPHGLDWR�XPD�KLHUDUTXL]DomR�VRFLDO�HQWUH�DTXHOHV�TXH�SURMHWDP�H�DTXHOHV�TXH�H[HFXWDP��VHQGR�TXH�RV�SULPHLURV�SDVVDP�D�VHU�IRUPDGRV�SRU�HVFRODV�GH�GHVLJQ�HQTXDQWR�RV�VHJXQGRV�IUHT�HQWDP�HVFRODV�GH�DUWHV�H�RItFLRV��4XDQGR�D�³HVFROD�GD�YLGD´�p�D�~QLFD�RSomR��D�HVVD�VpULD�GH�GLVWLQ-o}HV�VRFLDLV�VRPD�VH�DTXHOD�HQWUH�SUR¿VVLRQDLV�H�DPDGRUHV��$�GLYLVmR�WpFQLFD�GR�WUDEDOKR�VH�UHYHOD�JHUDGRUD�GH�IRUWHV�GLYLV}HV�VRFLDLV��+RMH��HP�SOHQR�VpFXOR�;;,��QXPD�HUD�WLGD�FRPR�SyV�LQGXVWULDO�H�RQGH�DOJXPDV�GHVVDV�GLFRWRPLDV�SDUHFHP�VH�DIURX[DU�RX�DVVXPLU�RXWUDV�FRQ¿JXUDo}HV��R�GHVLJQ�VH�HQFRQWUD�R¿FLDOPHQWH�HQWUH�RV����VHWRUHV�GD�GHQRPLQDGD�³HFRQRPLD�FULDWLYD´�VHQGR�UHFRQKHFLGR�FRPR�XP�GH�VHXV�VHWRUHV�GH�PDLRU�IRUoD��3RU�RXWUR�ODGR��HPERUD�HOH�QmR�VHMD�PHQFLRQDGR�HQWUH�DV�OLQJXDJHQV�GHVHQYROYLGDV�SHORV�3RQWRV�GH�&XOWXUD��R�GHVLJQ�YHP�VHQGR�SUDWL-cado nessas iniciativas de maneira informal. Podemos mencionar como exemplos D�SURGXomR�GH�EULQTXHGRV�QR�&HQWUR�GH�&XOWXUD�H�(GXFDomR�/~GLFD�GD�5RFLQKD��KWWS���URFLQKDOXGLFD�EORJVSRW�FRP�EU���H�D�FRPXQLFDomR�GD�FXOWXUD�KLS�KRS�UHDOL-]DGD�QR�3RQWmR�'LJLWDO�3UHWR�*KRH]�GR�0RYLPHQWR�(QUDL]DGRV91 (http://www.en-UDL]DGRV�FRP�EU���HQWUH�PXLWRV�RXWURV��'HVLJQ�HP�3RQWRV�GH�&XOWXUD�VLJQL¿FD�XP�HPSRGHUDPHQWR�SHOR�GHVLJQ�GDV�SUiWLFDV�FXOWXUDLV�H�FULDWLYDV�Mi�UHDOL]DGDV�QHVVHV�HVSDoRV��H�YLFH�YHUVD��H�FRQVWLWXLomR�GH�UHGHV�GH�SUiWLFDV�FXOWXUDLV�H�GH�SUiWLFDV�FULDWLYDV�VHQGR�R�GHVLJQ��HOH�SUySULR��XPD�UHGH�GH�DWLYLGDGHV�TXH�RVFLODP�HQWUH�WpFQLFDV��FLrQFLDV�H�DUWHV��&RP�HIHLWR��R�GHVLJQ�PDQWpP�FHUWD�DPELJ�LGDGH�HQWUH�FLrQFLD�H�DUWH��PDV��VHJXQGR�5LFKDUG�%XFKDQDQ��GHVLJQ�p�XPD�GLVFLSOLQD�RQGH�D�FRQFHSomR�GR�µREMHWR¶��GR�PpWRGR�H�GR�REMHWLYR�p�SDUWH� LQWHJUDO�GD�DWLYLGDGH�H�GRV�UHVXOWDGRV��%8&+$1$1��������S�����GR�SUySULR�GHVLJQ��1HVVH�VHQWLGR��R�GH-VLJQ�VH�FDUDFWHUL]D�FRPR�DWLYLGDGH�GH�LQYHQomR��DUWH��VHP�VH�DIDVWDU�GD�DWLWXGH�GH�

H�FRQWHYH��VRE�FRPSRUWDV�EHP�UHVJXDUGDGDV��WRGD�H�TXDOTXHU�UHÀH[mR�TXH�SXGHVVH�UHGH¿QLU�D�DWLYLGDGH�HP�SHUVSHFWLYD�PDLV�DGHTXDGD�DR�FHQiULR�QDFLRQDO��1mR�SHQVRX�VHTXHU�D�WUDGLomR�GR�modernismo brasileiro, à qual se opôs, oferecendo-se como outra face do moderno (modernismo QDFLRQDOLVWD��PRGHUQLVPR�DQWURSyIDJR��HWF�����(VWH�IRL�WDOYH]�R�HUUR�±�FRPSUHHQVtYHO��HQWUHWDQWR�– mais critico de toda a sua história: voltar as costas para a realidade e operar no estrito campo GD�LGHDOL]DomR�´��/(,7(��������S�������

91 Cf. Rociclei da Silva e Barbara Szaniecki Políticas culturais vivas: raízes e redes do Movimento Enraizados, GLVSRQtYHO�HP��KWWS���FXOWXUDGLJLWDO�EU�SROLWLFDFXOWXUDOFDVDGHUXLEDUERVD������������DUWLJRV�GR�LL�VHPLQDULR�LQWHUQDFLRQDO�GH�SROLWLFDV�FXOWXUDLV��

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�LQYHVWLJDomR��FLrQFLD���%XFKDQDQ�WDPEpP�DSRQWD�D�FRQWtQXD�DPSOLDomR�GR�FDPSR�GH�DWXDomR�GR�GHVLJQHU��FRPXQLFDo}HV�YLVXDLV�H�VLPEyOLFDV��SURGXomR�DUWHVDQDO�RX�LQGXVWULDO��RX�UHVXOWDQWH�GH�XPD�KLEULGDomR��GH�REMHWRV��HVWUXWXUDomR�GH�VHUYLoRV�RX�DWLYLGDGHV�H��SRU�¿P��FULDomR�GH�VLVWHPDV�RX�DPELHQWHV�FRPSOH[RV�SDUD�WUDED-lhar, aprender, brincar, em suma... Viver! Redes de Pontos de Cultura articulados FRP�3RQWRV�GH�'HVLJQ�VLJQL¿FD�LQYHVWLJDU�H�LQYHQWDU��QRV�WHUULWyULRV�PHWURSROLWD-QRV��XPD�FXOWXUD�FULDWLYLGDGH�YLYD��RX�VHMD��FRP�VHQWLGR��,QYHVWLU�QXPD�SROtWLFD�FXOWXUDO�SDUD�R�GHVLJQ�HTXLYDOH�D� LQYHVWLU�QXPD�SROtWLFD�FULDWLYD�SDUD�D�FXOWXUD��$V�FUtWLFDV�GH�$GRUQR�H�+RUNKHLPHU�j�LQG~VWULD�FXOWXUDO92 podem não se aplicar jV�LQG~VWULDV�FULDWLYDV�PDV�QHP�SRU�LVVR�SRGHPRV�DFHLWDU�D�FULWLFDPHQWH�R�KRUL-]RQWH�GH�SUHFDULHGDGH�TXH�D�LPSOHPHQWDomR�GDV�LQG~VWULDV�FULDWLYDV�VXVWHQWDUDP�QD�(XURSD�H�QRV�(VWDGRV�8QLGRV�H�D�D¿UPDomR�GH�5DXQLJ�FRP�EDVH�HP�/RUH\�GH�TXH�HVVD�SUHFDULHGDGH�p��HP�SDUWH��XPD�³DXWR�SUHFDUL]DomR�GH�VL´��RX�VHMD��IUXWR�GH�XPD�GHFLVmR�SHVVRDO��QmR�FRQWULEXL�SDUD�GHVGREUDPHQWRV�D¿UPDWLYRV�GH�RXWURV�horizontes.

Conclusões

Em tempos de crise econômica e política na Europa e nos Estados Uni-GRV��TXH�HP�VHXV�P~OWLSORV�DVSHFWRV�LQGLFD�XPD�FULVH�GR�HXURFHQWULVPR�H�GH�VXD�UDFLRQDOLGDGH��H�HP�WHPSRV�GH�HPHUJrQFLD�GRV�%5,&6��FDEH�QRV�SHUJXQWDU�VH�D�atual oportunidade – deve servir a mais do menos ou à produção de diferença. A crise da racionalidade ocidental – desse ocidente que é, ele mesmo, uma invenção da racionalidade – vem acoplada com uma crise do antropocentrismo. A crise não é do planeta Terra e sim do homem, de um homem também totalmente construído. Essa situação histórica do presente que se coloca como crise é descrita por Bruno /DWRXU�FRPR�XPD�GHVFRQH[mR�HQWUH�GXDV�JUDQGHV�QDUUDWLYDV��D�SULPHLUD�FRUUHV-SRQGH�j�PRGHUQLGDGH�KHJHP{QLFD�GD�TXDO�R�GHVLJQ�SDUWLFLSRX�FRPR�XP�SRGHURVR�PRWRU�p�D�GD�PRGHUQL]DomR��GR�SURJUHVVR�H�GR�GRPtQLR�HQTXDQWR�D�VHJXQGD�FRU-responde ao que podemos chamar de uma altermodernidade se preocupou com o enredamento, o cuidado e a cautela.

A expansão do termo ‘design’ é uma indicação [...] daquilo que poderia ser cha-mada de uma teoria pós-Prometeu da ação. [...] É exatamente no momento em TXH�D�GLPHQVmR�GD�WDUHID�HP�QRVVDV�PmRV�WHU�VLGR�IDQWDVWLFDPHQWH�DPSOL¿FDGD�

��� � /HPEUHPRV� DV� TXDWUR� FUtWLFDV� GH�$GRUQR� H� +RUNKHLPHU� j� LQG~VWULD� FXOWXUDO�� VXMHLomR�social como passividade do consumidor, subordinação do produtor no trabalho assalariado, FULDWLYLGDGH�FHUFHDGD�H��SRU�~OWLPR�KRPRJHQHLGDGH�GD�SURGXomR�UHVXOWDQWH�GHVVD�VLWXDomR�

���Barbara Peccei Szaniecki

pelas várias crises ecológicas que o público está se conscientizando do sentido pós-Prometeu do agir. (LATOUR, 2008)

&RPR�GHVLJQHUV��SRGHPRV�WUDoDU�OLQKDV�GH�XPD�QRYD�PRGHUQLGDGH�PDV�HVVDV� OLQKDV� VHUmR� WUDoDGDV� FRP�PXLWD� FDXWHOD�� 6H� R� GHVLJQHU�PRGHUQR� IRL� XP�3URPHWHXV�JXLDGR�SHOD�WHRULD�GD�DomR��R�GHVLJQHU�FRQWHPSRUkQHR�p�XP�3URPHWHXV�cauteloso e, nesse sentido, esse enredamento e cuidado ele pode encontrar na sua UHODomR�FRP�RV�3RQWRV�GH�&XOWXUD�FRP�VHXV�WHUULWyULRV�H�VHXV�DWRUHV��8P�QRYR�DJLU�QR�VHQWLGR�GH�XPD�VRFLHGDGH�SyOHQ�TXH�UHVLVWH�DR�FDSLWDOLVPR�FRJQLWLYR��FXOWXUDO�H�FXOWXUDO�VHP�DEULU�PmR�GD�SRWrQFLD�GHVVDV�SUiWLFDV�

Referências

%8&+$1$1�5LFKDUG��³5HWKRULF��+XPDQLVP�DQG�'HVLJQ´��,Q��0$5*2/,1��9LFWRU��%8&+$1$1�5LFKDUG� �HGV���'LVFRYHULQJ�'HVLJQ� ±�([SORUDWLRQV� LQ�'HVLJQ��&DP-EULGJH��0DVVDFKXVVHWV��H�/RQGUHV��,QJODWHUUD����7KH�0,7�3UHVV��������'$�6,/9$��5RFLFOHL��6=$1,(&.,��%DUEDUD��3ROtWLFDV�FXOWXUDLV�YLYDV��UDt]HV�H�UHGHV�GR� 0RYLPHQWR� (QUDL]DGRV�� KWWS���FXOWXUDGLJLWDO�EU�SROLWLFDFXOWXUDOFDVDGHUXLEDUERVD�������������DUWLJRV�GR�LL�VHPLQDULR�LQWHUQDFLRQDO�GH�SROLWLFDV�FXOWXUDLV��� QRYHPEUR�de 2011.

DEPARTMENT FOR CULTURE, MEDIA AND SPORT - CREATIVE INDUS-TRIES MAPPING Document 2001, disponível em: http://webarchive.nationalarchi-YHV�JRY�XN���KWWS��ZZZ�FXOWXUH�JRY�XN�UHIHUHQFHBOLEUDU\�SXEOLFDWLRQV������DVS[�DESCOLA, Philippe. La fabrique des images – visions du monde et formes de la representation��3DULV��6RPRJ\�eGLWLRQV�G¶$UW�H�0XVpH�GX�4XDL�%UDQO\�������',$6�/(66$��:DVKLQJWRQ��³$�(6',�H�D�FRQWH[WXDOL]DomR�GR�GHVLJQ´�HP�A herança do Olhar – O Design de Aloísio Magalhães��/(,7(��-RmR�GH�6RX]D� �RUJ����5LR�GH�Janeiro: ArtViva, 2003.

LATOUR, Bruno. $�FDXWLRXV�3URPHWKHXV"�$�IHZ�VWHSV�WRZDUG�D�SKLORVRSK\�RI�GH-VLJQ��1HWZRUNV�RI�'HVLJQ��$QDLV�GD�$QQXDO�,QWHUQDWLRQDO�&RQIHUHQFH�RI�WKH�'HVLJQ�+LVWRU\�6RFLHW\��8.���8QLYHUVLW\�&ROOHJH�)DOPRXWK�������/$==$5$72��0DXUL]LR� H� 1(*5,��$QWRQLR�� Trabalho Imaterial. Rio de Janeiro: DPeA, 2001.

/(,7(��-RmR�GH�6RX]D��³'H�FRVWDV�SDUD�R�%UDVLO��R�HQVLQR�GH�XP�GHVLJQ�LQWHUQDFLRQD-OLVWD´�HP�2�GHVLJQ�JUi¿FR�EUDVLOHLUR�±�$QRV�����&KLFR�+RPHP�GH�0HOR��RUJ����6mR�3DXOR��&RVDF�1DLI\�������/25(<��,VDEHOO��³*XEHUQDPHQWDOLGDG�\�SUHFDUL]DFLyQ�GH�Vt��6REUH�OD�QRUPDOL]DFLyQ�GH�ORV�SURGXFWRUHV�\�ODV�SURGXFWRUDV�FXOWXUDOHV´�HP Producción cultural y prácticas

��� 80$�32/Ë7,&$�&8/785$/�3$5$�$6�35È7,&$6�&5,$7,9$6

instituyentes: líneas de ruptura en la crítica institucional��3UR\HFWR�7UDQVIRUP��RUJ����0DGULG��7UD¿FDQWHV�GH�6XHxRV�������028/,(5�%287$1*��<DQQ��Le Capitalisme Cognitif - La Nouvelle Grande Trans-formation. Paris: Amsterdam, 2007.

5$8',*��*HUDOG��³/D�LQGXVWULD�FUHDWLYD�FRPR�HQJDxR�GH�PDVD´ em Producción cul-tural y prácticas instituyentes: líneas de ruptura en la crítica institucional��3UR\HFWR�7UDQVIRUP��RUJ����0DGULG��7UD¿FDQWHV�GH�6XHxRV�������6,/9$��*HUDUGR��6=$1,(&.,��%DUEDUD��3RQWRV�GH�FXOWXUD�SDUD�DOpP�GDV�LQG~VWULDV�Criativas: http://www.canalcontemporaneo.art.br/arteemcirculacao/archives/003554.html

TURINO, Célio. Ponto de Cultura. O Brasil de baixo para cima. São Paulo: Anita, 2009.

VIRNO, Paolo. Grammaire de la multitude. Pour une analyse des formes de vie contemporaines��3DULV��/¶eFODW�HW�&RQMRQFWXUHV��������VIRNO, Paolo. 9LUWXRVLVPR�H�UHYROXomR. Rio de Janeiro: Civilização Brasileira, 2007.

Barbara Peccei Szaniecki�p�PHVWUH�H�GRXWRUD�HP�'HVLJQ�SHOD�38&�5LR�H�SHVTXL-VDGRUD�GH�SyV�GRXWRUDGR�QD�(VFROD�6XSHULRU�GH�'HVHQKR�,QGXVWULDO�GD�8(5-��GRODU�UM#WHUUD�com.br.