Setorial Panorama of Brazilian Culture - 2011|2012

(which is not enforced by changes in legislation); articulate with state and municipal bodies in
the areas of education and culture that still work in an integrated manner; stimulate the
development of State Councils of Culture, since only the states of Guanabara and São Paulo
operated regularly; and assist in the defense of national historical and artistic heritage. As a
project of its own, CFC created the Casas de Cultura (Cultural Houses), a center of cultural
The 1970s are fruitful in private enterprises in the fields of music, publishing and television
industries; these, in turn, receive incentives from the government for being channels of
propagation of an integrated nation - objective of the new regime -, instruments of security and
control and symbolic centralization.
Restructured, it is created within MEC, the Department of Cultural Affairs (DAC), which
has an executive role and that implements, for example, the Cultural Action Plan (PAC). The
plan is responsible for an extensive agenda of events that includes music, theater, folklore, circus,
cinema, as well as heritage and staff training.
In 1974, with Ernesto Geisel in the Presidency and Ney Braga as Minister of Education
and Culture, a period of reformulation in the area of culture began as a way of preserving the
country's cultural assets and not allowing the weakening of national identity. For this, it would
be necessary to formulate a specific policy that would form governmental guidelines for action.
Launched in 1975, the National Culture Policy presents as its foundations: "1. a culture
policy does not mean intervention in spontaneous cultural activity, nor its orientation according
to ideological formulations that violate the freedom of creation that cultural activity supposes.
The Brazilian government does not intend, directly or indirectly, to substitute the participation of
individuals nor to curtail the cultural manifestations that make up the own brand of our people;
2. culture policy will provide the basic guidelines by which the public sector proposes to stimulate
and support the cultural action of individuals and groups."
His goals were "the knowledge of the Brazilian man and the content of his life; the
preservation of goods of cultural value; the encouragement of creativity; the diffusion of cultural
creations and manifestations; and the Integration of Artistic Languages." It also presented as its
general guidelines, according to PNC (1975):
1. respect for regional differences in Brazilian culture, stemming from the country's
historical and social formation;
2. protection, safeguarding and enhancement of historical and artistic heritage, as well
as traditional elements generally translated into folkloric and popular arts manifestations;
3. respect for freedom of creation;
4. the stimulation of creation in the various fields of literature, arts and crafts, science
and technology, as well as other expressions of the spirit of the Brazilian man, aiming at the
dissemination of these values through the mass media;
5. support for the training of professionals;
6. the incentive to material instruments, active or potential, to give greater development
to the creation and diffusion of the different manifestations of culture, always with a view to
safeguarding our cultural values, threatened by massive imposition, through the new means of
communication, of foreign securities;
7. the greater approximation of Brazilian culture to that of other peoples;
8. national development is not purely economic but also sociocultural. MEC is
responsible for coordinating state action through CFC (normative) and DAC (executive).
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