Setorial Panorama of Brazilian Culture - 2011|2012

It is from this moment the creation of the National Arts Foundation (Funarte) that initially
aims to promote and develop activities involving music (popular and erudite) and visual arts,
acting alongside the Instituto Nacional do Folclore (INF); the National Foundation for Theatrical
Arts (Fundacen); the Brazilian Film Foundation (FCB); the National Cinema Council; the
National Copyright Council; the National Cultural Reference Center (CNRC) and the
reformulation of Embrafilme (created in 1969).
Brasil y la cultura
In that same year, the National Cultural Reference Center (CNRC), a non-governmental
project that conducted research on Brazilian cultural production, began to function, intending
to demonstrate regional cultural differences and, for the first time, included the concept of cultural
good as a living, changing, immaterial heritage. It aimed to create a network of references of
cultural production highlighting its processes and peculiarities of production, inserted in its social
contexts, with the intention of promoting the autonomous development of these spontaneous
cultures. One of its creators, Aloísio Magalhães, a museologist, plastic artist, graphic designer
(he created the visual identity of Petrobras, Correios, the new cruise for the Central Bank) will
be named, in 1979, director of the National Historic and Artistic Heritage Institute (IPHAN).
President Geisel establishes a process of opening and transition to democracy, thought
and managed in its molds. His office is not enough for the complete and effective passage of
regimes, which still has continuity with his successor, General João Figueiredo, when the greatest
popular demonstrations for the reestablishment of democracy, the movement for amnesty with
its motto Anistia ampla, geral e irrestrita (Full, general and unrestricted amnesty), and the
movement for direct elections, the Diretas Já! (Direct elections now!)
In 1979, the Secretariat for Cultural Affairs (SEAC) was implemented within MEC,
replacing DAC, with the attributions of planning, supervision and coordination of the national
cultural policy formulated by CFC. In 1981, SEAC merger with the renowned SPHAN -
Secretariat of National Historical and Artistic Heritage created the Secretary of Culture (SEC),
to which Aloísio Magalhães was elected secretary, remaining until 1982, the year of his death.
For the first time, all cultural bodies are linked to the same institution, SEC.
In March 1985, the Ministry of Culture was created under José Sarney. The justification
for its separation from the area of Education would, finally, enable the culture to have a national
policy of its own, solid and accompanying the return of democracy.
The minister of the new portfolio is Celso Furtado, economist and intellectual, former
director of ECLAC (Economic Commission for Latin America and the Caribbean) from 1949 to
1957, creator of SUDENE (Northeast Development Superintendence) in the JK government,
Planning Minister in 1962, professor and academic, writer of the established Economic
Formation of Brazil, mandate revoked by AI-1, granted amnesty in 1979, Ambassador of Brazil
to the European Economic Community.
On July 2, 1986, Law No. 7.505, the first federal tax incentive legislation for cultural
production was drawn up and promulgated. Its origin lies in bill No. 54, presented by Sarney
himself in 1972, as senator, when he proposed "income tax deductions of legal and physical
persons for cultural purposes."
Known as the Sarney Law, it established the relationship between public sector and the
private sector through fiscal renunciation, in which the former abdicated from federal taxes levied
by the latter. In return, the private sector would invest the resources of this renunciation in cultural
products. The idea was not only to establish incentives for culture but above all, to promote the
increase of cultural production to create a national market and to allow the insertion of new
players in the sector, inaugurating a new phase for cultural policy in Brazil. Celso Furtado, who
wrote the final version of the bill, said: "it establishes profound changes, consistent with the
democratic regime, in the relations between society and the state, making possible the advance
of the collective effort to take the initiative of the cultural project, mobilize resources for their
implementation and to monitor their use." According to Furtado, the law would aid in the
formulation of a comprehensive cultural policy and predicted that it would "be able to combine
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