Democratization trhougt culture – Review by Jandson Bernardo Soares (UFRN) of the book “A criação do Centro cultural São Paulo (1975 – 1985)”, by Francis Manzoni
Abstract: In A criação do Centro Cultural São Paulo (1975-1985), Francis Manzoni explores the formation of the CCSP, reflecting on the interaction between public authorities and intellectuals in the definition of culture. The author examines how these relationships influenced cultural democratization in São Paulo, contrasting with policies of social control, and criticizes the excessive focus on political/intellectual disputes, which he argues has led to a neglect of the actual use of the cultural space.
Keywords: Centro Cultural São Paulo; citizenship; democratization of culture.
Authored by historian Francis Manzoni, A criação do Centro cultural São Paulo (1975-1985), published by Editora Alameda, reflects his doctoral thesis in History, defended at the Pontifical Catholic University of São Paulo in 2015. In alignment with previous works (e.g., Fundação Fé e Alegria), it reaffirms the author’s interest in the development of public spaces of sociability in São Paulo and the relationship that these processes have with the socio-cultural diversity of its inhabitants.
The book is divided into three chapters, with the objective of answering how the process of creating the São Paulo Cultural Centre (CCSP) came about. To this end, it examines the relationship between public authorities and intellectuals in defining and implementing a concept of culture that could guide administrative actions. This decision ultimately led to the establishment of a cultural technology that not only received material utilisation, but also discursive use, thereby contributing to the formation of political capital during a period when the military was preparing for its exit. This technological framework encompassed aspects such as modernity and the democratisation of cultural resources, occurring within a city that failed to provide a tangible ideal of citizenship for its inhabitants. Consequently, culture emerged as one of the potential domains for the implementation of this technological framework.
The political dispute presented by the author enables the reader to observe how, despite the existence of a military government plan for culture guided by social control and the constitution of a Brazilian identity and good culture, with an emphasis on television, alternative possibilities were emerging at other levels, competing and resisting. According to Manzoni, the establishment of these cultural spaces not only symbolised a reversion to citizenship but also furnished alternatives to the public sphere, as their former spaces had been prohibited (squares, parks and streets). Moreover, these cultural spaces were integrated into the cultural market amidst a working society characterised by the necessity to devise forms of leisure.
The author’s narrative divides the history of the CCSP into four moments, each corresponding to a different phase of its development, the cultural concept to which it was affiliated, and the social demands placed upon it.The first of these moments pertains to the factors that prompted the government to establish a new space for social interaction, which was founded in response to the inability of the Mário de Andrade Library to meet the demand from users. The author employs this moment to delineate a portrait of São Paulo prior to the 1970s, showcasing the demographic of individuals who utilised this technology, predominantly researchers and students. These individuals were often referred to as the children of immigrants who had arrived in São Paulo in previous decades, seeking refuge from peripheral areas characterised by unemployment and economic disadvantage. They perceived the capital city as a potential avenue for enhancing their socio-economic status. This second generation embraced cultural engagement as a conduit for achieving social mobility, integrating themselves into the intellectual sphere.
The second moment refers to the idealization of a new space that would meet this demand, which occurred with the establishment of a new municipal government, marked by the management of Olavo Setúbal and Sábado Magaldi. This period was distinguished by the adoption of a cultural conception that, in material terms, sought to serve the democratisation of citizenship. This democratisation, however, did not occur in terms of infrastructure, but rather through the facilitation of access to cultural institutions. This implied the decentralisation of cultural technologies, leading to reforms that affected theatres and cultural institutions throughout the city, as well as the construction of cultural centres in peripheral areas. In ideological terms, it was aligned with the modernist movements of the early 20th century, representing a departure from the traditional icons of the city, such as the bandeirante, the Jesuits, and the entrepreneurial spirit, which had been present in previous programmes.
It was within this context that the decision was made to construct the Mario de Andrade Library – Vergueiro, which would later be converted into the CCSP. The library was designed to be integrated into the subway system, ensuring accessibility for its users, who came from outlying areas, as well as the integration of outstanding intellectuals in the fields of culture, arts, librarianship and architecture, such as Noemi Val Penteado, May Brooking Negrão and Ricardo Ohtake. The project drew inspiration from international experiences in cultural technology, particularly the counter-cultural movements of the 1960s, which functioned as a platform for diverse cultural and media expressions. In a similar manner, the directives of the United Nations Educational, Scientific and Cultural Organization (UNESCO) emerged in partnership with the International Federation of Library Associations and Institutions (IFLA) regarding the role of libraries in the constitution of citizenship through the democratization of culture.
Manzoni’s work elucidates how the amalgamation of these perspectives culminated in a project that conceptualised an innovative architectural design, allowing for the expansion of collections and the flexibility in design and usage. This design envisions the creation of spaces dedicated to exhibitions, museums, restaurants, and an auditorium for events, conferences, film screenings, concerts, and other cultural events.Simultaneously, the design incorporates functional programmes that facilitate access to information, as well as a variety of media.
The third scenario delineates the transformation of the Mario de Andrade Vergueiro Library into a Cultural Centre, a development that would ensue following the deepening of the cultural perspective implemented by the previous administration by Reynaldo de Barros and Mario Chamie. This period marked the ongoing involvement of intellectuals and artists in the administration, alongside the promotion of a cultural perspective and decentralised cultural policies. However, it also saw an increased focus on the diversity of cultural expressions in daily life, while concurrently addressing the role of the state in the context of this plurality.According to Manzoni, Chamie’s understanding of culture encompassed three distinct types, each requiring specific management strategies for their preservation and promotion. In the context of erudite culture, the objective was to achieve greater dissemination through the utilisation of various venues, including theatres, museums, concert halls, and adapted spaces such as parks and open-air markets. Conversely, for popular culture, the strategy entailed the multiplication of venues, with its manifestation predominantly occurring in erudite spaces. The cultural sphere was characterised by a scarcity of legitimacy and social consensus, which resulted in the search for spaces to materialise this culture. The state was tasked with guaranteeing this process.In this context, Chamie emphasised the legitimacy of individuals from all socio-economic backgrounds and the attention they deserved.
From this standpoint, the transformation of the Vergueiro library into a Cultural Centre was advocated, with the objective of unifying intellectuals and laypeople interested in the domain of culture, whether as a subject of research or as a form of entertainment during leisure time.The envisioned space was intended to function as a nexus for the dissemination of diverse cultural expressions, thereby expanding the demographics of the institution’s audience and augmenting its functional scope.
Manzoni highlights that these changes, despite being conceptually based, were not universally embraced.To the extent that political dynamics were inferred, whether it was Barros’ affiliation with the National Renewal Alliance (ARENA), a party supported by the military, or the mobilisation of the inauguration of the CCSP as a tool for political promotion, or the new budgetary dynamics imposed on pre-existing institutions that were now integrated into it, it began to face resistance from the artistic class itself, as well as from the opposition media, which strove to reflect the problems of the cultural centre in the management that created it.Finally, the author shows how the CCSP was managed after Chamie. This period was characterised by debates surrounding an anthropological perspective on culture, encompassing all facets of the nation’s social, economic, political and artistic life.While these discussions did not culminate in the formulation of effective action plans, they did contribute to the establishment of a decentralised, transparent and autonomous management structure that dismantled the privileges of the cultural elite, favouring widespread popular participation and acknowledging the significance of popular culture and alternative forms of expression. In this sense, the CCSP’s occupation should be negotiated transparently and inclusively, with a view to involving a greater number of individuals.
The author concludes by signalling the constitution of the CCSP as a public space, proposing the concept of Edgar Morin to support this assertion. The concept under discussion refers to a space through which a community has been established, including the establishment of a collective space, through which networks of solidarity have developed, making it possible to be present even when doing nothing. This would be a space shared by individuals from different social classes, who would establish different uses, characterised by the different layers of culture present in its composition.
This work allows us to observe how the city is disputed culturally, and it is necessary to understand what concepts of culture are at stake and how these are being aggregated and used by the public machine, either for democratisation or for discrimination against its various manifestations.
The analysis of the history of the Centro Cultural de São Paulo not only serves to situate this space in time, but also to raise questions about the paths that public policies have taken in this field, whether at the national, regional or local level.
However, the work’s copyediting, characterised by the incorporation of a distinctive watermark in the pages, engenders a conurbation effect between the image and the text, thereby impeding legibility. Secondly, the narrative prioritises the political and intellectual dynamics present in the composition of the space studied, without devoting sufficient attention to the analysis of the utilisation of this cultural technology. This problem could be addressed by presenting the cultural and artistic manifestations that characterised this spatiality, thereby facilitating the identification of predominant cultural conceptions. While the author does touch upon this, it does not form the primary argument regarding the manifestation of cultural diversity within the CCSP’s structures.Instead, the narrative predominantly focuses on the depiction of emblematic social agents and their actions amidst political and epistemological disputes.
A work of this nature encourages us to consider the role of libraries in the process of democratising culture, raising questions such as: why are they predominantly located in educational institutions? Why are they not universally accessible? Or why do they not receive the same level of attention as cultural technologies? Drawing from personal experience of growing up in a peripheral neighbourhood with limited leisure opportunities, the establishment of a community library and its impact on fostering interest in reading among young people, as well as on introducing them to various cultural expressions that had previously been underappreciated or overlooked, is highlighted (Manzoni, 2019). The library’s role in motivating young people and potentially saving lives is emphasised.
References
FUNDAÇÃO FÉ E ALEGRIA. Centro de Desenvolvimento Comunitário Boa Esperança: História. Disponível em: <//www.fealegria.org.br/natal/>. Acesso em: 20 fev. 2023.
MANZONI, Francis. Mercados e feiras livres em São Paulo: 1867–1933. São Paulo: Edições Sesc São Paulo, 2019. 208p
Summary of A Criação do Centro Cultural São Paulo (1975–1985)
Prefácio
Introdução
1. Biblioteca Mário de Andrade: centro de informação e espaço multidisciplinar
MANZONI, Francis. A criação do Centro Cultural São Paulo. São Paulo: Alameda, 2022. 152p. Review by: SOARES, Jandson Bernardo. Democratization trhougt culture. Crítica Historiográfica. Natal, v.4, n.18, July/August, 2024. Available in <https://www.criticahistoriografica.com.br/en/democratization-trhougt-culture-review-by-jandson-bernardo-soares-ufrn-of-the-book-a-criacao-do-centro-cultural-sao-paulo-1975-1985-by-francis-manzoni/>.
Democratization trhougt culture – Review by Jandson Bernardo Soares (UFRN) of the book “A criação do Centro cultural São Paulo (1975 – 1985)”, by Francis Manzoni
Abstract: In A criação do Centro Cultural São Paulo (1975-1985), Francis Manzoni explores the formation of the CCSP, reflecting on the interaction between public authorities and intellectuals in the definition of culture. The author examines how these relationships influenced cultural democratization in São Paulo, contrasting with policies of social control, and criticizes the excessive focus on political/intellectual disputes, which he argues has led to a neglect of the actual use of the cultural space.
Keywords: Centro Cultural São Paulo; citizenship; democratization of culture.
Authored by historian Francis Manzoni, A criação do Centro cultural São Paulo (1975-1985), published by Editora Alameda, reflects his doctoral thesis in History, defended at the Pontifical Catholic University of São Paulo in 2015. In alignment with previous works (e.g., Fundação Fé e Alegria), it reaffirms the author’s interest in the development of public spaces of sociability in São Paulo and the relationship that these processes have with the socio-cultural diversity of its inhabitants.
The book is divided into three chapters, with the objective of answering how the process of creating the São Paulo Cultural Centre (CCSP) came about. To this end, it examines the relationship between public authorities and intellectuals in defining and implementing a concept of culture that could guide administrative actions. This decision ultimately led to the establishment of a cultural technology that not only received material utilisation, but also discursive use, thereby contributing to the formation of political capital during a period when the military was preparing for its exit. This technological framework encompassed aspects such as modernity and the democratisation of cultural resources, occurring within a city that failed to provide a tangible ideal of citizenship for its inhabitants. Consequently, culture emerged as one of the potential domains for the implementation of this technological framework.
The political dispute presented by the author enables the reader to observe how, despite the existence of a military government plan for culture guided by social control and the constitution of a Brazilian identity and good culture, with an emphasis on television, alternative possibilities were emerging at other levels, competing and resisting. According to Manzoni, the establishment of these cultural spaces not only symbolised a reversion to citizenship but also furnished alternatives to the public sphere, as their former spaces had been prohibited (squares, parks and streets). Moreover, these cultural spaces were integrated into the cultural market amidst a working society characterised by the necessity to devise forms of leisure.
The author’s narrative divides the history of the CCSP into four moments, each corresponding to a different phase of its development, the cultural concept to which it was affiliated, and the social demands placed upon it.The first of these moments pertains to the factors that prompted the government to establish a new space for social interaction, which was founded in response to the inability of the Mário de Andrade Library to meet the demand from users. The author employs this moment to delineate a portrait of São Paulo prior to the 1970s, showcasing the demographic of individuals who utilised this technology, predominantly researchers and students. These individuals were often referred to as the children of immigrants who had arrived in São Paulo in previous decades, seeking refuge from peripheral areas characterised by unemployment and economic disadvantage. They perceived the capital city as a potential avenue for enhancing their socio-economic status. This second generation embraced cultural engagement as a conduit for achieving social mobility, integrating themselves into the intellectual sphere.
The second moment refers to the idealization of a new space that would meet this demand, which occurred with the establishment of a new municipal government, marked by the management of Olavo Setúbal and Sábado Magaldi. This period was distinguished by the adoption of a cultural conception that, in material terms, sought to serve the democratisation of citizenship. This democratisation, however, did not occur in terms of infrastructure, but rather through the facilitation of access to cultural institutions. This implied the decentralisation of cultural technologies, leading to reforms that affected theatres and cultural institutions throughout the city, as well as the construction of cultural centres in peripheral areas. In ideological terms, it was aligned with the modernist movements of the early 20th century, representing a departure from the traditional icons of the city, such as the bandeirante, the Jesuits, and the entrepreneurial spirit, which had been present in previous programmes.
It was within this context that the decision was made to construct the Mario de Andrade Library – Vergueiro, which would later be converted into the CCSP. The library was designed to be integrated into the subway system, ensuring accessibility for its users, who came from outlying areas, as well as the integration of outstanding intellectuals in the fields of culture, arts, librarianship and architecture, such as Noemi Val Penteado, May Brooking Negrão and Ricardo Ohtake. The project drew inspiration from international experiences in cultural technology, particularly the counter-cultural movements of the 1960s, which functioned as a platform for diverse cultural and media expressions. In a similar manner, the directives of the United Nations Educational, Scientific and Cultural Organization (UNESCO) emerged in partnership with the International Federation of Library Associations and Institutions (IFLA) regarding the role of libraries in the constitution of citizenship through the democratization of culture.
Manzoni’s work elucidates how the amalgamation of these perspectives culminated in a project that conceptualised an innovative architectural design, allowing for the expansion of collections and the flexibility in design and usage. This design envisions the creation of spaces dedicated to exhibitions, museums, restaurants, and an auditorium for events, conferences, film screenings, concerts, and other cultural events.Simultaneously, the design incorporates functional programmes that facilitate access to information, as well as a variety of media.
The third scenario delineates the transformation of the Mario de Andrade Vergueiro Library into a Cultural Centre, a development that would ensue following the deepening of the cultural perspective implemented by the previous administration by Reynaldo de Barros and Mario Chamie. This period marked the ongoing involvement of intellectuals and artists in the administration, alongside the promotion of a cultural perspective and decentralised cultural policies. However, it also saw an increased focus on the diversity of cultural expressions in daily life, while concurrently addressing the role of the state in the context of this plurality.According to Manzoni, Chamie’s understanding of culture encompassed three distinct types, each requiring specific management strategies for their preservation and promotion. In the context of erudite culture, the objective was to achieve greater dissemination through the utilisation of various venues, including theatres, museums, concert halls, and adapted spaces such as parks and open-air markets. Conversely, for popular culture, the strategy entailed the multiplication of venues, with its manifestation predominantly occurring in erudite spaces. The cultural sphere was characterised by a scarcity of legitimacy and social consensus, which resulted in the search for spaces to materialise this culture. The state was tasked with guaranteeing this process.In this context, Chamie emphasised the legitimacy of individuals from all socio-economic backgrounds and the attention they deserved.
From this standpoint, the transformation of the Vergueiro library into a Cultural Centre was advocated, with the objective of unifying intellectuals and laypeople interested in the domain of culture, whether as a subject of research or as a form of entertainment during leisure time.The envisioned space was intended to function as a nexus for the dissemination of diverse cultural expressions, thereby expanding the demographics of the institution’s audience and augmenting its functional scope.
Manzoni highlights that these changes, despite being conceptually based, were not universally embraced.To the extent that political dynamics were inferred, whether it was Barros’ affiliation with the National Renewal Alliance (ARENA), a party supported by the military, or the mobilisation of the inauguration of the CCSP as a tool for political promotion, or the new budgetary dynamics imposed on pre-existing institutions that were now integrated into it, it began to face resistance from the artistic class itself, as well as from the opposition media, which strove to reflect the problems of the cultural centre in the management that created it.Finally, the author shows how the CCSP was managed after Chamie. This period was characterised by debates surrounding an anthropological perspective on culture, encompassing all facets of the nation’s social, economic, political and artistic life.While these discussions did not culminate in the formulation of effective action plans, they did contribute to the establishment of a decentralised, transparent and autonomous management structure that dismantled the privileges of the cultural elite, favouring widespread popular participation and acknowledging the significance of popular culture and alternative forms of expression. In this sense, the CCSP’s occupation should be negotiated transparently and inclusively, with a view to involving a greater number of individuals.
The author concludes by signalling the constitution of the CCSP as a public space, proposing the concept of Edgar Morin to support this assertion. The concept under discussion refers to a space through which a community has been established, including the establishment of a collective space, through which networks of solidarity have developed, making it possible to be present even when doing nothing. This would be a space shared by individuals from different social classes, who would establish different uses, characterised by the different layers of culture present in its composition.
This work allows us to observe how the city is disputed culturally, and it is necessary to understand what concepts of culture are at stake and how these are being aggregated and used by the public machine, either for democratisation or for discrimination against its various manifestations.
The analysis of the history of the Centro Cultural de São Paulo not only serves to situate this space in time, but also to raise questions about the paths that public policies have taken in this field, whether at the national, regional or local level.
However, the work’s copyediting, characterised by the incorporation of a distinctive watermark in the pages, engenders a conurbation effect between the image and the text, thereby impeding legibility. Secondly, the narrative prioritises the political and intellectual dynamics present in the composition of the space studied, without devoting sufficient attention to the analysis of the utilisation of this cultural technology. This problem could be addressed by presenting the cultural and artistic manifestations that characterised this spatiality, thereby facilitating the identification of predominant cultural conceptions. While the author does touch upon this, it does not form the primary argument regarding the manifestation of cultural diversity within the CCSP’s structures.Instead, the narrative predominantly focuses on the depiction of emblematic social agents and their actions amidst political and epistemological disputes.
A work of this nature encourages us to consider the role of libraries in the process of democratising culture, raising questions such as: why are they predominantly located in educational institutions? Why are they not universally accessible? Or why do they not receive the same level of attention as cultural technologies? Drawing from personal experience of growing up in a peripheral neighbourhood with limited leisure opportunities, the establishment of a community library and its impact on fostering interest in reading among young people, as well as on introducing them to various cultural expressions that had previously been underappreciated or overlooked, is highlighted (Manzoni, 2019). The library’s role in motivating young people and potentially saving lives is emphasised.
References
FUNDAÇÃO FÉ E ALEGRIA. Centro de Desenvolvimento Comunitário Boa Esperança: História. Disponível em: <//www.fealegria.org.br/natal/>. Acesso em: 20 fev. 2023.
MANZONI, Francis. Mercados e feiras livres em São Paulo: 1867–1933. São Paulo: Edições Sesc São Paulo, 2019. 208p
Summary of A Criação do Centro Cultural São Paulo (1975–1985)
Prefácio
Introdução
1. Biblioteca Mário de Andrade: centro de informação e espaço multidisciplinar
MANZONI, Francis. A criação do Centro Cultural São Paulo. São Paulo: Alameda, 2022. 152p. Review by: SOARES, Jandson Bernardo. Democratization trhougt culture. Crítica Historiográfica. Natal, v.4, n.18, July/August, 2024. Available in <https://www.criticahistoriografica.com.br/en/democratization-trhougt-culture-review-by-jandson-bernardo-soares-ufrn-of-the-book-a-criacao-do-centro-cultural-sao-paulo-1975-1985-by-francis-manzoni/>.
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Authored by historian Francis Manzoni, A criação do Centro cultural São Paulo (1975-1985), published by Editora Alameda, reflects his doctoral thesis in History, defended at the Pontifical Catholic University of São Paulo in 2015. In alignment with previous works (e.g., Fundação Fé e Alegria), it reaffirms the author’s interest in the development of public spaces of sociability in São Paulo and the relationship that these processes have with the socio-cultural diversity of its inhabitants.
Jandson Bernardo Soares is PhD in History from the Universidade Federal do Rio Grande do Norte (UFRN). He has published, among other works, A institucionalização do livro didático no Brasil (2021) “História e Espaços do Ensino: historiografia”, PNLD e a busca por um livro didático ideal, A institucionalização do livro didático no Brasil and “Produzindo livros didáticos de História: prescrições e práticas – notas de uma pesquisa em andamento”. ID LATTES: 915196220680100 2; ID ORCID: orcid.org/0000-0001-8195-5113; E-mail: jandson_ze@hotmail.com.ID LATTES: 915196220680100 2; ID ORCID: orcid.org/0000-0001-8195-5113; E-mail: jandson_ze@hotmail.com.
