Empreendedorismo cultural como prática estética: uma etnografia estética do empreendedorismo musical em Salvador, Bahia

Abstract

Cultural entrepreneurship is apparently beautiful. In other words, it is aesthetically valued, yet not aesthetically theorized. This is the main gap that this research sought to address by conceiving cultural entrepreneurship as an aesthetic practice, the main objective of the thesis. In this immersion, we relate the theoretical fields of cultural entrepreneurship, especially arts and culture, entrepreneurship as practice and organizational aesthetics. We perform a qualitative empirical study in the artistic and cultural field of popular music, the Bahian pagode. This music allows us to understand aesthetics as a socio-territorial construction that feeds the entrepreneurship, still having latent aesthetic tensions that evidence the emergence of aesthetic analysis to its entrepreneurship, made in the context of the city of Salvador (Bahia), a centre of aesthetic and cultural creation recognized as a city of music. Methodologically, we perform an aesthetic ethnography, research in which aesthetics is both a method and an object of research. Entrepreneurial organizations (pagode bands) were researched along community, organizational and innovative axes. As technique for collecting empirical material, we mobilize documents, audio-visual records, interviews, and observation. Narrative analysis composed the analysis and interpretation of information. This research resulted in seven national and international productions among articles, teaching case and book chapter. The objective of the first article was to consolidate an integrated understanding of academic production on the relationship between entrepreneurship, culture, and art and to propose renewing perspectives for future research. The objective of the second article was to integrate, structure and systematize knowledge about aesthetic ethnography in the field of Organizational Studies through the identification, selection and systematic analysis of academic production involving the Social, Human Sciences and Art. The objective of the third article was to enlarge, consolidate and discuss the understanding of entrepreneurship from the practice-based studies. The objective of the fourth article was to understand how aesthetics enhances the understanding of the embeddedness of cultural entrepreneurship. The aim of the fifth article was to explore and discuss an aesthetic perspective of entrepreneurial innovation. The sixth production, the case for teaching, aimed to encourage the aesthetic learning of cultural and artistic entrepreneurship. Lastly, we integrate a book chapter that seeks to show the vital importance of aesthetics in artistic and cultural entrepreneurship and its innovation process. The results reinforce the procedural view of entrepreneurship, discussing it as an aesthetic-political practice. Cultural entrepreneurship becomes a process of sensitivity practices in forms of seduction that improve aesthetics towards the sublime, such as entrepreneurial aesthetic innovation. We discuss contributions to artistic and musical entrepreneurship and reveal other theoretical-epistemological, methodological, and pedagogical contributions to the advancement of knowledge in an aesthetic entrepreneurship. Finally, we discuss important practical contributions for entrepreneurs, educators, policymakers, and practitioners within and outside symbolic economies such as the creative and cultural industries.