1
Theaters in 19th Century cities and path dependence on
contemporary cultural policies
Márcio Rogério Olivato Pozzer
To cite this article:
POZZER, Márcio Rogério Olivato. Theaters in 19th Century
cities and path dependece on contemporary cultural policies.
Urdimento – Revista de Estudos em Artes Cênicas,
Florianópolis, v. 3, n. 45, dez. 2022.
DOI: http:/dx.doi.org/10.5965/1414573103452022e0102
This article went through Plagiarism Detection Software | iThenticate
A Urdimento esta licenciada com: Licença de Atribuição Creative Commons – (CC BY 4.0)
Theaters in 19th Century cities and path dependence on contemporary cultural policies
Márcio Rogério Olivato Pozzer
Florianópolis, v.3, n.45, p.1-31, dez. 2022
2
Theaters in 19th Century cities and path dependence on contemporary cultural
1
policies
2
Márcio Rogério Olivato Pozzer
3
Abstract
This article presents a reflection on the reasons why cities that had theaters in the past show
a greater degree of institutionality of their cultural policies in relation to other cities.
Therefore, through a case study of the state of Rio Grande do Sul, a survey of historical
data was carried out on the presence of theaters in cities and on the institutionality of
cultural policies. The analysis of the results was based in two theoretical-methodological
approaches: the concept of path dependence and the concept of civic community. Thus, the
existence of certain central institutions for current cultural policies was compared with the
existence of theater buildings in the 19th century. The study found that the cities that had
theatrical movements that enabled the construction of these buildings on the 19th century,
left a political and social legacy. On average, these cities have cultural policies with a
higher degree of institutionality than others cities.
Keywords: Theater building. Cultural policy. Path dependence. Civic community.
O teatro nas cidades século XIX e a dependência da trajetória nas políticas culturais
contemporâneas
1
This paper was written with the support of the Federal Institute of Education, Science and Technology of Rio Grande do Sul
(IFRS).
2
Spelling and grammar review of the article by Daniel Haswell, Bachelor of Arts/History from Southern Methodist University
and Master of Business from University of Dallas.
3
Doctorate from the Latin American Integration Program at the University of São Paulo (USP), with an internship at the
University of Salamanca (Spain). Master´s degree from the same USP Program. Specialist in Public Management from the
Federal Technical University of Paraná (UTFPR). Bachelor´s degree in Public Policy Management (USP). Professor at the
Federal Institute of Education, Science and Technology of Rio Grande do Sul (IFRS). marcio.pozzer@osorio.ifrs.edu.br
http://lattes.cnpq.br/4375101455468564 https://orcid.org/0000-0003-1163-5100
Theaters in 19th Century cities and path dependence on contemporary cultural policies
Márcio Rogério Olivato Pozzer
Florianópolis, v.3, n.45, p.1-31, dez. 2022
3
Resumo
Este artigo apresentou uma reflexão acerca dos motivos pelos quais cidades que possuíam
teatros no passado manifestam hoje maior grau de institucionalidade de suas políticas
culturais em relação às demais cidades. Para tanto, mediante estudo de caso do estado do
Rio Grande do Sul, realizou-se um levantamento de dados históricos quanto à presença do
teatro nas cidades e à institucionalidade das políticas culturais. A análise dos resultados se
deu a partir de duas abordagens teórico-metodológicas: o conceito de path dependence e a
concepção de comunidade cívica. Assim, confrontou-se a existência de certas
institucionalidades centrais para as políticas culturais da atualidade com a existência de
edifícios teatrais no século XIX. Verificou-se que as cidades que, no século XIX, possuíam
movimentos teatrais a ponto de viabilizarem a construção desses edifícios, deixaram um
legado político e social. Em média, tais cidades apresentam políticas culturais com maior
grau de institucionalidade do que as demais.
Palavras-chave: Edifício teatral. Política cultural. Dependência da trajetória. Comunidade
cívica.
Los teatros en las ciudades del siglo XIX y la dependencia del camino de las
políticas culturales contemporáneas
Resumen
Este artículo presenta una reflexión sobre las razones por las cuales ciudades que contaron
con teatro en el pasado muestran un mayor grado de institucionalidad de sus políticas
culturales en relación a otras ciudades. Por lo tanto, a través de un estudio de caso del
estado de Rio Grande do Sul, se realizó un levantamiento de datos históricos sobre la
presencia del teatro en las ciudades y sobre la institucionalidad de las políticas culturales.
El análisis de los resultados se basó en dos enfoques teórico-metodológicos: el concepto
de dependencia de trayectoria y el concepto de comunidad cívica. Así, la existencia de
ciertas instituciones centrales de las políticas culturales actuales se confrontaba con la
existencia de edificios teatrales en el siglo XIX. Se encontró que las ciudades que en el
siglo XIX tuvieron movimientos teatrales al punto de posibilitar la construcción de estos
edificios, dejaron un legado político y social. En promedio, estas ciudades tienen políticas
culturales con mayor grado de institucionalidad que las demás.
Palabras clave: Edificio de teatro. Política cultural. Dependencia de la trayectoria.
Comunidad cívica.
Introduction
Political and academic sectors are interested in the reasons why cities in the same region,
with similarities in terms of their occupation processes, access to public policies, and political
and economic dynamics, present different results in terms of their development processes.
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What are the factors that lead public policies to become perennial, becoming State policies
that permeate governments and gain institutionality? In general, this process tends to be more
difficult in the cultural segment than in others, since it is an area that is not usually among the
main government policy priorities (Chedid, Capella, 2018), usually facing precarious
administrative structures, with reduced budgets, shortages of personnel, in addition to
infrastructure problems.
This article advances the reflection on the processes of development of contemporary
cultural policies from the observation of historical evidence that emphasizes theatrical
movements. Therefore, despite the fact that the theoretical lines that address the topic are broad
and multifaceted, it emphasizes institutional legacies, with two strands of literature as
determinant for the results: on the one hand are the elements of path dependence, and on the
other, civic engagement, a theory based on the social and political dynamics of societies.
Thus, from an extensive survey of data and information about the cities of Rio Grande do
Sul and the cultural movements that occurred there, especially the theatrical ones, the existence
of theater buildings during the 19th century, was confronted with the existence of certain essential
institutionalities for contemporary cultural policies.
In order to interpret the evidence and search for possible causal relationships, points of
convergence were drawn between the theories, enunciating the experience of the state of Rio
Grande do Sul, through the identification of analytical elements useful to the understanding of
the political and social trajectory based on the constitution of an institutional matrix of municipal
cultural policies.
From the above, a key question emerges: did the cities that had theatrical movements to
the point of “enabling” the construction of theater buildings in the 19th century leave a kind of
political and social “legacy” that, to some extent, impacts the actions, projects and programs
currently developed, especially regarding the institutionality of the cultural policies? The analysis
of this finding is the main contribution of the article, not only to the theatrical and cultural field,
but also to public administration and urban and regional studies.
Methodological notes
Based on research about the economics of culture in amateur theater festivals in small
Brazilian cities, theories and hypotheses were discovered that led to an investigation regarding
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the presence of theaters in Brazilian cities throughout the 19th century. Thus, a case study about
the state of Rio Grande do Sul began. This choice was made due to the abundant availability of
historical documentation and bibliographic material about the existence of theater buildings and
theater groups in the territory throughout history.
The objective was to prove the veracity of the hypothesis that the localities that had the
existence of cultural movements in the 19th century with political, economic and social vitality,
to the point of being able to erect theater buildings, have greater institutionality of their cultural
policies at the beginning of the 21st century, when compared to other locations that did not have
movements that resulted in such a feat. And, when confirmed, provide a theoretical reflection
about this factor.
In the survey carried out, we sought to identify which cities in the state had a theater
building built between 1801 and 1900, as well as data about how they were formed, such as the
participation of public authorities, private entrepreneurs and associations with artistic and
cultural purposes.
Although the performing arts are not exclusively performed in theater buildings, and the
use of unconventional spaces for the performance of actors is increasingly common (Lima, 2020),
such materiality, especially in the 19th century, shows a high degree of political, economic and
social organization that is capable of providing substantial financial amounts, that are added to
other artistic and cultural issues, pointing out the relevance of the theater in these locations.
Although Lothar Hessel (1999, p.9) points out the existence of scenic manifestations
documented since 1773, demonstrating that the artistic and cultural life had a certain relevance
with several organized groups throughout Rio Grande do Sul, a methodological time frame was
selected for the cities that built a theater building in the 19th century, since a considerable part of
the municipalities and/or urban centers in the state had not been created until the 19th century.
Thus, between 2020 and 2021, a vast bibliographic and documentary survey was carried
out in different databases: academic productions, local periodicals, municipal historical
collections and municipal websites, with the objective of verifying the existence of theater
building in the cities of Rio Grande do Sul. This research found 20 cities from Rio Grande do
Sul that had a theater building in the 19th century.
With this, it is possible to establish a comparative analysis between such cities, with an
average of other cities in Rio Grande do Sul, and an average of Brazilian cities regarding some
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characteristics of contemporary cultural policies. For this purpose, the Brazilian Institute of
Geography and Statistics (IBGE) (Brazil, 2014) database of basic municipal information research
was used, using an analytical matrix defined for this purpose as the parameters.
This matrix was elaborated with a view to reflecting the scenario of precariousness and
discontinuity of cultural public policies, establishing the institutionality of cultural policies as
quality attributes of local governments, more specifically of cultural policies. Thus, we sought to
use one of the most important legal frameworks for the Brazilian artistic and cultural segment,
which is Law No. 12,343, of December 2, 2010, which instituted the National Culture Plan and
created the National System of Cultural Information and Indicators to build an analytical
institutional matrix.
In order to define parameters for the institutionalization of cultural policies, which began
to compose an objective analytical matrix, the first goal of the National Culture Plan was used,
as it deals with this issue. This goal defines what would be the constitutive elements of such
institutionalization: a) having a department of culture or equivalent body; b) have a cultural
policy council; c) hold a culture conference; d) have a culture plan; and e) have a culture fund
(Brasil, 2013).
In other words, the existence of these elements, according to this goal of the National
Culture Plan, would prove greater institutionalization of cultural policies in the various localities,
making public cultural management more effective, planned, and participatory, while making
better use of public resources (Brazil, 2013).
Table 1 - Institutional matrix analyzed
I. The existence of an exclusive administrative structure for cultural policies
II. Existence of a municipal fund for culture
III. Have held a municipal culture conference
IV. Have or be developing a municipal culture plan
V. Existence of a municipal cultural council
The theoretical framework used to advance the understanding of these causalities sought
in the historical aspects regarding political, economic and social decisions, the link between
present institutionalities and previous decisions or experiences carried out in the past. Thus, the
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concept of path dependence was used (Baláz, Williams, 2007; North, 2005; Pierson, 2000). In
addition, the idea of a civic community (Putnam, 2006) was used to establish the relationship
between the institutional quality of public cultural policies and the existence of social
participation and a democratic culture. This was an attempt to interpret the possible factors that
led some cities to erect theater buildings while others did not.
The development of the cultural scene of Rio Grande do Sul in the 19th
century
The interviews that culminated in this research with public managers, artists, cultural
producers, and community leaders, as a rule, suggested that “successful” cultural practices,
especially those that resulted in some degree of institutionalization of cultural policies, were
directly related to the process of European colonization in Rio Grande do Sul, especially those
experienced by communities of German origin and which, according to a significant portion of
the interviewees, enjoyed great cultural capital and a consolidated culture of associations.
It is a fact that the political and economic transformations carried out by Rio Grande do
Sul throughout the 18th century, and especially during the 19th century, significantly changed
the social profile of its population, thus impacting its cultural dynamics and, to some extent, on
the characteristics of its cities. Under this perspective, the role of Brazilian government initiatives
to promote the colonization processes is undeniable (Pérez, 2014).
During the 18th century, still in the colonial period, Rio Grande do Sul received Azorean
settlers, who concentrated in regions close to Porto Alegre and on the isthmus of Lagoa dos Patos;
however, without managing to establish themselves economically, mainly due to war demands
made by the government that were rarely paid, in addition to the recurrent incidence of a fungus
type in crops, popularly called rust, which led to the loss of 90% of the crops (Machado, 1999,
p.17-18).
But it was in the 19th century, starting in 1824, that the now Brazilian government, sought
to demographically densify the south of the country through European colonization, giving new
meaning to manual labor. A class of rural producers was formed, independent of the “traditional”
landowners present in the region, bringing more dynamic supply of local cities and thus
strengthening the defense forces in the territory, without forgetting to mention the intention to
“whiten” the Brazilian population. mostly black or of mixed race (Bueno, 2003, p.267).
According to Machado (1999, p. 20), between 1824 and 1830, 5,350 Germans entered the place
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that was then called the Province of Rio Grande.
This policy was temporarily interrupted in 1830 due to the political disputes in Brazil that
would lead to the abdication of Dom Pedro in 1831. Even so, in 1832 the naturalization law was
enacted that aimed to assimilate settled immigrants, fulfilling another important role in the
region: ensuring the supply of soldiers to the National Guard, established a year earlier (Pérez,
2014). The resumption of the colonization policy took place between 1848 and 1874, under the
direction of the provincial government of Rio Grande do Sul, a period in which 22,407
immigrants entered, 19,607 of whom were German citizens (Machado, 1999, p.20-24).
Now, did the presence of these settlers actually significantly alter the cultural scene in the
region, impacting the process of artistic and cultural development in Rio Grande do Sul, more
specifically in theatrical manifestations? The German presence led, as can be seen, to the
establishment of new local cultural associations that contributed to the political and social
dynamics of the region. In these organizations, music and dance were practiced and plays were
performed. However, they were added to many other organizations that already occupied the
public arena and people's daily lives.
According to Bittencourt (1999), the newspaper Diário do Rio Grande, of May 15, 1864,
makes reference to a German association that held a theatrical presentation in a private soiree in
the city of Rio Grande itself:
At night, at Mr. Michaelis farm on Rua da Alfândega, was the first representation of a
particular German dramatic society that established its theater there. The show was
very popular, with more than 150 guests attending, all from foreign trade with their
families. After the drama there was singing and a small concert accompanied on the
piano by our skillful provincial citizen, Joaquim S. Santos Paiva with his fiddle. This
beautiful and very particular fun was repeated once a month during the winter (apud
Bittencourt, 1999, p. 66).
But, apart from cultural capital, there is no evidence to prove that, during this period,
German communities already enjoyed enough social capital to help make the construction of
equipment as expensive as a theater feasible. In other words, the political, economic and social
dynamics that provided this feasibility in some cases were already established during the
colonization period, and may have been driven by it, but not established by these people.
This is evident with the finding that the construction “movement” for these theaters started
in the 1830s, a period in which only 5,350 Germans had arrived in the state of Rio Grande do
Sul. In Cachoeira do Sul the Theater was opened in 1830, the same year that the Sete de Setembro
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Theater opened in Piratini. In 1832 another Sete de Setembro Theater was opened, but this time
in the municipality of Rio Grande. In 1833 it was the turn of the Sete de Abril Theater in Pelotas.
And, in 1833, the process of building the São Pedro Theater in Porto Alegre began, which was
momentarily paralyzed by the Farroupilha Revolution (1835-1845) and only opened 25 years
later.
The 19th century was marked by a series of military conflicts that caused immense human
and material losses, but that, to a certain extent, opened space for new political, economic, and
social arrangements that allowed the state's recovery to take place quickly while modernizing it.
Thus, the transport system, historically marked by cargo mule troops, began to be abandoned in
1832 with the first steamboat that made the 'Rio Grande - Pelotas - Porto Alegre' route, and
especially after the Farroupilha Revolution, with the connection of Rio Grande do Sul to the other
Brazilian provinces. Added to this was the implementation of a banking system, started in 1858
with the creation of the Banco da Província and promoted by the installation of Caixa Econômica
in the city of Porto Alegre in 1875. In addition, a small but important railway system started to
be built in 1871, the same year in which the cities of Porto Alegre, Rio Grande, and Pelotas began
using gas lighting on their main roads (Flores, 2013, p. 137- -138).
This modernizing impetus was catalyzed by the political ambitions of a local agrarian elite
that was not made up of the recent immigrant settlers, allowing the artistic production of the
region. Most of the time, through private initiatives, cultural groups, or political associations, a
series of cultural facilities, primarily focused on the theater, started to be built in the territory of
Rio Grande do Sul.
The São Pedro Theater, in Porto Alegre, was completed and opened in 1858. In Rio Pardo,
the Theater was opened a few years earlier, in 1845, the same year that a small Theater was built
in Bagé, as well as the Teatro União in Triunfo, which was built and opened in 1848.
From the 1860s onwards, there was an increase in theater buildings. In the municipality of
Santana do Livramento the Sete de Setembro Theater opened in 1860. In Alegrete the
inauguration of Independência Theater took place in 1862 and had its name changed some years
later to São Luís Theater. In Bagé there were three important initiatives: the first, as already
mentioned, in 1845, which gave rise to the Sete de Setembro Theater in 1863, in addition to the
28 de Setembro Theater, which began construction in 1872 and opened in 1883. In Osório the
Theater opened in 1875. In the case of Uruguaiana, the Carlos Gomes Theater opened its doors
in 1884, two years before the Itaqui Theater, which opened in 1886. The Esperança Theater in
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Jaguarão went through mishaps, having begun construction 1887, but only opened in 1898. In
Taquari, the Theater was founded in 1893, in Dom Pedrito in 1986, and in Cruz Alta in 1899.
The systematization of the 20 cities in Rio Grande do Sul that had a theater building in the
19th century, with their names and year of foundation, can be seen in Table 2:
Table 2 - Municipalities in Rio Grande do Sul with Theater presence in the 19th Century
Theater Name
Year founded
Independência/São Luís
1862
Sete de Setembro
1863
----
1830
Carlos Gomes
1899
Provisório
1896
Prezewodowski
1886
Esperança
1898
Harmonia Arroiense
1875
Sete de Abril
1833
Sete de Abril
1830*
São Pedro
1858
João Caetano
1897
Sete de Setembro
1832
Sete de Setembro
1845
Treze de Maio
1890
Sete de Setembro
1860
Teatro Harmonia
1876
São João
1893
Unity
1848
Carlos Gomes
1884
Source: Self prepared (2022)
The role played by the State in the 19th century was a long way from was later called a
Social Welfare State, or just the Welfare State. Thus, the public policies that were developed
were scarce and rarely addressed artistic and cultural needs. It is worth noting that this did not
even become an organized demand from any sector of the population.
In this sense, a significant portion of the initiatives identified in Rio Grande do Sul to build
theaters was done through private initiatives. Part of them through for-profit companies, as in
Alegrete, which became viable through the constitution of a Corporation, with the sale of shares
in the company, or through small entrepreneurs, such as in Bagé, where a local trader spent
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almost a decade building the Sete de Setembro Theater.
The other part took place through the non-profit private institutions with strictly theatrical
purposes, such as in Cruz Alta, Santa Maria, Osório and Uruguaiana, called dramatic societies or
theatrical associations. Also, through recreational associations, such as in Dom Pedrito with the
Sociedade Recreio Familiar Pedritense, São Gabriel with the Sociedade Harmonia Gabrielense,
and Triunfo with the Sociedade União. There were also initiatives such as in Santana do
Livramento, through informal associations, without bylaws, and thus not a legally constituted
entity.
Although the initiatives took place privately, a portion of them had the support of the local
government, even for profit initiatives. The donation of land, or even support for the construction
of buildings, demonstrated that there was an important degree of collaboration between the public
and private sectors. If, on the one hand, it is not possible to currently attest to the repercussion of
this mobilization regarding government quality, on the other hand, the dynamic patterns and
systems of civic engagement are evident, where citizens imbued with public spirit acted to build
cultural equipment for community use, through associative structures established in relationships
of trust and collaboration, most of them non-profit and without evidence of non-egalitarian
political relations.
The presence of theaters and theater buildings in the 21st century
Although the roles played by theater within social dynamics have undergone profound
changes since the 19th century, the existence of the theater building still serves as an important
indication of cultural and social values present in a given community. The existence and
functioning of the theater building ensure communities have access to cultural enjoyment, as well
as adequate space for the city's scenic groups, especially theater groups, when they exist, to do
research, carry out their rehearsals, and perform with minimally suitable conditions. In addition
to, as a rule, being made available for other artistic presentations. In other words, the existence
of these facilities suggests that the population of such a city tends to experience more theatrical
performances than those who do not have the facilities.
The existence of active theater groups, in this sense, represents an important cultural
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indicator. And, as can be seen, it is expressive in cities that had a theater building in the 19th
century and stands out from the average of other municipalities. Of the 5,570 Brazilian
municipalities, 2,151 (38.61%) had theater groups in 2014. Of this total, 212 were from Rio
Grande do Sul, representing 42.65% of the 497 municipalities in Rio Grande do Sul. In terms of
the 20 cities in the state of Rio Grande do Sul, it was observed that 18 of them had theater groups:
90% of the total.
GRAPH 1 - Percentage of cities that had a Theater Group operating in 2014 in Brazil, Rio Grande do Sul,
and cities in the state with theaters in the 19th century
Source: Author (2022) from Brazil (2014)
Regarding the presence of theater buildings in 2014, the IBGE (Brasil, 2014) carried out
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the survey and found that, in Brazil, 1,303 cities had such facilities, out of a total of 5,570 cities,
that is, 23.4% of Brazilian municipalities, with 1,170 of these municipalities with theater
buildings maintained by the municipal government (21% of the total number of municipalities in
Brazil). In Rio Grande do Sul, a state with 497 municipalities, 111 had the presence of a theater
building, 22.33% of the total of Rio Grande do Sul cities, and 95 of these locations had their
equipment maintained by the local city hall (19.11%).
By observing only the 20 municipalities in Rio Grande do Sul that had a theater building
in the 19th century, it was found that 70% of them, a total of 14, had a theater building in 2014,
and 13 of these locations were facilities maintained by the local government (65%).
These figures, when compared to the situation in Brazil and Rio Grande do Sul, are
impressive, representing a three times greater presence of Theater buildings in the locations that
already had a Theater in the 19th century. It is worth mentioning that in some cases, they are not
the same theater buildings, which were sometimes demolished during the 20th century or
repurposed due to economic, urban, and even cultural dynamics, since facilities erected 200 years
ago years may no longer meet current needs.
Graph 2 - Percentage of cities that had a theater building in 2014 and the percentage of buildings
maintained by the local government in Brazil, Rio Grande do Sul and in Rio Grande do Sul cities that already had
a theater building in the 19th century
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Source: Author (2022) from Brazil (2014)
Thus, the case study of Rio Grande do Sul, Brazil, advances understanding regarding the
importance of political organization, social mobilization and public policies, resolving the
ideological disputes that colonize everyday life, where comparative analysis provides indirect
verification about current government quality. These aspects stem from the capacity with which
municipal public administrations were able to implement the structural policy agenda for culture,
which were agreed upon in the participatory processes that culminated in the approval of the
National Culture Plan (PNC) in 2010. The PNC resulted from a series of municipal conferences,
state conferences, national conferences, and numerous seminars and public debates, in addition
to the consultation and participation mechanisms characteristic of the Brazilian legislature
(Carvalho, Silva & Guimarães, 2009).
The institutionalities of Brazilian cultural policies in the 21st century
Public policies can be exclusively part of the action of a specific government or compose
more perennial actions, which permeate different governments, characterized as State policies.
Government policies are related to projects developed by the Executive Branch and reflect the
political agenda that was elected, in general, in the short term – which does not guarantee its
continuity. State policies, on the other hand, tend to have greater institutionality, with
administrative, budgetary structures and legal support, developed through discussion and
approval by the Legislative Powers (Souza, 2020), ensuring greater political sustainability, thus
committing to medium and long term plans.
The institutionalization of public policies seek to promote a certain set of actions, with the
purpose of articulating practices that catalyze change processes based on the allocation of public
resources, definition of rights and duties of the parties involved, in addition to standards,
regulations and responsibilities. Therefore, it is worth recognizing that this statute reflects
consensuses that can be reached at certain historical moments, but which are representative of
values that tend to be reproduced.
The idea of institutions concerns the ideas, values and norms that guide social life. The
State has a privileged, though not exclusive, position in changing or reproducing these
institutions. And public policies, insofar as they define government guidelines that
consolidate or change the state's position in relation to collective problems, contribute
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to this process. Public policies are, therefore, an important part of the
institutionalization of values and rules of collective life. They guide conceptions,
define strategies, allocate resources and distribute values to society that can contribute
to consolidate a new institutional framework in relation to different themes (Lobato,
2009, p.722).
Thus, the political processes that resulted in the approval of Law nº 12.343, which
established the PNC in 2010, and the attempt to advance with the establishment of a National
System of Culture can be considered a milestone in the perspective of the institutionalization of
cultural policies, insofar as they involve, not only important political, social and cultural actors
in the national political scenario, but above all, various artistic and cultural segments, through
decentralized participation strategies in Brazilian states and municipalities.
However, it is worth noting that the institutionalization of Brazilian cultural policies is a
long-standing process and has some important historical milestones. Two moments can be cited
as the foundations of such institutionality. The first was the creation, in 1937, of the National
Historical and Artistic Heritage Service (SPHAN), the future National Historical and Artistic
Heritage Institute (IPHAN), which was the first body responsible for formulating and
implementing cultural policies at the national level, and which had, and still maintains, a strong
influence on public cultural policies throughout the country. The second, and more important
moment, was the creation of the Ministry of Culture
4
in 1985, which was the first time that
cultural policies started to enjoy an exclusive administrative structure at the federal level to act
in the face of artistic and cultural production, circulation and fruition for the entire country.
However, it was as of 2003 that the discussion of the National Culture System, and thus
the role of federative entities in cultural policies, entered the national political agenda with a
certain centrality. The logic of the system was such that its construction and establishment could
only be executed through the national mobilization of state and municipal culture leaders, culture
makers, and organized civil society. It involves organizational and institutionalized systems at
the three federal levels in an institutional articulation regulated by regulations, instruments,
apparatus, and negotiations. (Carvalho, Silva, Guimarães, 2009)
Therefore, since the PNC was approved in 2010, the survey carried out with Brazilian
municipalities in 2014 by the IBGE (Brasil, 2014) already captures, to some extent, the priorities
4
The Ministry of Culture was extinguished in 2019 by Brazilian President Jair Messias Bolsonaro, who transformed it into a
secretariat of the Ministry of Citizenship.
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contained therein. Among them are the five topics present in the analyzed institutional matrix: a)
have an exclusive administrative structure for cultural policies; b) have a municipal fund for
culture; c) have held a municipal culture conference; d) have or in the midst of developing a
municipal culture plan; and e) have a municipal culture council.
Among the topics analyzed comparatively, one of the most significant for the management
of cultural policies is the existence of administrative structures capable of formulating,
implementing, and evaluating cultural policies. The creation of these bodies is a demand from
various artistic and cultural sectors, since they would at least ensure a minimal existence of an
annual public budget, some presence of human resources, and especially the occupation of a
place on the local political agenda. Therefore, the existence of bodies of this nature, exclusively
for such purposes, demonstrates a certain degree of commitment to cultural guidelines, and
especially the political, technical and financial capacity to provide solutions for these guidelines.
This importance is expressed in the PNC, by presenting as one of its action guidelines “ensuring
federal technical support and encouraging the installation of municipal and state departments of
culture throughout the country, establishing communication channels between these bodies and
the citizenry” (Brasil, 2010).
The second topic that underwent a comparative analysis was the existence of municipal
cultural funds to finance local artisticand cultural activities. The establishment of these
mechanisms was a way that was sought to guarantee the existence of perennial funding for artistic
and cultural production, and also to minimize the discretionary nature of the selection processes
for cultural goods and services, as well as the artists that were selected to access public resources,
making public spending on culture more republican. In other words, they represent an important
institutional advance for local cultural management.
Another topic present in the analyzed institutional matrix was the holding of municipal
culture conferences. These represent important instruments for the institutionalization of social
participation in the management of public policies regarding culture. Through them, the
perspectives on the problems and potentialities of the cultural sectors are broadened, configuring
themselves as spaces of social control that can be used as planning tools. In addition, they indicate
the existence of a certain contemporary civic engagement, insofar as they demand the
participation of society.
The next topic in the institutional matrix that underwent comparative analysis was the
existence of municipal culture plans. These are planning instruments that represent that culture
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is part of the political agenda of the municipality, and most of all, that the government has, to
some extent, short, medium, and long term planning. Evidently, the quality of these instruments
varies greatly from location to location, according to the efforts that are put into their preparation.
In their favor is the existence of data, information, and statistics about the artistic and cultural
practices developed in the municipality, the existence of qualified personnel to assist in the
process to discuss and prepare the plan, as well as the effective participation of the population
throughout its stages of development.
Finally, the municipal councils, also called “public policy councils,” are spaces formed by
representatives from government and civil society, whose make-up varies from case to case. They
act as tools that enable active participation on the part of citizens, and may affect the processes
of formulation, implementation and evaluation of public policies. In other words, they constitute
a privileged space for citizens' contact with the public sphere, in all its realms, bringing them
closer to the processes, actions and public policies that concern their lives and that, in some way,
will impact in their daily life.
The comparative analysis of the institutionality of cultural policies
From the collection of data regarding the defined institutional matrix, a comparative
analysis was done between the cities of Rio Grande do Sul that had a theater building in the 19th
century and the average of the cities of Rio Grande do Sul and Brazil (Graph 3).
Graph 3 - Percentage of Brazilian cities, cities in Rio Grande do Sul, and cities in Rio Grande do Sul that
had a theater building in the 19th century with the elements defined in the analyzed institutional matrix
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Source: Author (2022) from Brazil (2014)
According to a survey carried out by IBGE in 2014, of the 5,570 Brazilian municipalities,
1,073 (19.26%) had an exclusive culture secretariat or department. In Rio Grande do Sul, of the
497 municipalities, only 28 had a culture secretariat established exclusively for this purpose.
By highlighting only the municipalities in Rio Grande do Sul that had a theater building in
the 19th century, it can be seen that, of the 20 cities, seven of them had secretariats dedicated
exclusively to cultural policies, that is, 35%, a number significantly higher than that found in the
rest of the country, especially in the state of Rio Grande do Sul, as can be seen in Graph 1, which
presents this comparison.
When comparing the data regarding the existence of municipal culture funds, among the
5,570 Brazilian municipalities, only 1,111 (19.94%) had municipal culture funds in 2014. Of
these, 99 were in the state of Rio Grande do Sul, or 19.91% of the 497 cities in the state.
When we analyze the existence of municipal funds for culture only in the locations
highlighted with the presence of theaters in the 19th century, it appears that 30% of them had
municipal funds in 2014 and that all were exclusive to culture. Although this number is not very
large, still lacking several municipalities, it is 50% greater than the average found in Brazil and
Rio Grande do Sul. Of these, 189 were from Rio Grande do Sul, which represented 38.03% of
the total of cities in Rio Grande do Sul.
When only examining the data regarding the 20 cities that had a theater building in the 19th
Theaters in 19th Century cities and path dependence on contemporary cultural policies
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century, 15 of them had already held, at least once, a municipal culture conference, representing
a significant 75% of these locations. This percentage was practically double that of the state of
Rio Grande do Sul.
With regard to municipal cultural plans, although there may be a qualitative difference
between the plans prepared by the cities, this aspect cannot be verified by the data provided by
the IBGE. Thus, only its existence is used as proof of the institutionalization of cultural policies.
And, in this sense, it was possible to verify that, of the 5,570 Brazilian municipalities, 468 (8.4%)
had municipal cultural plans, and 33 of these locations were in Rio Grande do Sul. Therefore,
6.64% of the municipalities in Rio Grande do Sul had municipal plans, a figure slightly lower
than that observed nationally. Among the municipalities with theater buildings in the 19th
century, none of them had a municipal cultural plan, according to the IBGE.
However, it was possible to observe the cities that, in 2014, were in the process of
developing their municipal culture plans. And, in this regard, 8 of the 20 municipalities that had
a theater building in the 19th century were developing their planning instruments. In other words,
40% of these cities, while 1.317 (23.64%) of Brazilian cities were going through the same
process, and only 16.50% of cities in Rio Grande do Sul were dedicating themselves to this,
representing a total of 82 municipalities out of 497 in Rio Grande do Sul.
Finally, when comparing the existence of municipal cultural councils, 2,151 of the 5,570
Brazilian cities were found to have such a body (38.61%). Of this total, 212 were located in the
state of Rio Grande do Sul, representing 42.65% of the cities in the state. Even so, this percentage
is considerably lower than the 75% represented by the 15 cities in Rio Grande do Sul that had a
theater building in the 19th century.
The construction of theater buildings in the 19th century and the dependence
of the trajectory
The supporters of historical institutionalism believe that the choices made when institutions
and policies are formed have a constraint effect on their future development due to an inertial
tendency that imposes difficulties on subsequent transformations, due to the performance of these
same institutions (Peters 1999 , p. 63 apud Gains, John, Stoker 2005, p.25). In this sense,
historical institutionalists are associated with a particular perspective of historical development,
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defending a model of social causality that called path dependence. In other words, it rejects “the
traditional assumption that the same operative forces will generate the same results everywhere
in favor of the view that the effect of such forces will be mediated by contextual characteristics
of a given situation often inherited from the past” (Hall, Taylor 1996 , p.941).
Thus, considering the premise that historical processes produce consequences, the concept
of path dependence emerges as an analytical tool that helps to understand the relevance of certain
events and social processes in the development of certain temporal sequences, as noted by Adrian
Kay (2005) when reflecting on path dependence:
The legacies of the past condition the future. Historical institutionalism defends the
idea that individuals act within institutional arrangements whose current structure and
functioning can only be partially understood if the analysis is not integrated into a
historical perspective (Kay, 2005, p. 555).
The decision made by the political and social forces of a certain community to make a
major investment in a given infrastructure can activate a mechanism of increasing returns in
which the increments made to the activities linked to this "improvement" tend to produce greater
benefits. As a result, political and social actors are “encouraged” to concentrate, increasingly, on
the area in which the investment took place, tracing and deepening a specific trajectory (Pierson,
2004, p.22-23).
From this perspective, the investments made by certain communities, during the 19th
century, to erect theater buildings in their cities can be pointed out as examples of decision-
making that created infrastructures with the potential to activate these mechanisms of increasing
returns. In other words, when building a theater building, the economy of the performing arts
cultural scene becomes more dynamic, encouraging the creation and maintenance of theater and
dance groups, the setting up of shows, and the development of the entire production chain
involved in the production, circulation and enjoyment of the performing arts, and theater in
particular.
Evidently, theatrical practice is not restricted to locations that have cultural facilities, in
this case a theater building. However, the construction of these facilities, which represents the
political, social, and even economic decision-making to make a substantial investment, indicates
the existence of a priority given to culture at that moment in history.
Thus, after making large investments in the construction of theater buildings, whether
public or private, the theater's production chain gains centrality in the local dynamics, with a
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trend for its “inputs” to be demanded more frequently and in increasing quantities, encouraging
the feedback from this cycle in which there is a tendency to continue investing in the same artistic
option. In this sense, the marginal cost of production is decreasing, with each theater play, where
each artistic presentation produced becomes relatively cheaper than the previous ones, which
means producing “more” with less financial resources and expanding the economic feasibility of
the theater enterprises.
In addition, there are two learning outcomes, with implications for the cultural capital of
the local population. The first, over the short term, refers to the establishment of a learning effect,
as the people who enjoy the theatrical presentation, the “consumers”, start to develop the skill
and the particular cognitive frameworks to deal with this artistic manifestation, so that the “gains
obtained” with such experiences tend to generate incentives for the recurring demand of the same
experience. In other words, a public formation process is developed, which will demand theater
plays, thus fostering this type of production chain. And the second, of medium and long term, is
explained by North (2005), according to whom the learning of any generation is strongly
conditioned by the perceptions derived from the secular collective learning. Thus, learning is a
cumulative process filtered by the culture of a society.
As a result, cultural "entrepreneurs", whether public or private, individuals or companies
that promote artistic presentations, with the most diverse purposes, also generate a mechanism
of increasing returns since they adopt inductive methods of definitions based on past experiences,
developing what economists call adaptive expectations. By offering “more of the same” the risks
are reduced, maximizing the chances of meeting the public's expectations.
These processes tend to organize the sector, creating demands to a lesser or greater degree
on the local government, consequently creating some institutionalities. This organization tends
to reverberate, at first, in other artistic languages, increasing the production, circulation and
enjoyment of other artistic and cultural goods and services. Later, in other dimensions of the
political and social life of the territory.
Thus, the economic and political performance of certain societies over time, ultimately,
depend on the trajectory carried out throughout history (North, 2005), “to the extent that
individuals, when making their choices, do so under the influence of their beliefs, formed through
a cumulative learning process that is culturally transmitted from one generation to another”
(Costa, 2019, p.1375).
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Civic communities, associations, and the institutional development of society
If the political, social and economic definition of building equipment like a Theater
building generates reflexes in development over the years, it is worth reflecting on the reasons
why some localities, through some governments or private organizations, managed to develop
their artistic and cultural dynamics to the point of deciding to invest in a certain construction,
while other localities and communities did not reach the same decision, considering that the
presence of theatrical manifestations was widespread throughout the state of Rio Grande do Sul,
and not being limited only to the “big centers” of the time, such as Rio Grande, Pelotas, and Porto
Alegre, but could be found in several cities in the interior portion of the state (Hessel, 1999, p.
8).
Robert Putnam (2006), in seeking to answer why some democratic governments perform
well and others do not, concluded that institutions are shaped by historical processes, highlighting
the need to study the origins of each location and establishing a causal relationship between
institutional performance and the civic nature of the local population. For him, governmental
success is associated, primarily, with dynamic standards and systems of civic engagement, in
which its citizens are active and imbued with a public spirit, with egalitarian political relations
and social structures based on relationships of trust and collaboration. On the other hand,
vertically structured political relations and fragmented social dynamics characterized by isolation
and cultural practices dominated by mistrust, tend to form governments with lower levels of
performance. In other words, such differences in civic life are fundamental to explain the unique
performance of institutions and local governments, as well as their economic performance.
In this sense, the concept of social capital becomes central to understanding the differences
in economic and institutional performance of local governments, since it directly impacts the
population´s degree of civic participation. That is, the degree of citizens' interest in public issues
and their ability to mobilize in civil organizations that Putnam called “associations” is directly
related to social capital. And, according to Putnam, they contribute to the effectiveness and
stability of democratic governments:
Associations instill in their members habits of cooperation, solidarity, and public
spirit. [...] This is corroborated by data extracted from research on civic culture
conducted with citizens from five countries [...] showing that the members of the
associations have more political awareness, social trust, political participation, and
“subjective civic competence.” Participation in civic organizations develops a spirit of
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cooperation and a sense of common responsibility towards collective undertakings
(Putnam, 2006, p.103-104).
According to Putnam (2006), participation and the resulting internal trust in associations,
in addition to provoking intense civic engagement, helps to normalize public spaces by
reproducing and intensifying the promotion of collective initiatives. As a result, a democratic
environment is created, inhabited by public and private bodies that expand the transforming
potential of actions, projects, and programs, valuing the general well-being of society. To
illustrate the profile of these organizations, Robert Putnam (2006, p. 105-106) presented the
percentages of local associations, according to their purposes, which mobilized the Italian
citizens of the regions he called “developed” in 1985, excluding unions. The absolute majority,
with 73% of the total, were sports clubs, 11.3% were recreational associations, 5.7% were
associations of cultural and scientific activities and the other 5.1% were associations geared
towards music and theater.
In other words, a representative 10.8% of the organizations present in the “developed” Italy
analyzed by Putnam had artistic and cultural purposes that were, to some extent, similar to the
organizational initiatives that led to the construction of the theaters in Rio Grande do Sul
throughout the 19th century, although not sharing the same percentages that these organizations
had.
As a result, greater participation and the constitution of organizations tend to contribute to
the establishment of civic communities, in which programmatic commitments would tend to
impose themselves on public issues to the detriment of clientelistic practices (Putnam, 2006, p.
113), which are quite widespread in the cultural environment, given the discretion with which
artistic and cultural actions and projects are chosen that rely on resources from public authorities
in all spheres. In the Brazilian case: municipal, state and federal.
Final considerations
Although the importance of the arts and culture, in general, in the lives of human beings is
truly recognized, the impact of these processes is difficult to measure. However, the correlational
study carried out was able to demonstrate the importance of theater for the development of cities,
exploring the difference that the existence of theater throughout history has had in the
institutionalization of cultural policies in these locations.
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The analysis of public policies, as well as any social process, is complex and has multiple
variables. Therefore, the results and the differences observed between the management of public
policies, the quality of public services, and the effectiveness of public actions, projects, and
programs in cities have complex and multiple political, economic and social explanations.
Despite the difficulties, the theoretical and methodological approximation of the concepts of civic
community and path dependence provided a strong theoretical framework to assist in
understanding the institutional disparities found in the cultural policies of Brazilian cities, using
a comparative analysis matrix.
The tabulation of data from the survey conducted by IBGE crossed with the survey carried
out in the cities of Rio Grande do Sul, regarding the presence of political, social, and cultural
movements that led to the construction of theaters buildings during the 19th century, provided
corroboration for the hypothesis that the cities that had the organizations that made these facilities
possible, left a legacy that was reverted into greater institutionality of their cultural policies.
It should be noted, however, that the fact that theater buildings were not built in other
locations does not necessarily imply the absence of artistic, theatrical, or associative movements
in other locations. However, the existence of the facilities represents the achievement of a degree
of organization and mobilization of human and financial capital that point to greater civic
engagement, which, on average, left a more virtuous legacy than in other locations, as can be
seen in the comparative analyses.
The political and social participation noted in the 19th century did more that lead to the
construction of theater buildings, which impacted cultural, social, and therefore, community
politics. On the one hand, they contributed to the advancement of the establishment of civic
communities, since these are marked by their tendency to overlap with programmatic
commitments regarding public issues in relation to the clientelistic practices that are widespread
in Brazil. This is especially true with cultural policies that have historically enjoyed low
institutionality. On the other hand, they activated a mechanism of increasing returns, pointing to
the constitution of a learning effect, which was evident as 90% of the cities with theaters in the
19th century had operational theater groups in 2014, more than double the average for Brazil and
for the state of Rio Grande do Sul. Also, 65% of these cities still have a theater building, a number
three times higher than the averages found in Brazil and the state of Rio Grande do Sul.
The relationship between the trajectory followed since the 19th century and the constitution
of civic communities at the beginning of the 21st century can be established by the significant
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differences found in all the surveys based on the adopted analytical matrix. They demonstrate
that institutionality has become greater in localities which had theater buildings in the 19th
century, which tend to have: a) better conditions for cultural management, through exclusive
administrative bodies for cultural policies; b) more republican and democratic criteria regarding
the allocation of public resources through cultural funds, which tend to minimize the
discretionary nature of public funding for artistic and cultural initiatives; c) greater social
participation, with a tendency towards greater social control, institutionalized through cultural
conferences and municipal cultural councils; and d) greater planning of government actions, with
a view to making public policies more effective and efficient.
Thus, what was demonstrated with this research was the role of theater for the development
of cities, through public policies of culture and the centrality occupied by civic participation. It
serves as the basis to expand possibilities of an improved public administration, represented in
this study by the greater institutionality of a matrix linked to cultural policies. It tends to create a
virtuous circle, leaving legacies that will be perceived in the future, in the development of the
territory. In other words, as historical processes take place that are immersed in the perception
and performance of groups and individuals and based on their belief systems which give shape
to institutions, there is a tendency to achieve greater success when these processes are done
through civic participation. Finally, it is essential to note that cities and their communities
continue to transform, permanently. So as history continues to happen, decisions continue to be
made, and the path to the future continues onward.
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Universidade do Estado de Santa Catarina – UDESC
Programa de Pós-Graduação em Teatro – PPGT
Centro de Arte – CEART
Urdimento – Revista de Estudos em Artes Cênicas
Urdimento.ceart@udesc.br