Economia criativa no Ceará: um estudo da institucionalização do campo da música gospel

Abstract

The objective of this work is to analyze the process of institutionalization of the creative economy of gospel music in the State of Ceará, in the light of Tolbert and Zucker (1999), which presents the process consisting of three stages: habitualization, objectification and sedimentation. Institutional Theory is an approach focused on environmental influences of different organizations, especially those who value intangible, symbolic and cultural aspects that make up the creative economy. In Ceará, Ceará gospel music emerges as a relevant field whose creative process of institutionalization is configured as an object of study. Regarding methodological aspects, the research is qualitative in nature, as the media is classified as bibliographic, documental and field, is exploratory and descriptive, as to the purposes. Interviews were conducted with semi-structured with five organizational actors that make up the field and who were chosen by the criterion of accessibility. The collected data were analyzed according to content analysis Bardin (2009) observing each of its steps. The survey results indicate that contemporary music in Ceará has its historical context dating back to the beginning of the twentieth century, but discreetly and in evangelical churches had the main stage for the development of the field. The formation of the gospel music field as a creative economic activity began at the encouragement of market forces, increase in the evangelical public in the state, occurring diversity of musical genres from gospel movement in Brazil and wider dissemination of religious music in the media mass. In this context, individuals and organizations are seeking to innovate and adopt common arrangements and structures, characterizing the phase habitualization. From the year 2000, with the performance of consensual actors in the field, the industry standard for being successful was widespread, though without any theorizing. Thus, we conclude that these features indicate that the creative field of study is among the phases of habitualization and objectification of its process of institutionalization.