Indústria criativa do artesanato e as relações de consumo em um ambiente de economia solidária

Abstract

The Creative Economy has shown greater relevance based on the potential for professionals such as those in the Creative Handicraft Industry. In this context, it is the intention of this study to examine creative work in an environment where interactions and collaborations are presented in an alternative way to the traditional capital system, that is, in an environment of Solidarity Economy, having as object of study the Projeto Esperança\Cooesperança from Santa Maria-RS. Questions about how this type of economy can relate to other models with social purposes are the connections that give meaning to this dissertation work. The qualitative study uses methodological strategies such as participant observation, carried out in the space of the Solidarity Economy, Centro de Reference Dom Ivo Lorscheiter, during the Saturday fair, and in-depth interviews with artisans from the Esperança/Cooesperança Project and the fair's consumer public, as well as a bibliographical and documental research for the understanding of the concepts about the subject. The theoretical discussion takes place from the perspectives of the UNCTAD Creative Economy Report (2012), from authors such as Paulo Keller (2014), Ricardo Gomes Lima (2009) on issues related to crafts and John Howkins (2013) and Richard Florida (2011) on the arrangement of the creative economy. About the solidary economy, the review is made from the perspective of Singer (2002). We were able to understand, at the end of the investigation, that, although it presents itself as an alternative to the traditional model, the Creative Economy is aligned with the Solidarity Economy when it follows the basic principles proposed by the movement: equality, self-management and solidarity, although in some issues that involve differentiation of products, we can perceive some flexibility. We also observed that creativity, characteristic of craftsmanship, is present in production, in the way it manifests itself and in interactions. The creative asset is materialized in the supportive environment, bringing the specificities of the creative economy, not only from the sale of handicrafts itself, but from the environment as a space for creative expression.