"Of everything in the world, there is popular culture": rethinking the economics of culture and innovation in situated contexts/"De tudo que ha no mundo, ha na cultura popular": repensando a economia da cultura e a inovacao em contextos situados

With the theme: "rethinking the economy of culture and innovation in situated contexts", the present case for teaching presents the specificities, similarities and disparities that demarcate the manifestations promoted by the organizations of "Afoxe", "Clay handicrafts", "Pifano Band", "Capoeira", "Circus", "Popular Dance", "Cordel Literature" and "Theatre of Mamulengos" in the city of Caruaru, interior of Pernambuco. The central dilemma of the case is based on the character "Joao" who analyzed cultural organizations, respecting the characteristics and popular knowledge according to the precepts of the local cultural and creative economy. Joao was faced with the following empirical dilemma: how to understand the characteristics and popular knowledge of cultural organizations in the city of Caruaru: (1) from the idea of innovation consistent with the experience of the cultural industry of mass production? or (2) from the idea of innovation aligned with the contextual and relational dimensions of the cultural economy? The expectation is that the understanding of innovation is no longer contextualized only in terms of the experiences of industrial transformation of mass production, bringing the empirical experiences of popular cultures to show the situated nature of innovation in the context of the cultural economy. Thus, the work to create artistic values, cultural goods and the creative vitality that takes place in cultural organizations can be understood as everyday innovation arising from social and relational contexts in diverse networks of actors, bringing material work closer to immaterial work, knowledge with doing, the perception of economic value with the perception of symbolic value. The teaching case has the general objective: to rethink the economy of culture and innovation from situated contexts. As specific objectives, it was established the following: to understand innovation from the asymmetries of cultural organizations; understand the dynamics of material and symbolic elements that characterize the production of cultural organizations and reflect on the logic of production in the cultural economy and innovation. The main contributions of the case to teaching consist in rescuing the description of agents historically invisible in organizational studies, in addition to contributing for the students, they identified innovative practices in the context that involves popular culture organizations. The novelty of the study stems from the lack of