Abstract


In the last few years, the importance of culture concerning a sustainable development has been underlined and the networks as organizational structures multicentered and characterized by the horizontality of the internal communication system have been seen as one of the exemplar contexts to increase cooperation. Nevertheless, the concurring absence of consistent strategies mainly in what concerns the approach of strategic communication, has allowed the fact that the cultural cooperation networks are not an anchored practice, such that the priorities of the Creative Europe Programme concerning the period of time 2014-2020 keep mentioning the importance of the network to reinforce the European cultural and creative sector.

The networks as models of social organization and the cooperation as a way of social intervention are not contemporary inventions, but one can argue that the technologic revolution which began in the 60s of the 20th century has originated significant changes in the communication processes allowing the rise of a new and dominant social structure, which, though its contradictions, represents a qualitative change in the human experience. This allowed a new dynamics in the globalization process which made inevitable the search for new and brighter strategies to face the effects of glocalization.

The promotion of cultural cooperation networks – formal or informal, local, regional, national or transnational – more than a danger, it should be seen as an opportunity since it can potentiate the widely recognized role that culture can have at local, regional or cross-border sustainable development.

The implementation and participation in networks depends on multiple factors, such as the sense of affinity between those who belong to it or the availability to promote change processes in order to develop improvement programs. Even though, aspects related to the communication and leadership processes and lack of trust between the members of the network have been the biggest obstacles to network cooperation. These may be some of the aspects which allow the understanding of the network in the Portuguese cultural sector in the perspective of the creation of a group of infrastructures and not in the creation of a relationship net; moreover, it can also contribute to the Portuguese participation in transnational cultural cooperation networks can be aligned with to the weak internationalization of the cultural and creative national and European sector professionals.

Due to this, it was considered relevant and important to develop a project which, inspired by the methodologic polytheism and in an articulation between academic concerns and civic intervention present in the Cultural Studies, tries to analyze and intervene on the transnational cultural cooperation networks starting with the Portuguese reality.

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