Rafaela Cappai - Business Plan

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Plano de Negócios elaborado durante o Mestrado em Creative and Cultural Entrepreneurship, na Goldsmiths University of London, em Maio de 2011, por Rafaela Cappai.

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Rafaela Cappai - Business Plan

  1. 1. BUSINESSPLANA LEADER AND CREATIVE THINKER INTHE CREATIVE INDUSTRIES OF BRAZIL COURSE TITLE: ENTREPRENEURIAL MODELLING COURSE CODE: CU71023A STUDENT NUMBER: 33134272 MAJOR: MA CREATIVE AND CULTURAL ENTREPRENEURSHIP PATHWAY: DRAMA YEAR: 2010/2011 DATE: 11/05/2011
  2. 2. TABLE OF CONTENTS1.  EXECUTIVE SUMMARY -­‐ P.012.  RAFAELA CAPPAI -­‐ P.023.  THE OFFER -­‐ P.024.  THE MARKET -­‐ P.045.  COMMUNICATION STRATEGY -­‐ P.066.  MANAGEMENT STRATEGY -­‐ P.077.  OPERATIONS STRATEGY -­‐ P.088.  FINANCIAL STRATEGY -­‐ P.09 A.  APPENDIX -­‐ P.11 B.  FINANCIAL RECORD -­‐ P.12 C.  FUTURE PROJECTS -­‐ P.20 D.  SWOT ANALYSIS -­‐ P.22 E.  PESTLE ANALYSIS -­‐ P.24 F.  OTHER PLAYERS -­‐ P.27 G.  INSPIRATIONS -­‐ P.28 H.  OPPORTUNITIES -­‐ P.29 I.  WORKSHOP PROPOSAL -­‐ P.31 J.  TALK/LECTURE PROPOSAL -­‐ P.33 K.  MARKET RESEARCH -­‐ P.34 L.  PORTFOLIO -­‐ P.45 M.  PRESS CLIPPING -­‐ P.54 N.  ENDNOTES - P.60
  3. 3. EXECUTIVE SUMMARYThe following business plan aims to help the cultural entrepreneur Rafaela Cappai to focus herprofessional career as a leader in the Brazilian creave industries, offering services for players in thecreave and cultural sectors. The objecve is, as a part-­‐me business, to help her to developdifferent revenue streams and achieve her key goal, which is to be sustainable as an arst andcreave thinker/entrepreneur. In the offer secon we will describe all the services and productsRafaela Cappai may offer, although in the whole business plan and financial record our focus will beher job as consultant and workshop facilitator, as we acknowledge as the best opons to generaterevenue.We do believe that our offer is necessary because there is lidle opportunies in Brazil to help culturalentrepreneurs to act in a sustainable manner, instead of excessive dependence on state or privatesponsors. All the alike services offer help, but in order to create or format projects for culturalincenve laws. We want, instead, to help them to discover an offer that can be sustainable itself.We have two mantras that will be part of the offer: design1 and tangibility2, as we think those modosmay help us create awareness and generate genuine significance from the public. We trust thatdesign is the best way to engage thinkers and arsts in a creave process. We also believe that if ouroffer is tangible we can create value. It is also a great way to be palpable in their hands, helping themto be movated and focused on their own accomplishments. Design and tangibility will be with us allthe me (with the entrepreneurial kit, the QR code, post cards, website etc) and are part of ourdifferenal.The business will concentrate adenon in the cies of São Paulo (where Rafaela Cappai intends tolive) and Belo Horizonte (where she has a available space for work and sleep in her parent’s home).The objecve is to expand the market and also take advantage of the two cies, where she hasworked and has a good network. Other cies will not be discarded if demanded the services, but willnot be part of our markeng strategy.Although we planned this business to be a part me job, the financial records showed that it maysuffer a flip-­‐out effect, becoming one of the main Rafaela Cappai’s streams, as the job is not lidle andbecause it showed to be viable in terms of profit projecons.Our objecves are: In the first year, deliver 8 workshops, 2 own workshops and 16 consultancy services; In the second year, deliver 24 workshops, 2 own workshops, 36 consultancy services and 2 lecturesand talks; In the third year, deliver 24 workshops, 3 own workshops, 36 consultancy services and 3 lecturesand talks. 3
  4. 4. RAFAELA CAPPAIRafaela Cappai is an actress, dancer, journalist and cultural entrepreneur. As her study background, hasa BA in Communicaons (2001), a Post-­‐Graduaon in Markeng (2008), and an unfinished BA in Drama.Rafaela also parcipated in the EMPRETEC Seminar (2008) developed by the United Naons to teachbehaviour entrepreneurial skills to a small number of selected entrepreneurs around the world. As anentrepreneur, Rafaela developed projects and performing arts plays, acng as an execuve producerand performer. She extensively researched about the Brazilian funding system, and had successfullyreceived a great number of grants and sponsorships, either from the government and privatecompanies. During three years Rafaela had the chance to be a business owner of a cultural agency andexperience and the highs and lows of the opon. She also worked also as an event planner and projectmanager, delivering corporate events to big clients such as Peugeot and Siemens; as a producer of FIT, alarge scale Internaonal Theatre Fesval, in Belo Horizonte, Brazil; and as a TV journalist, as a host,reporter, producer and writer in a small community TV channel. During the MA Creave and CulturalEntrepreneurship Rafaela is reporng all personal and educaonal experience in her blog, withchancery of the Secretary of Culture of Minas Gerais and developing the non-­‐governmental associaonEspaçonave (meaning Spaceship). THE OFFERFrom return to Brazil, amer finishing the MA Creave and Cultural Entrepreneurship, at GoldsmithsUniversity of London, Rafaela Cappai intend to brand herself as a leader in the Brazilian creaveindustries sector, specifically in the subject of arsc and cultural entrepreneurship. The objecve is tooccupy different and diverse roles and spaces, providing services and products, such as:Consultancy: advising arsts, producers, cultural managers, creave people and small business ownersin the fields of art, culture and creave industries. The focus, differently than mostly of the Brazilianconsultants researched, will be to help their enterprises, for a long term and sustainable acon, ratherthan only help them to apply for projects in the Brazilian incenve laws system.Short workshops and courses: giving short workshops and courses on topics related with creave andcultural entrepreneurship, but also producvity, web and social media, network and collaboraon,entrepreneurial behaviours and DIY antudes. The events will be organized, produced and offered byRafaela Cappai, or she may work for other organizaons that want to offer the courses to the public.[CHECK A MODEL OF WORKSHOP PROPOSAL IN THE APPENDIX]Lectures and talks: parcipang in events and fesvals giving lectures and talks about entrepreneurshipin the field of arts, culture and creave industries. The subject might be combined with producvity,web and social media, network and collaboraon, entrepreneurial behaviour and DIY antudes. [CHECKA MODEL OF LECTURE PROPOSAL IN THE APPENDIX] 4
  5. 5. Research, mapping and evaluaNon: conducng research and mappings to evaluate the field of Braziliancultural, arsc and creave entrepreneurship, something sll germinal in the country. The researchmight be conducted and launched by Rafaela Cappai (from specific projects and financed by grants andedicts) or be commissioned by organizaons, instuons and the government. [CHECK FUTURE PROJECTSIN THE APPENDIX]Online content and resources: providing free informaon and resources trough an online blog, helpingnot only clients, but also a wider audience, creang awareness for the services3.Espaçonave project: a NGO to foster arsc and cultural entrepreneurship in Brazil. Rafaela Cappai is aFounder and Director of the NGO. [FOR A SHORT SUMMARY OF INTENTIONS, SEE FUTURE PROJECTS INTHE APPENDIX]Teacher in regular and/or free courses: being a teacher in University and/or free courses, as the numberof courses offered in the field of creave industries is growing faster in the country. [FOR A LIST OF SOMEOF THOSE COURSES, SEE OPPORTUNITIES IN THE APPENDIX]Toolkit: creang a toolkit, available online and printed, that provides praccal skills and models on howto. The toolkit will be offered during the development of the business and the expectaon is to finance itthrough specific grants. [FOR DETAILED INFORMATION, SEE FUTURE PROJECTS IN THE APPENDIX]Being an entrepreneur: Rafaela Cappai will connue to produce plays, events, videos and films as dancer,actress and journalist. [SEE PORTFOLIO IN THE APPENDIX]Network events: produce encounters and gatherings dedicated to network in the field of creaveindustries to bring together all the entrepreneurs and clients, providing the opportunity to exchange, butalso funcon as a markeng tool, as a way to be in constant contact with clientes. [SEE FUTURE PROJECTSIN THE APPENDIX]OUR GOALS Provide informaon, helping cultural, arsc and creave entrepreneurs to find opportunies; Help them to achieve recognion within peers, audience, opinion-­‐makers and press; Offer support and advice when specific problems or challenges appear; Transfer knowledge helping them to do it by themselves; Provide network opportunies, so they build a strong and safe net where they can look for help4; Offer training in order to build praccal, right-­‐brained skills, helping them to execute their plans; Provide resources and tools already used and tested so they have a safe ground where to start; Show that is possible to live doing what they love, helping them to empower themselves; Create data, helping to understand the market and to find beder soluons; 5
  6. 6. THE MARKETAll the services offered by Rafaela Cappai, free or paid, will focus on entrepreneurs or ‘wannabes’in the field of arts, culture and creave industries, in Brazil, with especial adenon for residents ofBelo Horizonte and São Paulo. They are arsts, creave people, acvists, producers, journalists,small business owners, cultural managers. People and instuons that need help to get thingsdone or that want to connue doing something, but in a beder way.OUR MARKET RESEARCH SHOWS [SEE COMPLETE INFORMATION IN THE APPENDIX] 43% male / 57% female; The majority (49%) have between 26 and 35 years old; The majority (54%) live in Belo Horizonte and São Paulo; They work in sectors such as performing arts, audiovisual, music and cultural management; The majority have as professional status: ‘beginning of career’ (32%) or ‘middle of career’ (40%); The majority (82%) already work as entrepreneurs in the field; The majority (64%) already have a established business, either profit (39%) or non-­‐profit (25%); The majority (57%) earn between R$ 1.000,00 and R$ 4.000,00 per month; For the majority (45%), the work with culture contributes with 80% to 100% for their income; When advice is needed they look for it, preferably, with friends and partners, Internet, courses,talks, seminars and books; The majority (75%) never paid for a service such as the one offered; The majority (77%) are willing to pay for a service as the one offered.THEY CONSIDER THE FOLLOWING TASKS AS EASY THEY CONSIDER THE FOLLOWING TASKS AS To deal with technology; DIFFICULT To perform in their own city;  To have sustainable financial streams; To give the first steps;  To acquire start up money to launch idea; To create and maintain relaonship with peers;  To perform in countries different than theirs; To work in groups;  To perform in cies different than theirs; To use their own network;  To act in a planned way; To collaborate with arsts;  To create and maintain commercial To have nice ideas; relaonships; To be persistent;  To find and keep clients; To be producve.  To have financial records. 6
  7. 7. WHY DO WE BELIEVE THERE IS A MARKET FOR OUR OFFER?It is a growing sector:From 2003 to 2005, the total number of formal companies that operated in the Brazilian culturalproducon achieved a growth of 19.4%. The total public expenditure allocated in the culturalsector has increased from approximately R$ 2.4 billion in 2003 to approximately R$ 3.1 billion in2005. The parcipaon of the cultural sector in total public spending consolidated the threespheres of government showed a variaon of 0.01 percentage points, from 0.19% in 2003 to 0.20%in 2005.5There is a vast number of workers (entrepreneurs, employees, partners and companies) in thesector:In the same period (2003-­‐2205) the total number of employees in the cultural sector increased14.2%, rising from 1.4 million to 1.6 million persons. The number of partners and owners alsochanged from 424.300 to 475.900, represenng a growth of 12.2%. The cultural sector accounts fora significant number of formal jobs: 700.000 jobs in 2000, responding for 1.9% of formalemployment.6There are people in need of a soluNon in terms of sustainabilityFrom 1996 to 2011 there was an increase in funds from the federal incenve laws, which nearlytripled, but at the same me the demand for funding was not sasfied to the extent that of the21,333 projects, 80% were approved and of these, only 30% managed to find a sponsor, showingthere is sll a need for a soluon.7SOME TYPES OF CLIENTS THAT WE ARE WILLING TO HELP An arst who wants to work for himself/herself and manage his/her own career; A cultural entrepreneur that already has a small business but wants to organize it beder; A manager that already has an arsc instuon but wants to grow; A cultural instuons/program that wants to offer a lecture, talk or workshop to its audience; A fesval/event curator that needs different topics to offer in their programming; A group/collecve that needs help to do the next step and become sustainable; A producer who already work as freelancer but wants to establish a business. 7
  8. 8. COMMUNICATION STRATEGYOur markeng strategy is simple, clean, affordable and mostly digital, meaning less costs and apossibility of going viral.8 Our opon is to be simple, cheap and also to keep the business runningsmoothly, without compromising the availability and quality of the services, as Rafaela Cappai willwork by herself, with a realisc expectaon in terms of number of clients. The communicaonsstrategy will be consisted of the following tools:DIGITAL Social media with regular update of the following tools: Twider (for fast and short ps and linksfor arcles); Facebook (to connect in a relaonship with clients and prospect clients); Flickr (toshow pictures of consultancy process, workshops and events); Youtube (to show videos ofconsultancy process, workshops, events and also video-­‐ps from Rafaela Cappai); and Formspring(to answer specific quesons from audience); Website for instuonal informaon, like services, prices, clients, tesmonials, links for otherprojects’ Rafaela Cappai is involved, porvolio and contact; Blog, hosted in the instuonal website, for ps and news about cultural and creaveentrepreneurship, that will be updated weekly, catching the adenon of the audience with freeinformaon; e-­‐Flyer, by-­‐monthly, to be sent to three thousands address (already in Rafaela’s database ofBrazilian cultural workers). The idea is to remind them that the service is available, without beingextremely recurrent and perhaps, annoying. e-­‐Newsleder, monthly, with the best arcles from the blog in that specific month, and alsogrants, edicts, news and informaon about the market; Gold list, only for clients, with edicts, grants, news and opportunies, but weekly; Video campaigns and video-­‐ps, using the power of Youtube and Rafaela’s experience as ajournalist and TV host. Also, genng advantage of the partnership with the producon companyGorila Branco (www.gorilabranco.com); Brochure, to be sent to events, curators, managers, cultural instuons, groups, collecves andfesvals to publicize the services and create awareness; 8
  9. 9. PRINT Entrepreneur kit, a start up package to be sent to consultancy clients and workshop studentswith nice design pieces such as a sketchbook, a kit of pencils and pens. The idea is to transfer to theclient the responsibility of making their desire happen. Our goal is to help them to find the way; QR code cards, with half of the size of a business card, with the website address and a QR code.Amer the contact with Rafaela Cappai (consultancy or workshop), the client will get a chance to goto the website and rate the experience; Post cards, to be sent to clients (consultancy or workshop), just amer one month of contact. Theidea is to remind them about their own goals and to keep the momentum going;PR Press release, photos and videos, to be sent to journalists and bloggers, about the services andRafaela Cappai’s projects and work.THE LAUNCH CAMPAIGNIn the beginning of the operaons, in return to Brazil, Rafaela Cappai will begin a campaign with 3giveaways one-­‐o-­‐one consultaons, through social media. The promoon will be based on ‘Why doyou need and deserve it?’ The best answers, voted by public and Rafaela Cappai, will receive thefree consultancy. The process will be completely reported by videos, arcles and pictures and atthe end the clients will report how the process has helped them. The objecve is to give RafaelaCappai the needed experience as a consultant, but also to create awareness and to spread theword about her services in Brazil. The campaign will also help the clients to achieve recognion. MANAGEMENT STRATEGYAs a part me job, the business will be completely managed by Rafaela Cappai, but there will beneed for other professionals to help along the way. They will be contracted as service providers ormaybe through a partner relaonship, exchanging services. For now, there is already twopartnerships established (Gorila Branco, for mulmedia services and Bia Morais, for PR services),and others may take place as the business launches. Except for those partnerships, all the expensesare recorded as if we will pay for the service. If we manage to find partners, the financial situaonimproves, as the specific expenses will no longer exist. We will work with the following specialists: I ACCOUNTANT I LAWYER I DESIGNER I WEB DESIGNER I MULTIMEDIA SPECIALIST I PR I 9
  10. 10. OPERATIONS STRATEGYIn return to Brazil, in October of 2012, three months will be necessary to plan and start up theprocess, making the services available to the public. In January of 2013 we expect to deliver thethree one-­‐on-­‐one free consultancy packages, and in February 2013 we expect to have our first paidclient. The summary of our operang plan for the first twelve months is described below. TASK DEADLINE MONTH In conjuncon with lawyer and accountant, set up the business IN 30 DAYS OCT legally and create contracts; 2012 In conjuncon with designer / web designer, create communicaon IN 60 DAYS NOV TO tools and package (logo, staonery, website, social media DEC backgrounds, e-­‐Flyer template, e-­‐Newsleter template, brochure, 2012 entrepreneurial toolkit, QR code cards and post cards) In conjuncon with journalist / PR specialist, create PR materials (press release and photos); In conjuncon with video specialist (Gorila Branco), create video open tles, video final credits, video strategies and videos for launching campaign; Launch promoonal campaign; Publicize services trough social IN 120 DAYS JAN media; Select clients for the launching campaign and deliver service; 2013 Recognize diploma in Brazil, prepare Lades Curriculum, send curriculum to course directors and apply for teacher opportunies; Get in contact with potenal clients and send proposals, constantly; FROM 121 FEB TO TO 360 SEP First paid customer; DAYS 2012 First paid workshop; First own workshop; Update blog and social media constantly; Produce video-­‐ps, monthly; Send e-­‐Newsleder monthly, and e-­‐Flyer bimonthly; Send Gold list weekly; Adend at least 2 consultancy clients per months; deliver at least 1 workshops per month; produce 2 own workshops per year. Connue to manage the company, operaonally and financially, in conjuncon with accountant. 10
  11. 11. FINANCIAL STRATEGYThe definion of prices was made by four different inputs: the research about other consultantsoffering services in Brazil, but also in the United States and in the UK; the costs to run the business;the value of what will be offered to the clients; and the hourly based expenditure of the consultant.Our intenon is to avoid the risks of relying only on other services to establish your price, failing tocapture our differenal: offer help in finding soluons to survive in the Brazilian market with lessdependency of the incenve laws system. One of strategies is to make the offer tangible so clientscan perceive value differently.9 This strategy was based in four characteriscs of the service(especially consultancy), which are: the service offered is difficult to envision; although we will try,it is hard to assess the results of the work; the service is difficult to understand in first hand; theclients may perceive risks and uncertaines and might deal with false expectaons. We, therefore,intend to make it tangible by: Sending a start-­‐up package the clients explaining how the service will run. This package will havenice design pieces such as a sketchbook, a kit of pencils and pens. The idea is to transfer to theclient the responsibility of making changes to execute their desires. Our goal is to help in findingthe way. Sending a post card amer 1 month of contact with the clients, remembering them about theirgoals and keeping the momentum going; Lenng our clients to asses our work, providing a QR code card so they can log on the website(generang traffic) and give us their feedback and to understand if their needs were met and howwe may connue to help them. For our first 10 customers for consultancy, we will offer the risk free clause: desired and agreedoutcome or your money back. This strategy is a risky one in the Brazilian culture, but we think itmay worth it. Opportunies to follow-­‐up by email, by our Gold list, a newsleder with informaon about grants,market data, news etc.Said that, our prices (without taxes) for the first year in business will be: SERVICE PRICE Consultancy, R$ 100,00 an hour, for individuals, groups, collecves and not-­‐for-­‐ workshops, lectures and profit organizaons; talks. R$ 150,00 an hour, for small for profit business; R$ 250,00 an hour for large organizaons and government. 11
  12. 12. Important to inform that other expenses will be added to the net price, such as 13% of taxes ; R$ 20,00 per person for costs of material, such as entrepreneur kit; Expenses (travel, hotel and food), in case the workshop happens in a city different than BeloHorizonte or São Paulo.Alongside with the part me business, Rafaela Cappai will also look for teacher opportunies inUniversies and free courses. In this case, the salary will be offered by the University demandingthe professional, although our research has shown that the wage may vary from R$ 4.000,00 toR$ 6.000,00, for 40/hour dedicaon job. Other inputs will come from especial projects (toolkit,research and mapping, network events and Espaçonave project) and at the right moment they willdeserve specific business plans to make them possible. The online content and resource on thewebsite will be offered free of charge.COST TO RUN THE BUSINESSOur financial strategy has the same focus as the whole business offer. It is a simple proposion tokeep Rafaela Cappai handling the business as a part me job, focused on conservave esmates,not only about costs, but also in terms of revenue, as it is only a one-­‐person-­‐company, dealing withall the costs. Even like that, our financial plan shows a great opportunity to achieve our goal, whichis to keep a separate financial stream flowing and to help Rafaela Cappai to be sustainable as aarst/creave thinker, alongside with other job she chooses. The business will require a start upinvestment, that will come from family members (that surprisingly will lend it without charginginterests). Important to inform that for our records we used the middle price (R$ 150,00 an hour)as revenue. Another essenal note is that Rafaela Cappai has opted to allow a personal income outof the cash flow only amer all the expenses, which means that if the company does not achieveposive cash flow, the owner does not receive a salary (that will 50%). Our first three yearsprojecon will look like the following [COMPLETE FINANCIAL RECORD AVAILABLE IN THEAPPENDIX]: EXPENSES REVENUE PROFIT 2013 R$ 35,756.76 R$ 43,000.00 R$ 7,243.24 2014 R$ 74,893.65 R$ 108,364.25 R$ 33,470.60 2015 R$ 83,079.52 R$ 119,956.89 R$ 36,877.37 2015 PROFIT REVENUE 2013 EXPENSES 12
  13. 13. PEN DIXAP 13
  14. 14. NC IALF INA D REC OR 14
  15. 15. START UP COSTS 15
  16. 16. YEAR ONE 16
  17. 17. 17
  18. 18. YEAR TWO 18
  19. 19. 19
  20. 20. YEAR THREE 20
  21. 21. 21
  22. 22. FUTURE PROJECTSIn this business plan we focused in the services Rafaela Cappai may offer as a creave leader andthinker in the creave industries in Brazil, giving more adenon to the roles of consultant andteacher. In the secon, we will talk about other roles she is willing to occupy:ESPAÇONAVEA NGO, already in development in Brazil, to foster entrepreneurship in the fields of arts, cultureand creave industries. A number of projects and ideas will be under the Espaçonave umbrella, butbasically it will be an online magazine, an online network, a co work physical space and anincubator. The first year of the project, a blog about Rafaela Cappai’s experience in the Master inthe UK, was awarded with the chancellery of Secretary of Culture of Minas Gerais, and sponsoredin R$ 62.650 (approximately £ 23.000), by Vivo mobile, through the program Conexão Vivo. Thesecond year of the project also received the chancellery by Cultural Municipal Foundaon of BeloHorizonte, Secretary of Culture of Minas Gerais and the Ministry of Culture of Brazil, and now it isin search of sponsorship of R$ 310.000 (approximately £ 114.000). The phases of the project arebelow: BLOG BLOG + MAGAZINE BLOG + MAGAZINE + NETWORK BLOG + MAGAZINE + NETWORK + CO WORK SPACE BLOG + MAGAZINE + NETWORK + CO WORK SPACE + INCUBATOREspaçonave main objecves are: Encourage the formaon, training and disseminaon of informaon about arsc and culturalentrepreneurship in Brazil; Help to exchange informaon between arsc and cultural entrepreneurs through the Internet; Collaborate to create an entrepreneurial behaviour in the field of culture; Empower arsts to an entrepreneurial role, enabling the creaon, organizaon, managementand sustainability of cultural ideas; Encourage the scienfic producon about cultural entrepreneurship and creave industries; Smulate the debate about the role of the entrepreneur as a manager of cultural and creaveeconomic resources and its importance as an arculator of social networks. 22
  23. 23. NETWORK EVENTSThe idea is to create offline opportunies to entrepreneurs to meet, talk, chat, and maybecooperate between themselves. A network can be a safe place where entrepreneurs can recur tofind meaning, trust, but also a safe ground in mes of uncertainty. That is the idea: provide a funplace and a relaxed moment where people can go to talk about their work and future projects. Theidea is to invite clients but also different people, making it a nice mix. We want to make it free, andcustomer will have to pay only their drinks and food, if wanted. Places that can host the meengare galleries, creave bars, theatre foyers etc.TOOLKITThe idea is to create a toolkit, with online and print version, with models, ps, how to and DIY toolsto help entrepreneurs to develop their ideas and make it happen. it will gather informaon from adiverse number of sources, reuning then at the same place and making it available for Brazilianentrepreneurs, in the fields of arts, culture and creave industries. Our primary research has shownthat there is no such a plavorm or book available in the Brazilian the market. The toolkit may befinanced by a different number of grants and funding opportunies in Brazil or even be offered to apublisher. A proper business plan will be created at the me to push this idea forward. [CHECKOPPORTUNITIES TO SEE A NUMBER OF PUBLISHERS THAT WE MIGHT APPROACH]MAPPING AND EVALUATIONBrazilian creave industries market does not know exactly what it is made of, how does it operate,who is part of it and what are the problems involved. There is a lack of reliable informaon, as theamount of mapping from government bodies such as IPEA and IBGE do not follow the growth ofthe sector. The idea is to help discover those knots, with independent research, or providingservices to governments and instuons to create informaon like the DCMS Creave IndustriesMapping Document, or with independent research, that may be financed by grants and specificedicts. 23
  24. 24. SWOT ANALYSSTRENGTHS  Rafaela Cappai has a social network with approximately 1200 Facebook friends and The Master in Creave and Cultural 530 twider followers, basically from peersEntrepreneurship (Goldsmiths University of within the cultural sector, which gives her aLondon), alongside with other courses in direct contact with possible clients andMarkeng, Performing Arts, Journalism, partners.Cultural Management and Entrepreneurship,will give Rafaela Cappai the necessarylegimacy about the proposal; WEAKNESS The fact that Rafaela Cappai alreadyoccupied different posions within the sector,  Rafaela Cappai has no formal experiencesuch as arst, producer, manager, as a consultant, giving her a not so clearentrepreneur and journalist gives her a picture on how to approach client’s needscomplex understanding about the market; and problems; The foreign experience in the UK gives  Rafaela Cappai has no training as a coach,Rafaela Cappai the required which gives her a not so clear picture oncontextualizaon, helping her to apply how to deal with other human beingsdifferent strategies and soluons in Brasil; parcularies, helping them to achieve The network with peers from 27 different their own goals;countries, all of them dealing with the same  The intangibility of what Rafaela Cappai isdesire of becoming sustainable within the offering, makes it harder for clients tocreave industries sector, gives Rafaela envision how she can really help them;Cappai a safe place where to recour in case of  Rafaela Cappai is not yet sustainable asthe need of advise herself; an arst; The connecon between Rafaela Cappai  Rafaela Cappai is sll dependent ofand the theme of creave and cultural Brazilian culture incenve laws;entrepreneurship in Brazil is already growing  There is already known professionalsstronger, especially because of the specialized in the creave industries insponsorship of Vivo, with Conexão Vivo Brazil. Those are the ones who get all theProgram; invitaon for events and opportunies; The two workshops already schedule from  Rafaela Cappai sll has personalher return to Brazil (as part of the difficules for branding her own name,sponsorship agreement), gives Rafaela Cappai which makes her uncomfortable.a solid start. 24
  25. 25. OPPORTUNITIES  Brazil is growing and is part of the BRICKS country. There is a posive flourish in all A similar approach to consultancy in the sectors of economy; including culture andcreave industries in Brazil was not found, creave industries;13making it disnct from competors;  The break out of a different type of arst, The creaon, in the beginning of 2011, of the the DIY kind, that do all the arsc work, butSecretary of Creave Economy in Brazil, gives also put his hands on the dirt. The oldRafaela Cappai a perfect ming to approach the tradional arsts will not survive in this newsector; world, if they do not adapt; Offering different prices for different clientshelps Rafaela Cappai to help different types of TRHEATSentrepreneurs, making her target market bigger;  The clients -­‐ arsts and creave people -­‐ who Rafaela Cappai is already receiving email from are looking for advice are probably the onesarsts in Brazil asking for advice; who lack of financial opportunies and might Although there are specialists in creave not have the money to invest in the service;industries in Brazil, an approach specifically to  There is plenty of informaon available on thethe entrepreneur was not found; Internet for those who do not want to pay for The more recent data, from IBGE and IPEA, services such as consultancy;shows that there is sll a growth in the cultural  The dependency of the culture incenve lawssector in Brazil; in the sector in Brazil;14 There is a posive wave about the value of the  The misunderstanding that art, culture andcreave worker, from authors such as Scod money cannot walk together;Belsky10, Daniel Pink, Seth Godin, Gary  The fact that entrepreneurship seems to beVaynerchuck, Jonas Ridderstrale and Kjell connected with commercializaon of art, whichNordstrom11. The ’live by what you love’ mantra in Brazil can be understood as a less qualityis in the air. form of art; The size of the country, gives Rafaela Cappai a  The investment in arts and culture is totallytremendous amount of work to do; sensible to any crisis, regional or worldwide; Several entrepreneurs receive funds from  The system in Brazil makes it harder to meetprojects and sponsors, so the payment of connuity for projects and enterprises as eachconsultancy may be connected with those funds; year you have to look for sponsors and find The beginning of the ‘crowdfunding funds to keep doing the job;movement’ in the country with more than 6  Arsts and creave people are sll being paidplavorms in less then 5 months, shows that less than what they deserve, so it is possiblethere is a need to find soluons for sustainable that they will not receive enough money toapproach of the sector;12 invest in a consultancy. 25
  26. 26. PESTLE ANALYSISPOLITICAL There is a ongoing change in one of the Brazilian incenve laws (Rouanet Law) in the moment,that soon will be voted and maybe approved;15 There is also a change going on in the Copyright Laws in Brazil. The law is open to public opinionand later will be voted in the Congress. There is a lot of pressure from different groups, in favour oragainst changes in the ongoing system;16 Ana de Hollanda, Minister of Culture in Brazil, is facing a lot of turbulences and might not holdthe posion longer;17 There are a number of different opportunies for grants and commissioned work in Brazil; The creaon of the Creave Economy Secretary in Brazil shows that there is a momentum aboutthe subject;18 The new Presidente, Dilma Roussef, is facing the first year of the Government with so far goodpublic approval;19 The importance of Brazil is growing internaonally with the country fighng for a seat at the UNSecurity Council;20 President Obama paid a visit to Brazil this year, showing the recognion the country isachieving.21ECONOMIC The country is part of the BRICKS and is growing economically and it is being considered by manyone of the countries of the future; The inflaon started to grow again and is giving hard me to Central Bank and Governmenteconomic staff;22 There is a growing movement, that considers the economics involved in culture and creaveindustries, that believes it can help the country to develop; The monetary power of the people is growing, according with some reports.23 Brazil was considered the last country to be caught by the 2008 crisis and the first one to step outof it;24 Taxaon in Brazil is sll a great problem. A future tax reform intends to help develop the countryin a more sustainable way;25 26
  27. 27. ECONOMIC A great number of arsts, culture and creave professionals cannot afford to have a businesswith a government taxaon achieving more than 40%; The yearly cycle of projects approval creates a big gap from December to May, when professionaldo not make money, waing for approvals of bureaucrac measures; The concepon of the Empreendedor Individual with more than 1 million registered users createa big mass of people working for themselves, but with social and economic guaranes. There are alot of creave categories that workers in the sector could apply;26 Interests are sll high in Brazil;27 World Cup and Olympics will help the economy to grow.28SOCIAL The country, even within development, has one of the highest rates when we think of the gapbetween poor and rich;29 Brazilian audience sll do not value art and culture such as theatre, dance, concerts as a consumeopon; Media prefers to give adenon for outsiders, like arsts from São Paulo and Rio de Janeiro, oreven outside of Brazil, like internaonal arsts; Brazil laws do not perceive the social entrepreneur as a legit opon; World Cup and Olympics might bring not only economic, but social transformaon; There is a self-­‐low steam about being Brazilian that seems to start to change, and Brazilian prideis growing stronger alongside with the country economic development;30 Corrupon and impunity are the biggest problems of Brazil, and have a enormous influence,especially socially; The country is genng older and the populaon connues to grow;31 Brazil is one of the countries with the biggest social and racial diversies of the planet; Emigrants are coming back to the country, especially from Japan, USA and Europe;32 Brazil is the land of perseverance; Brazil is the sixth most entrepreneurial country in the world.33 27
  28. 28. TECHNOLOGICAL Brazil has one of the biggest social media users audience in the world and more than 43 millionsaccessing the web;34 A variety of online somware and apps are allowing arsts, creave people and culturalentrepreneurs to afford to have their own enterprise; Crowdfunding and collaborave plavorms are succeeding in the country; Internet is available in 18% of Brazilian homes;35 There are ongoing changes in the intellectual property issues in Brazil.LEGAL Employment laws in Brazil make it difficult to hire people, especially because of the high rates oftaxes applied;36ENVIRONMENTAL Rafaela Cappai sll have personal difficules to manage a company and team; Rafaela Cappai will work alone, with a high volume of work, roles and tasks; There is a need to find partners and service providers for a long term commitment; 28
  29. 29. OTHER PLAYERSBUSINESS PROFESSIONAL CITY SERVICES PRICES Rômulo Avelar Belo Consultancy. HorizonteDiversas Consultoria Cultural José de Oliveira Junior Belo Consultancy, Horizonte courses, proprietary projects.Da Gaveta Produções Culturais Le~cia Rio de Consultancy,www.dagaveta.com.br Torgo Janeiro projects for incenve laws, fundraising.Arcultura São Paulo Strategy,www.arcultura.com.br/ management, fundraising, courses, publicaons.Garimpo de Soluções Ana Carla Fonseca São Paulo Consultancy,www garimpodesolucoes com br Reis mapping, courses, PREÇOS lectures, talks. MANTIDOS EM SIGILO PARAProjecta Consultoria São Paulo Sponsorship GARANTIR Awww.projectaconsultoria.com.br policy, project CONFIDÊNCIA-­‐ management, LIDADE DOS courses, mapping, PRODUTOS E research, projects SERVIÇOS for incenve laws. DAQUELES QUEEnthusiamo Cultural Lala Deheinzelin São Paulo Consultancy, COLABORARAM.www laladeheinzelin com br lectures, talks, courses, especial projects.Alternava Cultural Graça Gomes Rio de Consultancy,www alternavacultura com br Janeiro proprietary projects, courses, projects for incenve laws, project management.Fontes Realizações Ar~scas Gabriel Fontes Paiva São Paulo Consultancy,www.fontes.art.br proprietary projects, project management and accountability, fundraising. 29
  30. 30. INSPIRATIONBUSINESS PROFESSIONAL COUNTRY SERVICES PRICESThe Creave Entrepreneur Lisa Sonora Beam USA Consultancy,www.thecreaveentrepreneur.biz blogging, workshops, publicaons.Marck McGuinness Lateral Acon UK Coaching,www.lateralacon.com blogging, lectures, talks.www.tessybridon.com Tessy Bridon UK Consultancy, blogging, PREÇOS MANTIDOS training, EM SIGILO PARA workshops. GARANTIR A CONFIDÊNCIALIDADECreate as Folk Laura Simms USA Coaching and DOS PRODUTOS Ewww.createasfolk.com blogging, SERVIÇOS DAQUELESAccidental Creave USA Talks, QUE COLABORARAM.www accidentalcreave com lectures, publicaons, podcasng,Perestroika Brasil Courseswww perestroika com br 30
  31. 31. OPPORTUNITIES PUBLISHERS That might be interested in publishing the toolkit.PUBLISHER INTERESTED AREASItaú Cultural Culturalwww.itaucultural.org.br/ management.DUO Editorial Culturalwww.duo.inf.br/editorial.asp managementSebrae Entrepreneurship.hdp://www.sebrae.com.br/SESC SP Arts, culture.www.sescsp.org.br/sesc/2AB Editora Arts, design.hdp://www.2ab.com.br/Editora Laços Culture.www.editoralacos.com.br/index.aspCOSACNAIFY Arts, design, culture.www.editora.cosacnaify.com.br/Default/1/Default.aspx FREE COURSES Where Rafaela Cappai can work as a teacher.COURSE INSTITUTION CITYEmpreendedorismo Criavo Perestroika Porto Alegrewww.perestroika.com.br/ec/Cultura em Pauta Projecta São Paulowww.culturaempauta.com.br/Gestão e Desenvolvimento Cultural Observatório da Belo Horizontewww.observatoriodadiversidade.org.br/ Diversidade CulturalMercado Cultural ao Vivo Escola São Paulo São Paulohdp://culturaempauta.com.br/Empreendedorismo Cultural Conteúdo Cultural São Paulowww.conteudocultural.com.br/cultural.php?categoria=14&id=15Empreendedorismo Cultural SOGEPLAN Florianópoliswww.sogeplan.com.br/capacitacao_empreendedorismo.phpStartups, Economia Criava e Empreendedorismo na Era ESPM São PauloDigitalwww.espm.br/inovacao/curso.asp?cursoID=26Economia da Cultura e Empreendedorismo Sebrae São Paulo, Goiânia,www.culturaempreendedorismo.wordpress.com/o-­‐ Porto Alegre,curso/ Salvador e Manaus 31
  32. 32. RELATED COURSES IN UNIVERSITIES Where Rafaela Cappai may work as a teacher.COURSE UNIVERSITY CITYMaster in Business Administraon -­‐ Gestão Cultural Cândido Rio dewww.gestaocultural.org.br/mba gestao cultural.asp Mendes JaneiroPós-­‐graduação lato sensu em Produção Cultural Cândido Rio dewww.gestaocultural.org.br/pos producao cultural.asp Mendes JaneiroEspecialização em Gestão Cultural SENAC Onlinewww.senac.br/pos-­‐ead/c gcult/home.htmlPós-­‐Graduação em Gestão Cultural UNA Belowww.una.br/curso/pos-­‐graduacao-­‐mba-­‐especializacao/pos-­‐graduacao-­‐em-­‐ Horizontegestao-­‐culturalGraduação em Produção Cultural FAAP São Paulowww.faap.br/faculdades/artes plascas/prod cultural/index.htmCurso de Produção Cultural UNIMEP Piracicabawww.unimep.br/gdc cursos conteudo.php?cod=163Produção Cultural UFF Niteróiwww.coseac.uff.br/cursos/prod c.htmPlanejamento e Gestão Cultural PUC-­‐Minas Onlinewww.ead01.virtual.pucminas.br/CSA/s1a0005a/informacao.htmGradução em Gestão Cultural Unisinos Porto Alegrehdp://www.unisinos.br/graduacao tecnologica/gestao cultural/Especialização em Produção Cultural com Ênfase em Literatura Infanto-­‐ IRFJ NilópolisJuvenilwww.ifrj.edu.br./site/conteudo.php?cat=134 INSTITUTIONS That might be interested in offering the course.INSTITUTION / EVENT INTERESTED AREASSebrae Entrepreneurship.hdp://www.sebrae.com.br/SESC SP Arts, culture.www.sescsp.org.br/sesc/Escola São Paulo Arts, culture.www.escolasaopaulo.org/Fundação Clóvis Salgado Arts, culture.www.fcs.mg.gov.brSESI SP Sociocultural.hdp://www.sesisp.org.br 32
  33. 33. WORKSHOP PROPOSALWORKSHOP CREATIVE AND CULTURAL ENTREPRENEURSHIPFacilitator: Rafaela Cappai (a curriculum will be send with the proposal).Workload: 14 hours at classroom, plus 2 hours of homework.Clients: Arsts, creave workers, managers, producers, acvists, cultural journalists and otherswho already work as entrepreneurs in the creave and cultural industries, or the ones who havegreat interest in starng their own enterprise.Requirements: Available Internet for at least three mes during contact with the facilitator; Above16 years of age;Desirable circumstances: Great willingness to learn, exchange, create and develop themselves;Working with culture and creavity in Brazil in any area, such as music, dance, theatre, visual,design, crams, cultural management; Have developed projects and ventures in culture or have astrong desire to undertake it; Demonstrate consistent entrepreneurial behaviour and DIY antude;Interest in working with collaborave processes and networks; Have the desire to live doing whatthey love.Why: The arsc and cultural sectors are part of the creave industries and are acquiringincreasing importance as a resource for social and economic development, especially in emergingcountries like Brazil. The noon of cultural entrepreneurship, establishes a relaonship betweentwo concepts in different fields of knowledge: entrepreneurship, from economics andadministraon, and culture, a central theme in anthropology and sociology. Individuals capable ofarculate these two dimensions might be able to develop themselves socially and economically,and consequently, their communies and environments.ObjecNves: To train 20 individuals to act as cultural entrepreneurs, creang, organizing, managingand developing their own enterprises in a sustainable manner, instead of excessive dependence onstate or private sponsors.Methodology: The course presents a mixed methodology of various courses and experiencesaccumulated by the facilitator during her research on entrepreneurship since 2009, like EMPRETEC/UN; The Creave Entrepreneur, Lisa Sonora Beam, Travelling Pantry from Tessy Bridon; and theMaster in Creave and Cultural Entrepreneurship, Goldsmiths University of London. 33
  34. 34. Program: Facilitator’s presentaon; Presentaon of the students through ‘Game of Tags’; (Tessy Bridon: www.tessybridon.com); Creave industries and development; (theorecal acvity); Entrepreneurship and cultural and creave industries; (theorecal acvity); Behaviour and characteriscs of entrepreneurs (praccal and theorecal acvity); (EMPRETEC:www.empretec.sebrae.com.br); ‘Mapping the Community Game’ (praccal acvity); (Tessy Bridon); ‘Mapping the Network Game’ (praccal acvity); (Tessy Bridon); ‘Personal Mandala’ by visual journal (praccal acvity); (Lisa Sonora Beam:www.thecreaveentrepreneur.biz); ‘Relaonship Modelling, ‘Evidence Modelling’ ‘Blue-­‐print Modelling’ and Financial Modelling(theorecal and praccal acvity); (MA Cultural and Creave Entrepreneurship, GoldsmithsUnivesritu of London: www.gold.ac.uk/icce); Mini-­‐theme 1: Time management and producvity for entrepreneurs (theorecal and praccalacvity); (Pomodoro Technique: www.pomodorotechnique.com); Mini-­‐theme 2: Internet and social media for cultural and creave entrepreneurs (theorecal andpraccal acvity);Mini-­‐theme 3: Networking and collaboraon (theorecal and praccal acvity);Mini business plan and acon plan for the next 30 days (praccal acvity).Technological resources and materials: Entrepreneur’s kit (containing sketchbook and colour pens)Handbook; Online library with various publicaons and materials of interest; Power PointPresentaon; Mulmedia projector.Assessments of students : There is no assessment for students.Assessments of workshop and facilitator: At the end of the course, in the classroom, students willreceive an anonymous quesonnaire to assess the relevance of the workshop, the quality of thematerials, instructor methodology etc. 15 days amer the workshop students will fill out an onlinequesonnaire to be able to observe and report significant changes in their working methods andacvies, amer the workshop. 34
  35. 35. TALK/LECTURE PROPOSALTALK CREATIVE AND CULTURAL ENTREPRENEURSHIPFacilitator: Rafaela Cappai (a curriculum will be send with the proposal).Workload: 60 to 90 minutes.Clients: Arsts, creave workers, managers, producers, acvists, journalists who already work asentrepreneurs in the creave and cultural industries, or the ones who have great interest to start their ownenterprise.Desirable circumstances: Have great willingness to learn, exchange, create and develop themselves;Working with culture and creavity in Brazil in any areas, such as music, dance, theatre, visual, design,crams, cultural management; Have developed projects and ventures in the area of culture or have a strongdesire to undertake it; Have a strong desire to live doing what they love;Why: The arsc and cultural sectors are part of the creave industries and are acquiring increasingimportance as a resource for social and economic development, especially in emerging countries like Brazil.The noon of cultural entrepreneurship, establishes a relaonship between two concepts in different fieldsof knowledge: entrepreneurship from economics and administraon, and culture, a central theme inanthropology and sociology. Individuals capable of arculang these two dimensions might be able todevelop themselves socially and economically, and consequently, their communies and environments.ObjecNve: Show a panoramic perspecve about the possibilies of working as a entrepreneur in thecreave and cultural industries, in Brazil.Program: Facilitator’s presentaon; Creave industries and development; Creave industries and Brazil’s perspecve; Entrepreneurship and cultural and creave industries; Behaviours and characteriscs of entrepreneurs; Cases of study; The importance of me management, producvity, social media, networking and collaboraon forentrepreneurs;TECHNOLOGICAL RESOURCES AND MATERIALS: Power Point Presentaon; Mulmedia projector.ASSESSMENT OF THE TALK: At the end of the course, in the classroom, students will receive a card withname and QR code, to go online and evaluate and assess the relevance of the talk, the quality of thematerials, instructor methodology etc. 35
  36. 36. KET AR CHM ARR ESE 34
  37. 37. MARKET REASEARCH The market research below was conducted between April 19th and May 3rd of 2011, by Rafaela Cappai. It was available online at hDp://espaconave.org/?p=2241, using Google Docs. A number of 155 people responded. Results compilaNon was made in May 6th, 2011. GENDERMALE; 43% FEMALE; 57% 35
  38. 38. AGE ABOVE 50 15 TO 20 YEARS YEARS OLD; 8% OLD; 1% 46 TO 50 YEARS 21 TO 25 YEARS OLD; 6% OLD; 11% 41 TO 45 YEARS OLD; 13% 26 TO 30 YEARS OLD; 25% 36 TO 40 YEARS OLD; 12% 31 TO 35 YEARS OLD; 24% CITIES BELÉM / PA 4BELO HORIZONTE / MG 57 BRASÍLIA / DF 7 GOIÂNIA / GO 11 RIO DE JANEIRO / RJ 13 SALVADOR / BA 3 SÃO PAULO / SP 27 0 10 20 30 40 50 60 36
  39. 39. HOW DO THEY DESCRIBE THEMSELVES? ACTVIST 25 ARTIST 90 ENTREPRENEUR 71 JOURNALIST 19 MANAGER 56 OTHER 12 PRODUCER 84 0 20 40 60 80 100OBS MULTIPLE ANSWERS ALLOWED SECTORS ART EDUCATION 50 AUDIOVISUAL 51 CRAFTS AND FOLK ART 10CULTURAL MANAGEMENT 62 FINE ART 39 LITERATURE 33 MUSEUMS AND HERITAGE 11 MUSIC 55 OTHER 5 PERFORMING ARTS 94 0 10 20 30 40 50 60 70 80 90 100OBS MULTIPLE ANSWERS ALLOWED 37
  40. 40. PROFESSIONAL STATUS STUDENT, APRENTICE,ESTABLISHED; TRAINEE OR 23% INTERN; 5% BEGINNING OF CAREER; 32% MIDDLE OF CAREER; 40% ALREADY WORK AS AN ENTREPRENEUR? NO; 18% YES; 82% 38
  41. 41. ENTERPRISE STATUS OTHER; 8%INFORMAL; 28% PROFIT; 39% NOT FOR PROFIT; 25% MONTHLY INCOME NO ANSWER; 7% ABOVE R$ 6.000; BELOW 7% R$ 1.000; 19% BETWEENR$ 4.000 ANDR$ 6.000; 10% BETWEEN R$ 1 000 AND BETWEEN R$ 2.000; 30% R$ 2 000 AND R$ 4.000; 27% 39
  42. 42. FROM TOTAL INCOME, HOW MUCH COMES FROM CULTURE? BELOW 20%; 34% BETWEEN 81% AND 100%; 45% BETWEEN 21% AND 40%; 8% BETWEEN 61% BETWEEN 41% AND 80%; 8% AND 60%; 5%WHERE DO YOU LOOK FOR INFORMATION WHEN YOU NEED ADVICE ABOUT CULTURAL ENTREPRENEURSHIP? BY MY OWN 64 CONSULTANT 26 COURSES, TALKS AND SEMINARS 82 FRIENDS AND PARTNERS 127 I CANNOT FIND 4 INTERNET 124 OFICIAL INSTITUTIONS 46 OTHER 9 PUBLICATIONS 57 OBS MULTIPLE ANSWERS ALLOWED 0 20 40 60 80 100 120 140 40
  43. 43. HAVE YOU ALREADY PAID FOR ADVICE? YES; 25%NO; 75% WOULD YOU BE WILLING TO PAY? NO; 23% YES; 77% 41
  44. 44. HOW DO YOU THINK IS THE BEST WAY TO PAY FOR IT? OTHER; 4% NORMAL PAYMENT; 28% PAYMENT CONNECTED WITH APPROVED PROJECT; 54% PERCENTAGE OF MY MONTLY INCOME; 14%DO YOU CONSIDER YOURSELF HAPPY, PROFESSIONALLY SPEAKING? NO; 27% YES; 73% 42
  45. 45. HAVE YOU CONSIDERED QUITING YOUR CAREER IN ARTS AND CULTURE? NO; 38% YES; 62% WHAT ARE THE LEAST DIFFICULT TASKS FOR THEM  To deal with technology.  To perform in their own city.  To give the first steps.  To create and maintains relaNonship with peers.  To work within a group.  To use their own network.  To collaborate with arNsts.  To have nice ideas.  To be persistent.  To be producNve. 43
  46. 46. WHAT ARE THE MOST DIFFICULT TASKS FOR THEM? To have sustainable financial streams. To acquire start up money to launch ideas. To perform in countries different from theirs. To perform in ciNes different than theirs. To act in a planned way. To create and maintain commercial relaNonships. To find and keep clients. To keep financial records. 44
  47. 47. TFO LIOP OR 45
  48. 48. 2006 -­‐ UM CÉU DE ESTRELAS THEATRE PLAYACTRESS AND PRODUCTION DIRECTOR £40.000 BUDGET 25 PEOPLE INVOLVED 46
  49. 49. PICTURES BY JOÃO CASTILHO 47
  50. 50. 2007 -­‐ CABARÉ HUMOR COMEDY SHOWACTRESS AND EXECUTIVE PRODUCER £15.000 BUDGET 15 PEOPLE INVOLVED 48
  51. 51. PICTURES BY JOÃO CASTILHO 49
  52. 52. 2007 -­‐ PARCOURS DANCE PLAY + PARKOURACTRESS AND PRODUCTION DIRECTOR £15.000 BUDGET 20 PEOPLE INVOLVED 50
  53. 53. PICTURES BY JOÃO CASTILHO 51
  54. 54. 2008/2009 AND 2011 -­‐ DIVULGAÇÃO CULTURAL RESEARCH AND E-­‐BOOK PRODUCER AND RESEARCH ASSISTANT £20.000 BUDGET 30 PEOPLE INVOLVED 52
  55. 55. 2011 -­‐ DIÁRIO DE VIAGEM BLOG JOURNALIST £23.000 BUDGET 1 PERSON INVOLVED WWW.ESPACONAVE.ORG 53
  56. 56. SSPRE ING CL IPP 54
  57. 57. Video interview for Conexão Vivo, a Brazilian network for musicians, sponsored by Vivo mobile company. Published in 17/03/2011. Available at: hpp:// www.conexaovivo.com.br/ noIcias/assista-­‐a-­‐ entrevistas-­‐especiais-­‐com-­‐ profissionais-­‐do-­‐mercado-­‐ musical Interview for Juá Cultural, a Brazilian blog about culture. Published in 21/02/2011. Available at: hpp://www.conexaovivo.com. br/noIcias/assista-­‐a-­‐ entrevistas-­‐especiais-­‐ com-­‐profissionais-­‐do-­‐ mercado-­‐musical 55
  58. 58. News for the Brazilian newspaper Hoje em Dia, about three grants RafaelaCappai was awarded subsequently. The headline says: ‘Rafaela Cappai starts as a producer and accomplishes three awarded projects’. Published in 21/04/2007. 56
  59. 59. News at Nas Trilhas da CidadaniaCultural gazepe about the courseCultural Management andDevelopment, in which RafaelaCappai worked as a teacher at thecity of Diaman;na/MG, Brazil, in2007. Rafaela Cappai in acIon during the play Mulheres de Hollanda, directed by Pedro Paulo Cava, in Belo Horizonte/MG, Brazil. Published at Diário da Tarde newspaper, in 24/04/1999. 57
  60. 60. News at Estado de Minas newspaper, about the premiere of the play Um Céu de Estrelas, produced and performed by Rafaela Cappai and directed by Yara de Noaves. Published in 14/07/2006.One of the first interviews, alongside with colleagues from the Camaleão dance group, at the age of 14, when Rafaela Cappai started her professional career, in Belo Horizonte/MG, Brazil. The headline says: ‘Passion and sacrifice mark the life of a dancer’. 58
  61. 61. Rafaela Cappai, alongside with her professional partner at the Ime, in ainterview about O Cole;vo, an arIsIc collecIve founded by both, in BeloHorizonte/MG, Brazil, in 2007. Published at O Tempo newspaper, in21/04/2007. News about the plays Parcours and Cabaré Humor, produced by Rafaela Cappai, in Belo Horizonte/MG, Brazil, in 2007. Both published at Overmundo,, a network for independent writers in Brazil. Published, respecIvely in 07/10/200, and 02/11/207. Available at: hpp://www.overmundo.com.br/agenda/parcours and at hpp://www.overmundo.com.br/agenda/cabare-­‐humor 59
  62. 62. ENDNOTES1.  Pink, Daniel H. “Design.” A Whole New Mind: Why Right-­‐brainers Will Rule the Future. New York: Riverhead, 2006. p. 68. Print.2.  Kotler, Philip; Kevin, Keller "Desenvolvimento e Gerenciamento de Serviços." Administração de MarkeLng -­‐ A Bíblia do MarkeLng. São Paulo: Ed. Pearson. 12th ed. 2006. p. 399. Print.3.  Vaynerchuk, Gary. Crush It!: Why Now Is the Time to Cash in on Your Passion. [New York]: HarperStudio, 2009. Print4.  WiHel, Andreas. "Toward a Network Sociality." Theory, Culture & Society 18 (2001): 51-­‐76. Print5.  Brazil. IBGE. Sistema de Informações e Indicadores Culturais 2003-­‐2005. Rio de Janeiro: IBGE, 2007. p.38-­‐98. Print.6.  Brazil. IBGE. Sistema de Informações e Indicadores Culturais 2003-­‐2005. Rio de Janeiro: IBGE, 2007. p.38-­‐98. Print.7.  Brazil. IPEA. PolíLca Cultural no Brasil, 2002-­‐2006: Acompanhamento e Análise. Vol. 2. Brasília: IPEA, 2007. p. 32. Print.8.  Godin, Seth. Unleashing the Ideavirus. London: Simon & Schuster Audio, 2001. Print.9.  Faria, Carlos Alberto. "Como Precificar Serviços?" Merkatus -­‐ Ajudando Nossos Clientes a Atrair Clientes. Web. 5 May 2011. <hHp://www.merkatus.com.br/10_bole;m/90.htm>.10.  Belsky, ScoH. Making Ideas Happen: Overcoming the Obstacles between Vision and Reality. New York: Porvolio, 2010. Print.11.  Nordström, Kjell A., and Jonas Ridderstråle. Funky Business: Talent Makes Capital Dance. Stockholm: Bookhouse, 1999. Print.12.  Reeberg, Diego Borin. "Brazil Opens Its Arms to Crowdfunding." Crowdsourcing and Crowdfunding News and Headlines. Web. 10 May 2011. <hHp://www.crowdsourcing.org/editorial/brazil-­‐opens-­‐its-­‐arms-­‐to-­‐crowdfunding/ 3793>.13.  Hervieu, Sébas;en. "South Africa Gains Entry to Bric Club | World News | Guardian Weekly." Latest News, Comment and Reviews from the Guardian | Guardian.co.uk. 19 Apr. 2011. Web. 10 May 2011. <hHp:// www.guardian.co.uk/world/2011/apr/19/south-­‐africa-­‐joins-­‐bric-­‐club?INTCMP=SRCH>.14.  Brazil. Fundação João Pinheiro. Cadeia ProduLva da Economia da Música Em Belo Horizonte. Coord. Marta Procópio Oliveira. Governo de Minas Gerais, Feb. 2010. Web. 5 Jan. 2011. <www.•p.gov.br/.../396-­‐relatorio-­‐ cadeia-­‐produ;va-­‐da-­‐economia-­‐da-­‐musica-­‐em-­‐belo-­‐horizonte>.15.  "Reforma da Lei Rouanet." Blogs. Ministério da Cultura, 16 Feb. 2011. Web. 1 May 2011. <hHp:// blogs.cultura.gov.br/blogdarouanet/>.16.  "Consulta Direito Autoral." Ministério da Cultura -­‐ MinC. Web. 2 May 2011. <hHp://www.cultura.gov.br/ consultadireitoautoral/>.17.  "Open LeHer to President Dilma Rousseff -­‐ Carta Aberta a Presidente Dilma Roussef." Fora Ana de Hollanda! Feb. 2011. Web. 5 May 2011. <hHp://foraanadehollanda.blogspot.com/2011/03/open-­‐leHer-­‐to-­‐president-­‐dilma-­‐ rousseff.html>.18.  Dias, Adriana. "Ministério da Cultura -­‐ MinC » Cultura Quer Foco em Economia Cria;va." Ministério Da Cultura -­‐ MinC. 13 Feb. 2011. Web. 10 May 2011. <hHp://www.cultura.gov.br/site/2011/02/14/cultura-­‐ quer-­‐foco-­‐ em-­‐economia-­‐cria;va/>.19.  "Dilma Supera Lula e FHC em Aprovação ee Início ee Governo." Correio Braziliense. 1 Apr. 2011. Web. 2 May 2011. <hHp://www.correiobraziliense.com.br/app/no;cia/poli;ca/2011/04/01/interna_poli;ca, 245736/dilma-­‐ supera-­‐lula-­‐e-­‐‘c-­‐em-­‐aprovacao-­‐de-­‐inicio-­‐de-­‐governo.shtml>. 60
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  64. 64. 34. "Ibope: Brasil Possui 43 Milhões de Internautas – IMasters." IMasters - Por Uma Internet Mais Criativa E Dinâmica. 5 May 2011. Web. 10 May 2011. <http://imasters.com.br/noticia/20700/mercado/ibope-brasil- possui-43-milhoes-de-internautas>.35. "Estatísticas Sobre Internet no Brasil | Última Atualização: 04/05/2011." To Be Guarany! Criação E Desenvolvimento De Sites Em Niterói. 4 May 2011. Web. 10 May 2011. <http://www.tobeguarany.com/ internet_no_brasil.php>.36. "Reforma Trabalhista é a última das Prioridades, Adianta Pazzianotto." DCI. 25 Apr. 2011. Web. 8 May 2011. <http://www.dci.com.br/noticia.asp?id_editoria=7&id_noticia=371051&editoria=>. THE END 62

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