Singer, composer, cultural producer, and retired public servant after 37 years of service with the Jundiaí City Hall, Clarina Fasanaro took office on January 1 as head of the Cultural Management Unit, which, under the new administration, will once again be called the Department of Culture.
On Friday, January 10, Clarina welcomed journalist Flavio Gut to her office at Espaço Expressa for an interview where she outlined the priorities of her administration. Clarina highlighted the creation of a division dedicated to decentralized cultural initiatives aimed at bringing culture closer to the city’s neighborhoods.
This initiative seeks to strengthen the local cultural scene while addressing the unique needs of each area. It includes plans to map spontaneous artistic expressions and integrate youth and communities into cultural activities.
The approach will begin with a pilot project establishing strategic hubs at pre-existing locations, such as community centers and schools, leveraging partnerships to optimize resources and expand the reach of cultural programs.
Additionally, Clarina emphasized the importance of securing funding from private initiatives and cultural incentive laws, such as the Aldir Blanc Law, to sustain the Artistic Bodies of Theater, Dance, and Music, including the Jundiaí Municipal Symphony Orchestra (OSMJ), which operates under the Department of Culture.
Stay tuned for the interview.

Now, as the head of the Department of Culture, how do you assess what has been achieved, especially during Luiz Fernando Machado’s eight-year administration and in the years prior?
“Well, starting from 2012 specifically. I’ll provide an overview because there was truly a shift in how things were conducted. Why? Because a democratic approach to creating spaces for artists began to take shape.
Society itself gradually claimed its rights as outlined in our 1988 Constitution, which established principles of equal opportunities, among other things. Public policies began to reflect these concerns.
This change gained momentum from 2013 onward, including the development of mechanisms to support these principles. For instance, the artists’ registry. I began working on the registry – and I say this as someone who was a public servant. I served as a public servant for 37 years and worked at the Department of Culture from 2014 to the end of 2019.
I was actively involved in the drafting and creation process of the artists’ registry. Although the registry was developed during Pedro Bigardi’s administration (mayor of Jundiaí from 2013 to 2016), it was launched by Vasti (Vastí Ferrari Marques, head of Culture from January to October 2017).”
(The Artists’ Registry is a tool developed by the Culture Management Unit (UGC) in partnership with Jundiaí’s IT Company (CIJUN), allowing regional artists to showcase their work and projects for consultation by both the general public and the City Hall. It serves as the platform through which artistic proposals are contracted via public calls for the Cultural Agenda organized by the UGC.)
This includes events like “Sexta no Centro,” “Sexta no Museu,” and “Cultura nos Bairros”; festivals such as the Grape Festival and ExpoVinhos; as well as attractions held in venues like the Fábrica das Infâncias Japy and the Professor Nelson Foot Municipal Library.
It was at the beginning of her term in Culture in 2017, right?
“Yes, when Vasti took over the Department of Culture, the registry was ready and was officially launched. Alongside this, there was a clear focus on opening calls for proposals to ensure everyone had a democratic opportunity to participate.
In 2012, municipal artistic bodies were created, and they have remained active in the city.
These include the Jundiaí Municipal Theater Company, Jundiaí Youth Dance Company, Children’s Choir of the City of Children, Jundiaí Municipal Choir, and the Jundiaí Municipal Symphony Orchestra.
The move to Espaço Expressa (formerly the Cia Paulista Railway Workshops) added another cultural venue. It’s a beautiful space but requires improvements and relies on resources that the city will likely never have. Since this is a listed heritage site, revitalization costs are extremely high.
Now, the Arts Center was delivered with a performance hall, Glória Rocha, and the Josete Feres Hall, which is a multifunctional space. While it can host smaller performances, the lobby of the Arts Center has also been equipped for concerts and other activities.
Culture has undoubtedly been on an upward trajectory in recent years.
The challenge is that while we come in with new ideas and projects, we must carry out a very precise analysis and planning due to revenue shortfalls. Our budget is 30% lower than in previous years.”

How is it possible to work with a 30% budget cut? Can the artistic ensembles, for example, continue to develop under these conditions?
“We are going to meet with the artistic ensembles.
Specifically regarding the municipal orchestra, there is an approved Rouanet Law project for sponsorship.
The next step is to secure those resources from businesses.
However, there’s a barrier in this process because the City Hall cannot submit projects under the Rouanet Law. But the foundation can. We have the Casa da Cultura e Esportes Foundation, and it was through this foundation that the project was registered. Still, managing the accountability for a Rouanet Law project is highly specialized work that requires professional expertise.
According to the information I’ve received, the accountability process is included in the project. But I need to review it thoroughly. We’ll need to approach companies, present the project, and work on obtaining these funds.
You asked if it’s possible to maintain the artistic ensembles with a 30% budget cut. I don’t have that answer yet because it will come from the directors of the ensembles. My plan to sustain these policies involves strengthening the foundation (Casa da Cultura e Esportes) and seeking external funding sources.”
And will this external funding be used to maintain, for instance, Espaço Expressa and the artistic ensembles?
“Not necessarily. The foundation itself has specific roles, covering some public cultural facilities but not others.
This requires a clear understanding of the legislation and possibly a revision of it—also for sports, which is included in this foundation but currently does not utilize it.
The immediate issue is to structure this process. Structuring it depends on culture, but we want a partnership with Economic Development (Unit for Economic Development, Science, and Technology) and the involvement of the government’s top officials to understand this necessity and secure external funding. Otherwise, we’ll face significant challenges.
Let’s think about it: 30% less funding. Here at Espaço Expressa, we have a security contract because nighttime security is essential to prevent break-ins. We also manage the parking lot.
These costs have a direct impact. Will we find a company willing to renew a contract with a 30% reduction? Can we negotiate such a reduction? This situation requires meticulous planning to determine what we can do with the available resources while minimizing significant losses in cultural projects.”
Does the maintenance of this space, Espaço Expressa, and other cultural facilities fall under the culture department’s budget?
“Yes.”
And I imagine the maintenance costs for this area are quite high, correct?
“No. The budgeted amount for maintenance is low.”
But this maintenance budget, which could be invested in other cultural initiatives, ends up diverting resources that could pay artists, for instance, to produce theater performances?
“Exactly. It does drain resources because…
Let me give another example: education has a substantial budget, but it covers school maintenance.
The issue with culture is similar. When the Department of Culture operated out of the Banco Santander building (the Casa da Cultura was located on the second floor of the Santander building in the city center), we managed that single space.
Later, there were other rentals, such as the Casa dos Conselhos, along with Polytheama, the Arts Center, and the Pinacoteca. Today, Culture oversees the Pracinha da Cultura in Vista Alegre, which also requires maintenance.
In the previous administration, the Nelson Foot Library was incorporated into the Department of Culture, along with the Fábrica das Infâncias, another facility managed by Culture.
However, the culture budget is allocated as a fixed percentage. This percentage hasn’t increased despite the acquisition of more public facilities.
This has a direct impact.”
So, the fact that culture now has more venues for performances—more places where cultural activities can take place—has reduced the capacity to hire artists to perform in those spaces. Is that correct?
“Yes. And there’s also the issue of the workforce. It’s the same old story:
When an administration decides to build a school, the construction cost is the least of the problems. The real issue is staffing it with teachers and support staff, which becomes an ongoing expense. Construction is a one-time cost, but the maintenance and operation become perpetual expenses. So, growth demands structure.”

Will this require changes to the municipal budget?
“This year, we are executing the budget that was drafted last year by the previous administration and approved by the City Council.
So, when we think about a reduction…
For example, if you consider a 30% cut in healthcare, it would have a devastating impact on people’s lives. When you recognize that more resources are needed, those resources will have to come from somewhere. There’s no magic solution.
The answer lies in finding new ways to operate and securing additional resources from the private sector as well.
Today, we have something very well-structured: federal laws that allocate funds to the Municipal Culture Fund for cultural promotion. This is an external funding source that helps a lot.”
Are you referring to the Paulo Gustavo Law?
“The Aldir Blanc Law. The Paulo Gustavo Law was also in effect for a period. The Paulo Gustavo Law was more specific because it focused on audiovisual projects.
There was a significant amount of funding linked to the Audiovisual Sector Fund. In fact, here at Espaço Expressa, the cinema room was built using funds from the Paulo Gustavo Law.
The Aldir Blanc Law, on the other hand, is a continuous policy of support. Until 2027, we are expected to receive these contributions. The Department of Culture manages this funding. Managing these resources has an administrative impact on the department because it involves issuing calls for proposals, hiring jury panels, and overseeing the process until the selection of the artistic project, at which point the artist receives the funding and executes their project with complete independence.”
So, is the main strategy to sustain a thriving cultural scene in the city based on funding from these laws and private sector contributions?
“…and also by economizing, streamlining, and squeezing water from a stone to make it happen, right?
We have a structural department within the Department of Culture—a department of management, planning, and finance. Planning is essential because we have year-round activities.
We need to plan and find ways to operate with reduced costs. It’s possible to deliver excellent work even with less money.
We will focus our efforts on this approach.”

And what is your plan? What is your vision for today’s culture and the next four years? How will it change from what has been done before?
“Well, there are several projects…
Let me take ‘Cultura nos Bairros’ as an example. The ‘Cultura nos Bairros’ project was part of the previous administration and didn’t work. So, there are things that were done, and we can now understand that they might not have achieved their objectives in a satisfactory manner. I say this because I had a very close involvement with everything that happened; I retired at the end of 2019 and joined the Municipal Culture Council.
We have Enredança, which is already an established project. We have the Theater Festival, the Short Film Festival, the Choirs Meeting, the Music Festival, the Heritage Week, and several other initiatives.
Literary festival too?
Yes, the FLIJ (Jundiaí Literary Festival). So, we have projects that we want to keep. They are well-established projects that artists are expecting.
But all of this depends on financial resources for implementation. Now, what is the proposal beyond that?
It’s a project to create a division for decentralized actions. This starts from scratch, because this policy never existed—or rather, hasn’t existed in recent years. But it’s a policy where we will aim to listen to young people, energize the youth scene, and engage with schools in collaboration with the Education Department.
We will map out territories to identify spaces that can host artistic activities, and map out spontaneous artistic expressions in these areas. Because sometimes, in a particular neighborhood, there is a corner bar where people gather to play ‘chorinho’ on the weekends. These people come together, and the community enjoys it. Or, perhaps there’s a samba school in the neighborhood, and it already has community involvement.
We have well-established projects, like Grupo Sol (Sol Citizenship Group), which already have community integration. So, the goal is to find these spaces and map out spontaneous cultural activities in these areas so we can facilitate these cultural manifestations.
On the other hand, the Artists’ Registry is geo-referenced. So, if we go to Novo Horizonte for a decentralized action, I can identify which artists are in that neighborhood to invite them to participate as well.
For example, in the sports centers, there are gymnastics groups that choreograph routines for the annual gymnastics festival. So we go there and invite them to perform at our event.
This integrated approach will require an effort in mapping by a department that I need to create and launch as a pilot. But it will be a long-term project, given the lack of resources. It’s a pilot project, something new.”
So, will there be a cultural hub in each strategic point of the city? A hub for cultural action?
“Yes. For example, we have the Regulatory Framework for Civil Society Organizations – MROSC, which is an instrument for establishing public-private partnerships.
Let’s say you have a community center with all the infrastructure to run workshops. We can form a partnership where the culture department provides the instructor, and the community center covers the costs of things like the bathroom, toilet paper, the staff member who needs to open the facility, etc.
In this way, we avoid the need to create more spaces to manage everything and instead provide the community with what’s already available.”
So, the Culture Department will manage the cultural programming and presentations, while the infrastructure will be the responsibility of the community center?
Exactly. This way, we will specifically manage the culture within that space.
What we know is this: there are people who won’t travel to the city center. Many people struggle to afford bus fare. That’s a reality.
On the other hand, parents—back in the day, we used to go out on our own and play in the street. Today, parents are afraid to let their children go out. So, there’s that issue. If you’re catering to a crowd of kids, say, 10-12 years old, they won’t come on their own. So, being in the neighborhood is a good idea because it logistically facilitates participation.”
How will this be implemented? Will it start with a pilot project in one place?
“Exactly.”
Do you already have the location for the first one?
“Well, like I said, we’re starting from scratch.”
But is this the main point, the key shift in vision?
“Yes, it’s the key point. It’s central.”

Is this administration saying that Jundiaí is a good city to live in, and it also needs to be a good city to live in? Is this decentralization of culture part of this idea?
Yes. It comes along this line. The reason I am here is precisely along this line, because Gustavo (Gustavo Martinelli, the mayor) knew me not as an artist, but as a professional in physical education, someone who worked in the sports center. I taught various sports, but I also organized parties, brought my music, and got the kids to dance.
One time, I had a Michael Jackson cover at one of the parties. It was sensational! I’ve always had this dream of using the public spaces available in neighborhoods to create a place for these kinds of activities.
Does this also apply to public squares? We’ve already seen a little of that happening in the city. Or are the events meant for places like sports centers and community centers?
Well, when you go to a square and set up a stage, things start to get expensive.
Because the artist makes the least money in the production chain. I’m not talking about a global artist, like Ivete Sangalo. I’m talking about a different reality, the one we live in.
If you look at the cost of the structure compared to the cost of the artist, you’ll see that the structure is the higher cost. The structure really drains resources.
Because when we talk about public events, when you set up a stage, it needs to be safe, it has to be flame-retardant. Then, suddenly, you have to make it accessible. You start adding things that will cost more, understand? Anyway, it’s wonderful to go to a square filled with trees and set up a stage to perform.
It’s wonderful, but I’ll take the “Sexta no Centro” (Friday in the Center) as an example. When it started, it was in front of the Solar do Barão with a stage set up there. Do you remember? I recall that it moved to the bandstand to avoid paying for a stage. The bandstand isn’t a very good stage because you can’t modify it due to historical reasons. There’s a fence in front.
So, we end up behind the fence…
But the bandstand is an option. Everything is valid when you want to do something, and you use what you have to deliver what is possible.
Will the Sexta no Centro continue to be held?
Yes. The issue is planning because the Sexta no Centro format is also interesting to bring to other neighborhoods.
As I mentioned, we still don’t have an exact understanding of the cost of these actions. Here (at Espaço Expressa) is also an excellent place for this type of event, mainly because of the parking. Nowadays, having parking available makes a huge difference in terms of participation.
And when you offer activities for children, they’re in a safer environment, which is also an important idea in this movement.
Additionally, if we can concentrate events in the same space—like combining the Sexta no Centro with a music festival at Expressa—we can use the visibility of one project to promote the other, with a food area serving both events. Having food and accessibility is essential because when people attend an event, they want to drink water or eat something.
And this also ties into the idea of Jundiaí Feito à Mão (Handmade Jundiaí), which we can bring into this proposal. The more we can attract people, whether with food or handicrafts, the more public we will draw to the event.
We are talking about space integration. Here at Expressa, they removed the wall, opening access to Avenida dos Ferroviários. Should this kind of work continue?
Well, these actions come with investment restrictions. We can’t really talk about that because it depends on resources. It’s a fragmented process. For instance, there was a grant that fixed the roof.
So, suddenly, we can get funding to maintain specific wooden parts. Because when you have a listed heritage property, it’s not just a renovation; it’s a revitalization, and everything costs more. You can’t just replace things. For example, if this window doesn’t close anymore, we can’t just put in an aluminum window because it doesn’t rust; it has to follow strict guidelines.
Everything needs to be well-structured, and you can’t make changes. So, it’s done in stages. That’s the issue. I’ve been here for practically eight days. If you exclude the weekend, it’s been six days, and I still don’t have a clear view on the progress of these works or what they truly involve.
But I can say for sure there’s no forecast for a large-scale revitalization project underway.
So, there’s no plan to build new cultural spaces in other areas of the city? From what I understand, the idea is to bring culture to those areas, using the existing structures and creating this integration, right?
There’s no forecast. The Centro das Artes was renovated through a loan. There was no funding available for what was done there; a loan was necessary.
Because here’s the thing: we have the PPA (Pluriannual Plan), and if we hoped for an economic boom, even then, due to the small percentage that culture occupies within the budget, it would still be very difficult to think about building new spaces.
In your opinion, is it necessary to build new cultural spaces in the city, or are the existing ones sufficient to meet the demand?
In a city with more than 400,000 inhabitants, we only have two theaters. This means there’s a lot of competition for the use of these spaces, which generates many debates about how to use them.
There’s also another issue: now, there’s the Glória Rocha theater. With the opening of the Glória Rocha Room and the Josete (Feres) Room, we need to focus efforts on ensuring that everything held in these spaces is truly art. It’s important to establish rules that prevent the use of these places for activities not related to their intended purpose.
Because, for example, we wouldn’t host concerts in hospitals or consultations in schools. Each space has its relevance, and since we only have these two theaters, they must be used for the purpose they were designed for. The demand is high.
Isn’t this to avoid using the theaters for graduation parties, conferences, and other events?
Graduation ceremonies, for example, courses, workshops. In this context, conferences. But no, it’s not meant for those kinds of activities. This diverts the space from being used for artistic performances.
Is this considered a misappropriation of function?
Exactly.
How will this scheduling be done to ensure the theaters are used for their primary purpose?
Now that the Glória Rocha theater has been delivered, there has already been a discussion about this, which involves creating usage regulations. The artists, through the Cultural Policy Council, also helped draft this.
But has this already been put into effect?
No. The previous administration didn’t manage to finalize and publish this.
Should it be published soon?
Yes. I need to check where it stands to proceed with it.
Aside from Glória Rocha and Polytheama, are there any other cases of this type of misappropriation of function?
No. It’s really in high demand at those two venues.
For example, when you think about a music school, it’s an interesting debate. Initially, we might think: “How nice, a music school doing an end-of-year recital with 12-year-old kids performing on stage.” That moment stays in your memory forever. I’ll never forget the day I first went on the Glória Rocha stage when I was 18, still an amateur. It was a remarkable moment.
So when we look at it from this angle, we might think that everything could be done there, because a music school is also an art form. But if we start thinking about the number of music and dance schools, and allocate spaces just for that, by the time the year ends, in November and December, we’d only have that type of activity.
Is there a lack of stage space for professional artists?
Exactly.
A good solution is to use this space (Espaço Expressa), since there’s not as much demand here.
Why?
Well, here we have several rooms that are also used for artistic activities. It’s not that we’re misusing the space, but since we can’t charge for tickets and there’s no entrance control, it has been adapted to work as an interesting stage, opening up a new space.
But if a theater company wants to present a play here and charge for tickets, they can’t?
Exactly, so it ends up being a space that’s used less, but it has a certain flexibility. However, as usage increases, we’ll need to prioritize artistic performances once again.
What else needs to change?
I had a meeting with the directors and a conversation with the artists where I told them something important: our focus, although we have to manage cleaning contracts, maintenance issues, and other non-artistic matters, is really to deliver the art.
What I said was that everyone needs to have a broad understanding of what we represent. Often, people are focused on their individual tasks and are unaware of what others do. For instance, when we organize the Festa da Uva (Grape Festival), the finance team runs around frantically to handle contracts, while others are in touch with artists. It’s that bureaucratic work.
It’s great for everyone to have the opportunity to participate in the event and see the result of their work at that moment when you see people enjoying what you helped create. I think that creates a sense of belonging and makes people feel happier about their work. I think that’s really cool—a greater integration and a more humanized vision.

I’ve felt a certain, I’m not sure if “relaxation” is the right word. It seems like the atmosphere in the city, and also among public servants, is lighter. Here, for example, it feels calmer. Is this just my impression, or is this really happening?
I can’t speak for the city as a whole, but I’ll comment on what I perceive here, in the board of directors. We have four directors who are career civil servants and two who come from outside.
One example is Maurício Ferreira, who has dedicated years to an incredible job of preserving history. He himself told me that he has a larger archive than the actual collection of the Memory Center. Maybe even larger than what’s left of the archives from JJ (Jornal de Jundiaí) or JC (Jornal da Cidade), I’m not sure. He had already been doing this work voluntarily and passionately.
We also have Fernando Aranha Peixe, an architect, who is in charge of historical heritage. Willian Ramos, the Director of Culture, is a career civil servant who started in the culture sector and has extensive experience in the field. He knows his work deeply.
Paulo Galvão, Director of Planning, Management, and Finances, has worked both here and at the City Hall, accumulating vast experience, which is essential for managing finances.
Isabel Soares, another career civil servant, took on the direction of the Espaço Expressa. Carlos Pasqualin, who will be the director of the theaters, is a well-known actor and highly respected by the artistic community.
Here, in our environment, I do feel this relaxation, yes, and I believe it’s due to the policy of valuing public servants. Gustavo Martinelli has always emphasized the importance of this, and I share this vision. Public servants are the ones who really make the public machinery work. They have the necessary know-how. Valuing these professionals and placing them in strategic positions increases the efficiency of public service.
Unfortunately, there is a misguided view of public service, as if it’s made up of people who don’t work or don’t produce. That’s not true. There are isolated cases, of course, but there are also many highly committed public servants.
When you give these servants the opportunity to occupy leadership and management positions, it changes the environment. They start to feel that they can grow, that they have real chances of reaching these positions. This perception makes all the difference and contributes to a lighter and more motivating environment.
It’s your case as well, 37 years as a public servant, and now you’re back to active service?
Certainly. You know, I often say that I left the City Hall, but the City Hall never left me.
Do you know why? For me, it was a privilege to be a public servant. Everything I was and what this experience gave me… When I started working in sports and culture, the contact with people opened my mind in a surprising way because I was a closed person, kind of shy.
I was closed in my shell. This coexistence with people, this human warmth, brings something special, even without saying anything. For example, during the times we organized festivals, like the Festa da Primavera, it was wonderful. Families would come, with their children, parents, grandparents… Seeing all of that happen through my hands was an invaluable fulfillment.
That’s why I say it was a privilege to have had the opportunity to live what I lived in public service. When I left public service, I realized that everything I built and learned from this experience couldn’t just stay with me.
I feel I have an obligation to share it. That’s what motivated me to work in the Cultural Policy Council.
How does your long experience as an artist influence your work now that you’re at the helm of the Culture Department?
Well, the truth is that my experience as an artist is in a specific area, which is music.
When you think about managing culture, you’re dealing with a very broad range of languages. But I can say that my experience as a cultural producer brings me valuable baggage. As a producer, you understand better the stages of the production chain, which is closer to management.
Artists, in general, have limitations when it comes to organizing and managing their own careers, their image, or even participating in calls for proposals, because they’re very different things. Creativity doesn’t combine with bureaucracy, and finding both in the same person is rare.
I concentrate these two skills, but I’ll tell you: if I could have been only an artist, I would have been. It wasn’t possible because I needed a safety net, you know? This is something I advise artists who are listening to me: keep making your art, but look for a source of income connected to art that doesn’t rely solely on shows or performances.
For example, a musician could have a recording studio, creating a backup plan.
The truth is, living off art is not easy. I don’t want to demotivate anyone, but few manage to reach a level of stability. I’ll give you an example: Angela Ro Ro, a big name. During the pandemic, she publicly said she was broke, doing live streams and asking for financial help. That shows how it’s a constant struggle.
Tough situation…
So, a very basic example of this is the artist. He needs to be wise because one day he’ll get old, and when that happens, it’s important to have a plan. For example, in the music industry, there’s a generational clash. For me to insert myself in the market today and sing at parties, what I like to sing is not enough, you know?
Has the scenario changed?
Yeah, the guitar and the little stool are out of fashion. A little corner, a guitar, that’s over. So, if I want to insert myself in a certain market niche to make money, I’m going to have to sing sertanejo, right? That’s why I say I’m not going to tell you my age, right? But the truth is that we need to think about the future.
It’s not about abandoning art, but having the vision that, when you reach a certain age, it’s important to have a life structure.