A gente não quer só dinheiro, a gente quer dinheiro, diversão e arte

In recent years, creative economy has emerged as an alternative for the economic repositioning of countries in the context of deindustrialization. This concept emphasizes the integration of cultural and symbolic elements in the production of goods and services, focusing on job creation, innovation, and growth. However, creative economy also reveals a complex and heterogeneous arena, where various interests seek to define which cultural practices are part of this model, often excluding those that do not align with the logic of the market. Specifically, in the context of the city of Florianópolis, a discourse around the creative economy has gained strength, with a cultural perspective strongly oriented toward a market idea, valued for its potential to generate economic results and add value to the city's development and growth. This discourse tends to exclude and marginalize creative sectors, including the cultural sector, that do not align with this logic. In this context, the hip-hop movement in Florianópolis stands as an example of cultural expression that challenges the norms established by the dominant creative economy. Given these considerations and inspired by the substantive perspective of economy proposed by Polanyi (1976), this article aims to analyze the artistic and organizational practices of the hip-hop movement in Florianópolis and reflect on how these practices can contribute to the construction of an alternative creative economy in the city. For this, a qualitative study was conducted through a case study of the hip-hop movement in Florianópolis, with data collected through participant observation, 24 semi-structured interviews, and document analysis. Based on the analysis of the artistic and organizational practices of the hip-hop movement in Florianópolis, it was possible to identify elements that point to another form of economy, which can be seen as an alternative perspective of creative economy, distinct from the dominant perspective currently promoted in the city. Hip-hop practices, on the other hand, offer a distinct view, especially by approaching the substantive notion of economy, highlighting aspects such as solidarity, collectivity, mutual support, trust, and the possibility of self-sustainability

Creative industries · Participant observation · Social and Economic Solidarity