The Sectorial Panorama of Brazilian Culture is a large, national, constantly developing study with the intention of providing a panel on the artistic culture in the country. From the observation of social actors that make up the productive chain of the cultural sector in Brazil, the Sectoral Panorama of Culture is structured in accordance with its objective. The study is characterized by three national researches, organized according to the public acting in the Brazilian cultural sector. In order to create the environment of this investigation, therefore, it is necessary to understand who the actors are, their roles and how they relate to each other.

Figure 1 intends to represent, in a simplified way, the relations established between the players of the Brazilian cultural sector. Although not all of these players are recognized and verified as legitimate in the country, some are not even recognized as existing, the perspective proposed in this study contemplates seven central players that compose the sector, organized into four action groups. In addition, the players are arranged according to the contact they establish with each other.

The action groups are those that indicate the role of players in the production chain and have been suggested from empirical observation of cultural activities and culture development laws, in particular Federal Law 8.313/91, the Rouanet Law.

Thus, agents are those responsible for the production and management of cultural and artistic goods and services. This group includes artists and producers/cultural managers. The enablers concentrate two players responsible for the viability of these cultural and artistic goods and services: the government, responsible for the policies and financing of the sector, and the private sector, with contributions of financing and partnership with the government. The diffusers include all players responsible for the distribution and dissemination of cultural and artistic goods and services. Press vehicles, theaters, libraries, cultural devices, points of sale, critics, etc. are in this group. The player named as public includes consumers/beneficiaries of cultural activities.

The first research, Panorama Setorial da Cultura Brasileira 2011-2012 (Sectorial Panorama of Brazilian Culture 2011-2012), investigated the agents and the enablers of the artistic culture in Brazil. The second research, Panorama Setorial da Cultura Brasileira 2012-2013 (Sectorial Panorama of Brazilian Culture 2013-2014), was devoted to consumers of culture, or rather, to the Brazilian population. In this edition, the Sectorial Panorama of the Brazilian Culture 2017-2018, the diffusers were observed, intending to understand their contributions to the sector and to the enjoyment of cultural and artistic goods and services. To close, we intend to have a fourth book of interpretation and analysis to relate all the data that will complete the sectorial overview.