Emerging patterns of artistic organizations in Portugal: A three case studies analysis in a temporal perspective. Vera Borges* and Luísa Veloso** In the wake of the 2008 global financial and economic crisis, new forms of work organization emerged in Europe, just as the most recent on-going crisis due to COVID-19 is reshaping and testing new strategies of action in work in general and with durable effects in artistic worlds. Following this trend, Portugal has undergone a reconfiguration of its artistic organizations. In the performing arts, some organizations seem to have crystalized and others are reinventing their artistic mission. They follow a plurality of organizational patterns and resilient profiles framed by cyclical, structural and occupational changes. Artistic organizations have had to adopt new models of work and seek new opportunities to try out alternatives in order to deal with the increasingly stronger constraints of the labour market. The paper is largely based on the previously research work that will be published in the Special Issue of Sociologia del Lavoro (2020). To develop our argument, we adopted a case-study approach by analyzing three artistic organizations. The first case is Teatro Aberto, Open Theatre, which emerged in 1970-1980, and is in the centre of Lisbon. This is a state-funded company with stable teams. The second case is Lavrar o Mar, Cultivating the Sea, a project which started after 2008 crisis, organized since its inception by two renowned artists, that has started receiving official support since 2016. It is now based in the Algarve, a region in the south of Portugal. Finally, Latoaria, Tinsmith, a more recent organization (2013). It is not an art venue but a meeting space of creation, in Graça, an old neighbourhood recently the object of gentrification, in Lisbon. The three case studies trajectories are discussed on the basis of the social actors’ narratives and the data are triangulated with documental (programme shows, artists’ manifestos and news from the press) and social media channels analysis such as Facebook and websites. Our proposal is now, almost one year later, to return to the field work and conduct a second series of interviews with the responsible of the three very different organizations. We wish to analyse some of the restructuring processes taking place in Portuguese artistic organizations, focusing on their new contexts, individual trajectories, collective missions and persistent ways of action (such as Acção cooperativista, Cooperative action, and #Unidos pelo presente e futuro da Cultura em Portugal, United by the present and future of Culture in Portugal) for adapting to contemporary challenges of work in the arts. With this temporal approach we compare the strategies, interests and expectations of these artistic organizations and discuss to what extent either more institutionalised or more non-mainstream organizations have to face and deal with strong vulnerability and uncertainty in times of crisis. ** CIES-ISCTE-Instituto Universitário de Lisboa. vera.borges@iscte-iul.pt. *** ISCTE- Instituto Universitário de Lisboa, CIES- Instituto Universitário de Lisboa. luisa.veloso@iscte-iul.pt.

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• Sociologia - Ciências Sociais