No, they are not sucking on the government’s teat: a definitive guide to the Rouanet Law

This article is written by a student writer from the Her Campus at Casper Libero chapter and does not reflect the views of Her Campus.

In the midst of heated political debates and waves of misinformation on social media, the Rouanet Law has become one of the most misunderstood topics in Brazilian public discourse.

Created in 1991, the law allows companies and citizens to invest part of their income tax in cultural projects approved by the Ministry of Culture, functioning as a tax incentive mechanism, not as a direct transfer of public funds. More than three decades later, the Rouanet Law still raises questions, but it also represents one of the pillars sustaining the nation’s artistic production.

The main goal of the Rouanet Law is to create conditions for culture to take place throughout the country, stimulating private investment in cultural activities. Through it, companies and individuals can allocate a portion of their income tax to finance cultural projects, which undergo technical analysis and approval in the Cultural Incentive Laws Support System (SALIC).

IS ROUANET FEEDING ARTISTS PUBLIC MONEY?

According to cultural manager Janderson Rocha, the law “is not public money for artists, but rather a way to transform taxes into cultural investment.” Since its creation, the mechanism has professionalized the sector and boosted events, exhibitions, performances, and productions that might never have existed without this type of support.

Over the years, the Rouanet Law has undergone several modifications, aiming for greater transparency and decentralization. Recent changes, such as Normative Instruction nº 23/2025, have expanded regional reach and facilitated access for independent artists. “In the past, it was very bureaucratic and concentrated in the Rio-SP axis; now the Ministry of Culture has been working to level the playing field,” explains Rocha. 

In addition, new programs such as Rouanet in the Favelas, Rouanet for Small Towns, and Rouanet for the Youth direct resources to peripheral and community initiatives, disproving the idea that only major artists benefit.

These measures reinforce the law’s role as a tool for cultural democratization, expanding the diversity of voices and artistic expressions supported.

Today, the law continues to be the country’s main indirect funding mechanism, connecting companies, society, and cultural producers. It generates jobs, fosters local artistic circuits, and strengthens the creative economy.

However, challenges persist. Bureaucracy and fundraising remain barriers for many artists, especially outside the South-Southeast axis. Rocha highlights that “many talented people have great ideas but get stuck in the bureaucratic part — project writing, spreadsheets, and documentation.” That is why training and capacity-building initiatives promoted by the Ministry of Culture are fundamental to ensuring that the law fulfills its purpose nationwide.

The persistence of the myth that the Rouanet Law is a “privilege for artists” ignores its social impact. According to Rocha, after almost a decade of cuts and adjustments, the law proves the opposite: it expands access to culture and consolidates the understanding that art and cultural expression are fundamental rights.

“The Rouanet Law doesn’t give money to artists, it opens the possibility of transforming taxes into culture. And culture is a right, not a favor”, Rocha highlights. In a country where cultural policies still face resistance and cuts, understanding how the Rouanet Law works is essential to dispel misconceptions and recognize its role in sustaining Brazil’s cultural ecosystem.

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The article above was edited by Clarissa Palácio.

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