The bulletins are distributed digitally and free of charge and contribute to the information and training of cultural agents, artists, researchers, and cultural managers throughout Brazil. It is estimated that 500 readers and readers per edition are participating.

The research resulted in a report, which was later transformed into articles and made available on the website of the Cultural Diversity Observatory.

We believe that the educational process is an effective methodology to trigger future actions and sociocultural transformations, aiming at broadening social participation and improving democracy at local level. To ensure the quality of this process, an effort was made in the development of the contents and methodologies of workshops (Open Program and capacity building in Cultural Mapping Methodologies), considering the sociocultural realities of each city and the agents involved in the means of production, preservation, sustainability and dissemination of local cultures. The workshops combined reflective tools/contents and technologies/skills for local action and networking, aiming at involving civil society and public management to act jointly. Issues varying from normative tools (related to legislation, and policy formulation/implementation/accountability) to mobilization strategies or tools for construction of public policies, and participation in the political life were discussed in the period. Finally, the cultural mapping activities provided quantitative, and qualitative data and information about the cultural realities of the municipalities, besides stimulating the mobilization and visibility of various socio-cultural actors, revealing a rich and potent cultural diversity in the territories. Beyond these results related to the creation of new information, the mapping process itself also had different impacts in terms of the articulation of networks in the territories. As more direct results we have the mapping results, reaching more than 200 agents in each city, and some "institutionalized" (or "named") networks created during the workshops and the mapping processes, such as Rizoma Cultural in Toledo (more focused on advocacy and interlocution with the local government) and Pedra d'Água in Embu das Artes (more focused on the conditions of production, it includes a collective art space), as well as the application of 2 cultural agents (local multipliers and participant of the workshop) as eligible to integrate the local cultural council in Macapá. It is also worth mentioning that the project enhanced the start of the work of the municipal Council of Culture in Serra Talhada (the counselors had been elected months before, but the structure was still inoperative, which was issue for many debates involving public actors and cultural civil society during the training activities). In Embu das Artes, the creation of a public policy reflecting demands discussed during the workshops was a highlight point, due to the public notice for cultural projects to published concerning a public cultural center. - 178 civil society or government cultural agents from Embu (SP), Toledo (PR), Macapá (AP), and Serra Talhada (PE), both male and female, from all age groups (from 17 years old), acting in different stages and domains of local cultural chains. - Local cultural managers and producers, local public managers, population of the city and neighboring cities. Research and Mapping of the local demands of cultural chains were developed in 4 cities of 4 Brazilian macro regions. Income and work were generated for five multipliers in each city, who were involved in mapping activity as local articulators. Embu of the Arts: 1) 157 cultural agents and 34 groups/mapped institutions. 2) Number of actors and groups interviewed by each multiplier: Arley Cunha: 36; Bruno Santos: 22; Denilsa de Moura: 42; Ivan Neves: 41; Lourenço Garcia: 50. 3) 129 - Arts expressions (including Crafts); 4 - media and communication; 9 education; 5 - ethnic and popular expressions; 10 - wealth or environmental issues. Toledo: 1) 154 cultural agents and 83 groups/mapped institutions. 2) Number of actors and groups interviewed by each multiplier: Cristiane Roberta Xavier Candido: 51, Isabela Olsen Pierazo: 52, Fernanda Fetter: 39, Mariana Gouveia Cruz: 51, and Otavio Augusto da Silva Souza: 44. 3) 126 - Arts expressions; 28 - popular culture; 12 - media and communication; 9 - cultural movements; 22- education; 33- cultural management; 8- wealth or environmental issues Macapá: 1) 187 cultural agents and 40 groups/mapped institutions; 2) Number of actors and groups interviewed by each multiplier: Débora Natalina Bastos Bararuá: 44, Edimilson Vilhena dos Santos: 36, Karen Suellen Lobato de Sousa: 43, Natália Sandrine Lobo Brazão: 44 and Wenner George Ribeiro: 60 3) 120 - Arts expressions; 89 - popular culture; 6 - media and communication; 17 - education; 8 - cultural management; 9 - wealth or environmental issues. Carved Mountains: 1) 192 cultural agents and 51 groups/mapped institutions. 2) Number of actors and groups interviewed by each multiplier: Alberto Cardoso de Lima Gomes: 44, Jorge Costa de Queiroz: 53, José Alberto da Silva Júnior: 47, Nathan Jonatha da Silva: 38, and Sebastiana Vitória da Silva Araújo: 61. 3) 132 - Arts expressions; 61 - popular culture; 15 - media and communication; 6 - cultural movements; 7 - education; 12 - cultural management; 10 - wealth or environmental issues. Mapping and analytic report, including recommendations, were presented for the four “Praças CEU” unities and for the cultural municipal departments of the four cities. Also, a public meeting with public managers, multipliers, mapped agents, and cultural community was accomplished. Diffusion of the finished website for project stakeholders, including an eBook bringing the project‘s results and a short documentary film about the experience.