this article discusses how the flux of cultural productions between center and periphery works, taking as an example the field of music production in france and brazil in the 1920s. the life trajectories of jean cocteau, french poet and painter, and heitor villa-lobos, a brazilian composer, are taken as reference for the discussion. it is concluded that the social actors in the periphery tend themselves to accept the opinions and judgements of the social actors in the center, taking for granted their definitions on the criteria that validate their productions.
