Beéle and dynamic capabilities in the contemporary music industry
DOI:
https://doi.org/10.71112/vqv0ww84Keywords:
Dynamic capabilities, ontology, music industry, artistic identity, resilienceAbstract
The study analyzes the trajectory of Beéle and his album Borondo (2025) from an ontological approach to Dynamic Capabilities (absorption, adaptation, innovation, learning, and resilience), going beyond their functional, procedural, competence-based, or eclectic interpretations. Grounded in Van Manen’s hermeneutic-phenomenological perspective and in the works of authors such as Maturana, Varela, Nonaka, Takeuchi, and Teece, it argues that in the music sector, Dynamic Capabilities constitute ways of being that shape artistic, cultural, and strategic identity. Beéle integrates global influences with local roots, adapts his work to digitalization and global markets, innovates in genres and narratives, learns continuously, and maintains resilience in uncertain contexts. The study proposes hypotheses for empirical testing and a theoretical model that reaffirms this epistemological stance, suggesting that artistic analysis should consider both tangible evidence and intangible dimensions of identity and culture.
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