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Na década de 1980, sobretudo, a literatura que procurou revisar a produção artístico-cultural do CPC caracterizou-a, em linhas gerais, como dogmática e simplista. Com isso, as vozes dissonantes que compunham as esquerdas no período de 1961 a 1964 e que discutiram exaustivamente o engajamento artístico, a cultura popular e a função social da arte foram associadas às formulações genéricas do "manifesto do CPC" (redigido por Carlos Estevam Martins) ou reduzidas à relação intrínseca entre nacionalismo e populismo (enfatizada por Francisco Corrêa Weffort e Octávio Ianni, entre outros). Não obstante, o debate travado no período anterior ao golpe militar evidencia uma diversidade e uma variedade de posturas e posições acerca da arte engajada que só tem a acrescentar à história já contada. In 1980's, the literature that tried to revise the artistic-cultural production of the CPC characterized it, in general lines, as dogmatic and simplistic. With this, the dissonant voices that composed the lefts in the period 1961-1964 and that had argued the artistic enrollment exhaustingly, the popular culture and social function of art were associated to the generic formularizations of the "manifesto do CPC" (written by Carlos Estevam Martins) or reduced to intrinsic relation between nationalism and populism (emphasized by Francisco Corrêa Weffort and Octávio Ianni, among others). However, the debate in the previous period to the military blow evidences a diversity and a variety of positions concerning engaged art which contributes to wat we already know

A questão da cultura popular: as políticas culturais do centro popular de cultura (CPC) da União Nacional dos Estudantes (UNE)