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Dissertations |
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1
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RAFAELA CAROLINE NORONHA ALMEIDA
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Promotion for the area of Brazilian museum heritage: the tax incentive, the Rouanet Law and the museums of the Northeast region.
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Advisor : MARCELO NASCIMENTO BERNARDO DA CUNHA
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COMMITTEE MEMBERS :
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CARLOS ALBERTO SANTOS COSTA
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MARCELO NASCIMENTO BERNARDO DA CUNHA
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SABRINA DAMASCENO SILVA
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Data: Jan 21, 2019
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Show Abstract
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The projects presented by or for the museums of the Northeast region are the starting point of this dissertation, which aims to analyze the impact of the Fiscal Incentive via Rouanet Law in the safeguarding of Brazilian museum heritage, which is under the custody of these museums. In order to identify which are the valid projects for the research, we took the total of proposals presented in all cultural areas and expenditures attributed to the states: Alagoas, Bahia, Ceará, Maranhão, Paraíba, Pernambuco, Piauí, Rio Grande do Norte and Sergipe - comprehending the period from 1991 to 2016, which corresponds to 25 years of the Rouanet Law. Later, we selected the valid projects and identified the recurrent expenses in each item, which became the areas defined by the research itself: edification, exhibition, collection and others. The research also elucidates the participation of museums in the trajectory of the construction of public policies in Brazil; discusses the advance in the set of laws that shape the museological field; the creation of regulatory frameworks in order to build specific legislation for sustentation and autonomy of the sector; the difficulties in adapting the cultural marketing carried out by museums to the requirements of the Market; and the development of a sectorial policy (National Museum Policy).
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2
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MANUELA DE OLIVEIRA SANTOS RIBEIRO
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The Street Theater Wheel turned into the Cabocla Fountain and a Museum took place
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Advisor : RITA DE CASSIA MAIA DA SILVA
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COMMITTEE MEMBERS :
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CECILIA CONCEICAO MOREIRA SOARES
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ELIENE BENICIO AMANCIO COSTA
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RITA DE CASSIA MAIA DA SILVA
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Data: Mar 22, 2019
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Show Abstract
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Bringing to light the concept of museum-phenomenon and starting from the observation of three groups of street theater of Salvador that realize their spectacles around monuments and claim what they call street theater by memory, the present dissertation aims to understand what strategy these groups use to muse the Cabocla Fountain and to make a museum event there. Considering that a museum can happen on the street, we try to think of the museum not as an museum building, but as a place of presentiment of ideas and manifestation of memories, that is, the museum can happen anywhere just by human presence. The research methodology of qualitative bias allowed us to observe the participation of the presentations of the street theater groups by memory in the Cabocla Fountain, from 2015 to 2018, and to construct the corpus / research material through a field notebook, interviews and photographs. In addition, we used magazines, newspapers, websites and blogs where it was possible to consult the history of the Collective Marginal Art Salvador, the Popular Art Group A Pombagem and the Collective Women Warriors. In this way, the research facilitated the understanding on how the mentioned groups musealize the Cabocla Fountain and allow the museum event around this monument.
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3
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CARINE NOVAES MORAES
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MUSEOLOGICAL INVENTORY OF THE BAHIA HIGH SERTÃO MUSEUM IN THE QUILOMBOLA COMMUNITY PAU FERRO DO JOAZEIRO, CAETITÉ, BAHIA
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Advisor : CARLOS ALBERTO SANTOS COSTA
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COMMITTEE MEMBERS :
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CAMILA AZEVEDO DE MORAES WICHERS
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CARLOS ALBERTO SANTOS COSTA
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MARCELO NASCIMENTO BERNARDO DA CUNHA
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Data: Mar 29, 2019
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Show Abstract
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The social practices related to the museological processes guided by Sociomuseologia optics, made in the Museum of the High Sertão of Bahia (Masb), in its museological nuclei, especially the quilombola community Pau Ferro de Joazeiro, constitute the object of this dissertation. These actions involve the use of museological experiences in the processes of social transformation, with the preservation and enhancement of local cultural heritage. In order to observe this reality, it was necessary to question the scope of Sociomuseology as a vector of social actions or as a practice of an area of knowledge. From this, the analysis fell on the guidelines of social participation in the inventory of the cultural heritage, its conformation and institutionalization, in the scope of the implantation of a museum. The main focus was the Patrimonial Paths project in Alto Sertão da Bahia, which aimed to provide a participatory inventory in nine of the ten museums of the Masb, especially that of the quilombola community Pau Ferro do Joazeiro. The Masb, as a museum space, derives from the processes of environmental licensing of the archaeological area, which generated a large collection that demands adequate site for safeguarding; associated with this, the institution gained contours of territory museum, with wide social insertion. Throughout the implantation, there was an intense participation of the technical museological team in the elaboration of the guidelines of institutional action with the communities, followed by the removal of the same team as a result of the suspension of the financing. This distance resulted in the discontinuity of the experience based on the guidelines of Sociomuseologia. It is about this process that we seek to reflect.
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4
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ROBERTO FERNANDES DOS SANTOS JUNIOR
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FOR A “MUSEOLOGY OF RELEASE”: IMPACTS OF THOUGHT OF VARINE HUGUES ON THE BRAZILIAN MUSEUM
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Advisor : CLOVIS CARVALHO BRITTO
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COMMITTEE MEMBERS :
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CLOVIS CARVALHO BRITTO
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JUDITE SANTOS PRIMO
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MARCELO NASCIMENTO BERNARDO DA CUNHA
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SABRINA DAMASCENO SILVA
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Data: Apr 25, 2019
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Show Abstract
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The research analyzes by the theoretical-practical bias, the trajectory of the researcher and international development consultant Hugues de Varine. It aims to understand the impacts of his thought in the conception of unfolding for the theoretical current of New Museology, from the proposal of "Museology of Liberation" in Brazil. It uses as a subsidy the concepts of "trajectory", "field" and "theory of practice" by sociologist Pierre Bourdieu, to problematize the mechanisms and actions that consolidated it as a pioneer of neomuseological practices in the Brazilian context and international. From the production of a legacy, built on the basis of activities, especially the Round Table of Santiago de Chile in 1972, referring to the period of his stay on the board of the International Council of Museums (ICOM), and the production of agencies and agencies derived from the consulting services he has carried out in several countries, focusing on his relationship with the pedagogue Paulo Reglus Neves Freire, investigates the consolidation and dissemination of new museum standards in Brazil. From then on, using a collection of sources, such as: interviews, testimonies, photographs and bibliographic production, reveals points and specificities of his trajectory that impacted Brazilian museological form and thought. The work demonstrates how Varine's actions have resulted in the dissemination of events and the creation of new institutions that have as background the work as a consultant. In this regard, the I International Meeting on Ecomuseums (1992) and, as a cut, the creation of the Ecomuseum of Itaipu (PR), the Ecomuseum of the Amazon (PA), the Ecomuseum of Serra de Ouro (MG) and the Community Ecomuseum of Santa Cruz (RJ), as well as a brief analysis of the impacts of his thought on the public policies of museums, as mechanisms of production of a museum "griffe" recognized by some researchers as "Museology of Liberation", a concept coined by the museologist Odalice Miranda Priosti.
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5
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ANNA LUÍSA SANTOS DE OLIVEIRA
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Hands that sew a memory: as Saubara lacemakers and the protagonism of black women in heritage
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Advisor : CECILIA CONCEICAO MOREIRA SOARES
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COMMITTEE MEMBERS :
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CECILIA CONCEICAO MOREIRA SOARES
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JOSEANIA MIRANDA FREITAS
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MARIA DAS GRACAS DE SOUZA TEIXEIRA
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ZELINDA DOS SANTOS BARROS
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Data: May 24, 2019
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Show Abstract
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This research aims to analyze the House of Rendeiras from Bahia’s county of Saubara, as a space for safeguarding of patrimony and black female protagonism by knowledge of how to make laces of the bilro. The study is proposed from the use of the theoretical framework in museology, having as locus the reflections on the importance of the individual and collective memory of black women for the local cultural patrimony. For that, the concepts of social museology, memory, cultural heritage, gender, race and work were used. The narratives of the experiences of these lacemakers women constitute main sources of research for this dissertation. The understanding of the cultural patrimony, starting from the office of the lacemakers while holding the know how to make the lace of the bilros, make them an object of museology, making possible the discussion about the representation of cultural identity through immaterial memory, of the work that covers bobbin laces of the bilros in addition to his technique, their intersectionalities between gender and race in confluence with sociomuseology and the relations between crafts, economy and the world of work.
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6
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JISLAINE SANTANA DOS SANTOS
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The Sergipe Afro-Brazilian Museum: Between Scenery, Speech, Silences and Cultural Heritage.
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Advisor : MARCELO NASCIMENTO BERNARDO DA CUNHA
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COMMITTEE MEMBERS :
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FERNANDO JOSÉ FERREIRA AGUIAR
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JOSEANIA MIRANDA FREITAS
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MARCELO NASCIMENTO BERNARDO DA CUNHA
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Data: Aug 19, 2019
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Show Abstract
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This work analyzes the representation of Afro-Brazilian cultural heritage in the Museu Afro-brasileiro de Sergipe (MABS) exhibition, located in Laranjeiras city, since its creation / inauguration, with emphasis on the period 2012-2018, based on the analysis of the MABS musealization process. For this, from the methodological point of view, the investigations are developed through bibliographic reference, structured interview, besides the use of old and current photographs of the museum institution's expography. Cultural action photography developed by the institution with the dialogue between photo and event, as a means of situating the event and its problematic. Thus, and based on this understanding, we will present some of the memories that highlight the idealization of this institution, the possible ones involved in its development, the formation of collections, revealing when possible missing or forgotten aspects in the trajectory of this museum over the long years of its existence. and the development of their social activities in Laranjeiras.
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7
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JARRYER DE JESUS PINHEIRO
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Ruins of Remanso Velho from a perspective of museology: relations between community and archaeological site.
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Advisor : CARLOS ALBERTO SANTOS COSTA
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COMMITTEE MEMBERS :
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CARLOS ALBERTO ETCHEVARNE
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CARLOS ALBERTO SANTOS COSTA
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MARINA REGIS CAVICCHIOLI
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Data: Oct 11, 2019
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Show Abstract
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After the conclusion of the Archeology and Heritage Preservation course entitled “The use and transformation of urban space: an archaeological study of the city of Remanso Velho, Bahia”, a significant set of ruins of the first seat of the municipality of Back up. , called Old Backwater. Considering the need to understand the perspective of the community linked to this archaeological site, this dissertation sought to know and highlight the existing sociocultural relations between the community of the current city of Remanso and the archaeological site Remanso Velho. Thus, we present the main ruins, pointing out their functions while they were urban architectural structures, as well as highlighting the historical processes from the emergence until its disuse as municipal headquarters. Then, we conduct a theoretical discussion regarding the studied scenario, pointing reflections related to the archaeological heritage and the museological exercise. In addition to highlighting the socio-cultural links between the community and its archaeological site, the study conducted for this master's research also made it possible to characterize the historical processes and the agents that led to the construction of these relationships, the identification of the symbolic value that is given by the community to the community. Remanso Velho archaeological site and the identification of the role played by the archaeological site in the memory of its community. The problematic proposed as the outline axis of this dissertation is the scenario in which the ruins of Remanso Velho are not recognized as archaeological heritage by the official institutions, nor is it understood the representativeness that this archaeological asset has for its community. We deduce, then, that such a condition would put these structures out of public policies that would enable their knowledge and safeguard, as well as make it difficult to implement social management processes of this legacy, placing it outside the axis of archaeological research. Against this background, it has been hypothesized that being outside official public policies would not necessarily make it impossible for your community to enjoy its cultural good in the forms and ways they choose. According to the results obtained, we confirm the hypothesis presented and understand that the community linked to the archaeological site Remanso Velho uses its cultural good in the way that understands its desires.
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8
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CAMILA PAES LOPES
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REFLECTIONS ON THE MUSEALIZATION OF THE ART OF PERFORMANCE
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Advisor : MARIELA BRAZON HERNANDEZ
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COMMITTEE MEMBERS :
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CLOVIS CARVALHO BRITTO
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LUDMILA DA SILVA RIBEIRO DE BRITTO
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MARIELA BRAZON HERNANDEZ
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Data: Nov 7, 2019
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Show Abstract
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This research analyzes the relationship between museology and contemporary art, focusing on performance art. The research is based on musealization triad (acquisition, research and communication) to structure the main features of performance art, inserted into contemporary art museums. In each step of the musealization process, the singularities of performance art are explored in order to comprehend the differences and the similarities between museology and performance art scenarios. This Masters dissertation intends to reduce the distance and noise that arise during the institutionalization of performance art as it analyzes the procedure from the artist point of view, searching for ways to approach artistic and museum fields and the specific performance art museum methodologies, and thus thinking about issues to build memory of performance art collaborating for the fields of art and museology.
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9
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LUCIANA MONIZ DE ARAGÃO SIMÕES
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“WE ARE THE REVOLUTION ”: OUTLINE OF A MUSEAL SCULPTURE FROM THE ALCHEMY OF JOSEPH BEUYS.
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Advisor : MARIELA BRAZON HERNANDEZ
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COMMITTEE MEMBERS :
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MARIELA BRAZON HERNANDEZ
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LUDMILA DA SILVA RIBEIRO DE BRITTO
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CLOVIS CARVALHO BRITTO
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Data: Nov 8, 2019
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Show Abstract
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This work is a reflection on the object of study of Museology, which here is understood as the integral Heritage, linked to the values of the human spirit, as described by the museologist Tomislav Šola, or the Spiritual Goods according to the concept of the German artist Joseph Beuys . More than a Beuys concept, his entire system of thought was used as the basis for this exercise of decompression of the theory of Museology from poetic thought. The idea was to make approximations between Art and Museology to reflect on how the introduction of other epistemic methods can point to other possible models of museums and other museological concepts. To this end, an intersection was made between the field of Art in Beuys and the field of Museology, using the systematization of Peter van Mensch to base the philosophical-critical approach on a tertiary level of analysis (reflections on the conceptual foundations of the museum field) , and to justify the enrollment of this work in the School of Critical Museology, whose main characteristic is to reflect, question - rather than define - the museological frameworks, thinking Museology as a science, as a place of reflection on Heritage, and not as a set theories and methods that only guide practical work in the museum. Šola, representative of Critical Museology, joins Beuys as an interlocutor for arguing that it is absurd to think of Heritage from a normative approach, and from approaches committed to the cultural industry, which work with heritage as a consumer market product. Šola argues that the poetic approach to Heritage is the main element in the transformation of Museology and the concept of museum. As a practical reference, I use my professional experience as an advisor to the management and then executive director of MAM Bahia, and as part of the collective Museu do Mato, to demonstrate possible models of the approximation between the two fields: at the Museum-School of Lina Bo Bardi of the years 1960; at MAM-BA between 2013 and 2015, which re-enacted the Museu-Escola de Lina, and expanded this museum experience at the 3rd Bahia Biennial; and at the Museu do Mato, a collective of Art and Museology, a museum experiment as a poetic exercise. According to Beuys, society can be thought of as an artistic work, shaped as a collaborative sculpture, the Social Sculpture. This dissertation is the outline of another work, the Museal Sculpture, related to the idea of a museum as a symbolic space of transdisciplinary articulation and transmission of fragments of human heritage. Museum as a tool for change, part of the collective effort to reach a new evolutionary stage of humanity. Museum as a tool for reconnecting social bonds of solidarity, affection, empathy; reconnecting with subjectivities to produce other perceptions of the world. In contrast to systems that fragment and block time. Time that is necessary to reconnect with subjectivities, to believe and build utopias, other possibilities for the future.
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10
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MOARI CASTRO RAMOS DE OLIVEIRA ALFREDO
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Industrial Heritage: narrativess of a santamarense’s destillery
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Advisor : JOSEANIA MIRANDA FREITAS
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COMMITTEE MEMBERS :
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GRISELDA PINHEIRO KLUPPEL
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JOSEANIA MIRANDA FREITAS
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MARIA ESTELA ROCHA RAMOS
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SUELY MORAES CERAVOLO
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Data: Nov 20, 2019
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Show Abstract
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This paper aims to understand the historical course of the Modello Distillery, an industrial building located in the city of Santo Amaro, state of Bahia, highlighting the narratives built by the various occupations attributed to the building, as devices inherent in its conversion process. The building, currently in ruins, is one of the reminiscent architectural records of the local industrial heritage that survived the time action. Its restoration is foreseen in the occupation project developed to house a teaching center of the Federal University of Recôncavo da Bahia. Nowadays, the ruins are nominally referred to as the Tarzan factory, a denomination crystallized in the local imagination by the occupation of the Tarzan Steel Mill in the 40s of the twentieth century and which worked at the site for about fifteen years. However, its factory origin occurs with the creation of Companhia União dos Lavradores, still in the nineteenth century. The company, linked to the regional oligarchy, worked for about a decade in the transformation of sugar cane into brandy. Its grandiose architectural composition, still evident, refers to the opulence of other times, the once most important city of the sugar cycle and its historical trajectory is the product of a period marked by the development of the industry of the Bahian Recôncavo, which highlights the need for contemporaneity takes ownership of space by understanding its history and the shared memories that were constituted through the various meanings of space.
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11
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GISLAINE BARBOSA CALUMBI DA SILVA
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The Historic City Of Cachoeira In Bahia: Museological Approach about Preserving Architectural Heritage
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Advisor : MÁRIO DE SOUZA CHAGAS
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COMMITTEE MEMBERS :
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JOSEANIA MIRANDA FREITAS
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MÁRIO DE SOUZA CHAGAS
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SUZANE TAVARES DE PINHO PEPE
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Data: Nov 21, 2019
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Show Abstract
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This work aims to understand the historical city from a museological approach. Specifically attuned to the sight of Social Museology. The historical city of Cachoeira - Bahia was choice for case study, considering its condition of City and National Monument. From the contemporary perspective of museums as instruments of social development, a dialogue was established with the population of Cachoeira, delimited in two groups: the residents of the city center and the residents of the Tororó neighborhood, in order to understand their perceptions as an integral part of the daily life of a preserved city. The research finds the complexity that characterizes the preservation of urban centers of heritage value and understands the need for intervention and creation of museological actions in the context of the historic city. As a result Museology in the city is defended as a continuous process.
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12
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MILENA DE JESUS SANTOS
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The Memorial A Casa do Rio Vermelho: the performance of Zélia Gattai at the base of the Museum-House
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Advisor : SUELY MORAES CERAVOLO
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COMMITTEE MEMBERS :
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SUELY MORAES CERAVOLO
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ALZIRA QUEIROZ GONDIM TUDE DE SA
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CLOVIS CARVALHO BRITTO
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SABRINA DAMASCENO SILVA
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Data: Dec 6, 2019
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Show Abstract
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This disseration addresses the universe of the museum-home of Brazilian writers from the analysis of the processes instituted by the writer Zélia Gattai (1916 - 2008), born in São Paulo and based in Salvador, Bahia, whose art of narrating through of photography and literature has characteristics framed in the self writing. Considering aspects of the writer's trajectory and the personal experience thatand developed backstage for the opening of the exhibition at Casa da Rua Alagoinhas, 33, this research seeks unravel the plots that originated the opening of the Memorial A Casa do Rio Vermelho - Jorge Amado and Zélia Gattai, in Salvador, in the State of Bahia. To this end, it mobilizes references based on Museology, in order to understand the musealization of the residence that became a museum-house and its relationship with commercial purposes with regard to cultural tourism in the city of Salvador. How much at actions undertaken by Zélia Gattai, the present work weaves ties with authors who are dedicated to issues of gender and female memory, to the subjectivities present in the self writing and personal files, with the objective of giving visibility to their practices anarchicin relation to the Rio Vermelho residence. To this end, an approach was made to the particularities of the curatorship and exhibition scenography proposed for the memorialistic institution, in order to highlight the transformation of Casa do Rio Vermelho into a memorial, the result of Zélia Gattai's planning. It is concluded that if the exhibition musealization was possible thanks to the narrative processes instituted by the writer herself over five decades, the same museum spelling ends up silencing its presence in the result implanted in the House.
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13
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THAÍS PEREIRA DA SILVA
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Museology and immaterial heritage: reflections of the patrimonialization in the celebration of the stick of the Flagstick of Santo Antônio in Barbalha – CE.
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Advisor : SIDELIA SANTOS TEIXEIRA
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COMMITTEE MEMBERS :
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CARLA FAÇANHA DE BRITO
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CARLOS ALBERTO ETCHEVARNE
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SIDELIA SANTOS TEIXEIRA
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Data: Dec 17, 2019
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Show Abstract
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This present research has as its object of study the “Festa da Pau da Bandeira de Santo Antônio”, which takes place in the city of Barbalha, in the countryside of Ceará. The investigation takes place through the registration mark as national intangible cultural heritage through IPHAN. The research addresses the historical process and the conceptions about Museology as a field of knowledge, relating it to cultural heritage, more precisely to the festival, it also considers the concepts of preservation and safeguarding of the immaterial cultural assets. It establishes as methodology the bibliographic and descriptive research with qualitative nature. As an instrument for data collection, the use of interviews was made, the research dad collected the testimony of six people who are related to different sectors of the festival. This work aims to: investigate what opinions, perspectives and changes are perceived by the community that produces and participates in the Festa do Pau da Bandeira. It has as specific objectives: to contextualize the historical process of the festival, from its creation to the present day, characterizing the region of Cariri Cearense, where the Pau da Bandeira manifestation occurs for the theoretical understanding of the research object. The results demonstrate that some recommendations and protection mechanisms were perceived by the interviewees, such as, for example, security in relation to the festival. Another aspect perceived was the visibility and repercussion that the registration caused in the community, and as a consequence contributed to the dissemination of the festival nationwide, and also led to an increase in the number of events and academic research.
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14
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IRACI OLIVEIRA DOS SANTOS
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THE PATH OF THE MUSEOLOGY COURSE OF THE FEDERAL UNIVERSITY OF BAHIA (1969-2010).
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Advisor : SUELY MORAES CERAVOLO
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COMMITTEE MEMBERS :
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SIDELIA SANTOS TEIXEIRA
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MARCELO NASCIMENTO BERNARDO DA CUNHA
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ALAMO PIMENTEL GONÇALVES DA SILVA
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Data: Dec 19, 2019
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Show Abstract
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The present work is motivated by the results of research developed in the Graduate Program in Museology, for the conclusion of a Master's dissertation at the Federal University of Bahia. I point out that this is a historical research on the trajectory of the first course created in Brazil in university, conceived, gestated and born as an undergraduate course, at the Federal University of Bahia. It resumes the curricula that underpinned the formation of this genesis, passing through all the approved minimum curricula, until the current Pedagogical Project of the course. This paper presents historical aspects involving the development of the UFBA Museology Undergraduate Course, which this year celebrates its 50th anniversary. The methods of documental analysis were used, with the objective of raising the historical facts of the creation and development of the course of Museology of UFBA. The methods used were bibliographic research, literature review and documentary research. The primary sources of research in this dissertation consisted of legal texts, programs, projects, reports, and newspapers. Initially, I present the context of its creation, following its performance and development, exposing its activities and its curricular matrices that contributed to the modernization of the teaching of Museology in Brazil.
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