This dissertation is the result of an investigation undertaken into economic, political, social and/or discursive aspects that, whether associated or not, resulted in the demolition or alteration of buildings located in the central area of the city, which corresponds to the founding nucleus of the municipality of Vitória da Conquista, located 515 km from Salvador. The study demonstrates, with the support of documentary and bibliographical surveys, the existence of a geographic space that should be characterized as a Historic Center, which also houses an architectural heritage with relevant artistic and historical values, deserving of an effective public preservation policy as they are buildings which, despite the threats already suffered, still represent an urban journey and, to a large extent, the memory of the city that is experiencing an accelerated pace of growth. In the development of this work, a considerable production of laws, ordinances and decrees aimed at safeguarding historical, archaeological, environmental and landscape heritage was identified, including the municipal listing law, nº 707, of 1993. Reading periodicals edited and published in Vitória da Conquista, dating from the beginning of the 1920s until the 2000s, led us to the observation of the existence of media discourses nourished by the notion of progress and modernity that, to a certain extent, contributed to the process of aesthetic renewal, with modifications and the disappearance of a significant part of a collection that deserved to be preserved.

The present work presents reflections related to the biography of objects from museological institutions, for that it analyzes the “biographical itineraries” of a silver toothpick holder from the 19th century, safeguarded by the Carlos Costa Pinto Museum, an institution located in the city of Salvador-BA. For the development of this research, various sources were consulted, such as periodicals from the 19th and 20th centuries, articles, theses, dissertations, books and documents produced about the object at the Carlos Costa Pinto Museum, in addition to methodologies such as participant observation and conversations with servants and Museum visitors. The conception of the structure of this dissertation was inspired by the method for elaborating the biography of a museum object developed by Samuel Alberti. The method consists of studying the trajectory of the object from its manufacture to its incorporation into a museological collection and in the investigation of how the object's biography was altered from its contact with visitors to museum institutions. The work presents the toothpick holder object, approaching some aspects about its origin, functions, meanings, physical characteristics, and historical-social context. In addition, this dissertation discusses the habit of picking teeth and how this practice influenced the rise and fall of the use of silver toothpick holders. Throughout the text, information is also exposed about the paths that objects such as toothpick holders could have taken in Bahia in the 19th century. The research also presents data specifically related to the trajectory of a toothpick holder at the Carlos Costa Pinto Museum, analyzing information from the moment it became a private collection object to the paths it took when incorporated into the Museum's collection. The work also shows the contributions of the theoretical-methodological references of the object's biography.

This work approaches the Afro-Brazilian memory theme, as well as its heritage and quilombo/territory, in the landscape of Quilombo de Buri, in Pedrão-BA, with the advent of legal recognition as a quilombola community. It analyzes the importance of the certification process for the preservation of memory and local heritage and the consequences of the lack of museum monitoring for the treatment and enhancement of cultural assets, from a decolonial museological perspective, bringing as an example the creation and dismantling of the community’s Quilombola Memorial. Regarding the research method, a qualitative approach is used, with exploratory and descriptive objectives, which includes oral and written documentation, bibliographic review, participant observation and interviews. For data analysis, the technique of Discursive Textual Analysis was explored. With a look “from inside”, intellectuals committed to the political and social struggles of subjugated populations and who think from the global south are mobilized, interdisciplinary, to speak on the subject, mainly black Brazilians. Data analysis showed the importance of quilombola certification for the memory of the community, but pointed to the complexity and diversity of this territory, therefore requiring a follow-up process, with regard to the protection and appreciation of its cultural heritage, from public policies of recognition and (re)affirmation identity. Therefore, museological follow-up is recommended during and after the certification processes.

The present dissertation, entitled “Proverbial carpet: memory through language”, studies issues related to memory and the proverb. We start from the proverbial rug, understanding it as a support for the proverb and understanding this as a support for memory, which in turn is likely to be apprehended through the information presented through writing in various supports. We seek to understand the proverb as a support image that is assimilated by different cultures, permeating times and presenting itself as always current, informing, updating memory and thus serving as a communication vehicle. To do so, we focused on specialized references regarding proverbs and memory, as well as other themes and concepts. The bibliographic sources used in this research were identified from libraries and virtual collections of teaching institutions and national and international museums. The work is divided into three moments, where the first deals with the understanding of the proverbial rug and its relationship with memory and history; the second is concerned with arguing about the concept of proverb in order to expand what is understood as such; and the third tries to understand the communicational dimension of the proverbial rug. Following this route, based on studies concerning the proverb memory, among others, and anchored in museological research, it was possible to understand the proverb beyond oral/written dialogism from the proverbial rug, which was the guide so that one could broaden the understanding of the proverb.

The object of study of this Dissertation are the expographic narratives of a long-term exhibition “Windows of the past, mirrors of the present: Belém do Pará, art, image and history”, valid from 2011 to 2017, at the Belém Museum of Art ( MABE).  The developments refer to the problem of categorizing "popular types", with regard to images of black women, as well as the absence of narratives aimed at them, since these had their images present in paintings in the exhibition, but that were little deepened in their narrative dimension.  The exhibition catalog will be used as a documentary source from the exhibition, because in addition to being a vestige, it is also an instrument to support knowledge in relation to the content that one wants to convey from what was exposed, both in relation to the works themselves and their contexts raised, as to the general narrative of the exhibition thought up by the team designated for that purpose.  In this way, I will have as my main theoretical basis to reflect on the images of black women, black feminist thought, which gives support to socially analyze stereotypes that surround the imaginary about the representation of black women, in addition to the categories of analysis of “images of control” , by Patricia Hill Collins, “tyranny of silence”, by Audre Lorde and “tyranny of the visible”, by Georges Didi-Huberman. 

This dissertation was carried out in the Postgraduate Program in Museology of the Federal University of Bahia, in line 1 - museology and social development, and supported by CAPES. This dissertation reflects on the trend of narratives in virtualized exhibitions of museums about Ancient Egypt, using as cut out five exhibitions, these being in Europe and America. The analysis questions the repetition of certain narratives about Ancient Egypt, a standard inclination to bring as a thematic focus great leaders and their lives, in addition to funerary knowledge, excluding from museum exhibitions the experiences of ordinary people. Analyzing to what extent the narratives constructed from these exhibitions, bring from knowledge of the daily life of the ancient Egyptians, and their influences from concepts such as Egypomania and Orientalism. Thus interpreting the relevance of everyday life to studies of subjectivity and culture in expographic treatment, and its reflection in knowledge influenced to visitors. Thus, for the analysis of these exhibitions, the qualitative method was used, seeking museums with collection on Ancient Egypt in various parts of the world and with virtual access to their full face-to-face exhibition. The research methodology is the analytical method, constructed from the analysis of the five exhibitions: Egyptian and Rosacruz Museum, Curitiba, Brazil; Banco do Brasil Cultural Center and the exhibition on Ancient Egypt brought from the Museum of Turin, Italy; Smithsonian - National Museum of Natural History, United States; Rosicrucian Egyptian Museum, California, United States; World Museum Liverpool, UK. At the end is presented a chapter with bibliography on Egiptology of the suggested themes for possible divergent approaches from the existing ones. Seeking the plurality of representations and identification and continuous admiration, not only for the rulers of the ancient kingdoms, but also for the hands that built them.

The research highlights the curatorship processes of two photograph exhibitions by Bahian photographer Voltaire Fraga – first, curated in 1999 by Célia Aguiar, and second, curated by Diógenes Moura between 2008-2009 – while attempting to establish the existing relationship between memory, forgetfulness and photography in its role as memory keeper. As a result of the discursive unfolding of these observations, it emerges the poiesis of “un-forgetfulness”, which aside from being the driving force of this work, it is also the application of those curative processes. The process of unveiling of the photographer and of his images/memories is ratified at the end through the iconographic and iconological reading of 9 selected photographs from his exhibitions.

This research seeks to offer an interpretation of the Espaço Carybé de Artes, located in the Fort of São Diogo, Salvador-Bahia. The exhibition was conceived to promote a space of memory about Carybé, an Argentine artist living in Bahia since the 1950s, and to highlight the traces of “Baianidade” present in his works. The conceptualization of the term Cultural Heritage proposed by Funari and Pelegrini correlated with the meanings of John B. Thompson and Stuart Hall on culture and identity initiate the discussion. Then, an incursion into the symbolic universe of “baianidade” is carried out, based on the ideas of Modernism, to contextualize the artist's life and work. In this way, the history and a summary description of the physical and communicational characteristics of the cultural space are presented. Studies and experiences reported by Marília Xavier Cury, together with the discussions and theoretical contextualization of Lisbeth Rebollo Gonçalves, support the investigation in the field of museological communication, trying to unveil the social discourse of the exhibition. In addition to providing information about the exhibition's expo graphics, the text also explains the typology of the cultural space, the media, and the followers of the social network Facebook, which, like the media (A Tarde e Correio), attribute the success of the shows the use of new technologies, physical interactivity with the projections of the works and the possibilities of “virtual immersion” of the public in the artist's work.

Starting from a previous study, which confirmed the lack of a Museological Plan in the oldest and most expressive state museums at Salvador City, this research turned to the analysis of three university museological institutions - Museu de Arte Sacra (MAS), Museu Afro-Brasileiro (MAFRO) and Museu de Arqueologia e Etnologia (MAE) -, all of them linked to the Federal University of Bahia (UFBA), with the aim of investigating managerial aspects in each of them, given the lack of strategic planning (Museum Strategic Plan) - management instrument of mandatory implantation, since determined by law. This is an exploratory research ex post facto, conducted under the qualitative approach. The method used was the narrative interview with the directors of these institutions. While documentary research, it used UFBA’s documents (e.g., Regiment, Statute) and sources of bibliographic evidence about museums. The result of the study showed the persistence of the lack of elaboration and use of a museological plan in the three mentioned university museums. It also showed the lack of a single managerial direction, indicative of the autonomy of the directors to manage each institution, whose managerial aspects are characterized by being aligned with the personal character of each administrator. The research also brings to light possible consequences resulting from the lack of strategic planning for any organization, be it for profit purposes, be it non-profit, such as running the risk of not perpetuating itself. Based on this understanding, the need to implement a museum plan for the longevity of these university museums is elucidated. In addition, with scientific basis and practical examples, the University's attention is drawn, through the competent institutional departments (Rectory, Pro-Rectories) to what concerns the need for active participation in the construction of museum plans to avoid future adversities to museums, arising from this lack. The root of all is the lack of a specific policy for museums at the Federal University of Bahia.

The dissertation develops a cartography of LGBT Shelter Houses in Brazil and the museological processes existing in these community spaces. Faced with the Brazilian reality marked by exclusions, silencing and invisibility of LGBT memories, bodies and stories in museum spaces, it investigates how LGBT Shelter Houses are configured as resistance to the creation and production of museological imaginaries that transgress the cisheteronormative logic. Therefore, it presents LGBT activism networks and their impact on the configuration of cultural politics, especially in the field of museums and museology. The investigation maps some experiences of the Brazilian trans movement, highlighting the role of trans people in social and collective mobilization initiatives in the construction of spaces to safeguard LGBT bodies and memories, having as case studies the Casa Nem, in Rio de Janeiro, the Casa Chama, in São Paulo, and CasAmor, in Aracaju. The analysis of the museological processes carried out in these spaces contributed to the delineation of the concept of transmuseality, translating museological forms that transcend and transgress the limits imposed by cisheteronormativity by breaking with the museological imaginary that reproduces asymmetric, hierarchical and binary relationships and that oppresses sexualities and identities of gender dissidents of the cisgender and heterosexual matrix.

The research investigates the institutionalisation and implementation of the Museum of Sacred Art of the Federal University of Bahia (MAS-UFBA), in the chronological cut from 1939 to 1959 – making it a case study in the area of preservation of the national patrimony representing an idea of regional identity. The experiment of the university museum from Bahia is highlighted as a pioneer in Brazil. However, it did not happen without disputes and power games among agents and agencies, like Rodrigo Melo Franco de Andrade, director of the Service of Historical and Artistic Heritage (SPHAN), Godofredo Filho, representative of SPHAN’s Second District, Edgard Rêgo Santos, dean of UFBA, and D. Augusto Álvaro Cardeal da Silva, archbishop of Bahia and Primate of Brazil. Signs of previous attempts, so far unknown, of implementing the intended museum motivated this dissertation, seeking clarification that highlights which actions compose the trajectory. The documentation analysed ìs, in it’s majority, sourced from the archives of the Service of Historical and Artistic Heritage (SPHAN) and can clarify this path, highlighting three attempts of implementation and the indication of different buildings for hosting the museum – Basilica of Salvador, Saint Damasus Manor and the Convent of Saint Teresa. In the historiographic transient in which this path takes part, the demolition of the Primate of Brazil can be emphasized. Such an episode originated the debate of preservation of historic monuments in the first years of the XX century and, as a consequence, formed a sacred art collection owned by the Archdiocese Primate. Considering the political changes in the cultural scope, the need for protecting the valuable collection is made evident with the implantation of a museum that could serve it as a “shelter”. This project was extensively negotiated by SPHAN’s Second District, however, only to be realized after the partnership with UFBA was established.

This dissertation sought to analyze the collection of reliquaries of the Cathedral Basilica of Salvador, 30 busts-reliquaries allocated on two side altars of the nave of the church. Through historical, iconographic, and iconological research it was possible to correlate the main hypotheses for the identification of busts-reliquaries and their association with sculptural production in the context of the Catholic and Protestant reforms since the 16th century and its developments in the modern age. Some aspects of the methodology, by way of example, can be mentioned, such as the use of procedures, from bibliographic research, documentary research and the systematization of information, photographic survey and analysis of the collection of shrines that were under the custody of the Museum of Sacred Art at the Universidade Federal da Bahia. The present study constituted an attempt to understand the collection, the Church, and the Museum from the survey of the documentation, from the analysis of the Tridentine determinations of the Catholic Church, with emphasis on the correlation of the images with the Christian canons and the cult of the relics. The history of the Christian church in Brazil, the Jesuit presence, the production of polychrome sculptures, the cult of relics, devotion to saints and holy martyrs, and the spread of representations about the Christian faith in the social history of the city of Salvador were elucidated. Debating on the curation of the Jesuit busts-reliquary collection, through documentary research, the documentation process, research, and communication of the collection of reliquaries at the Museum of Sacred Art were glimpsed. The construction of the museological discourse and the mediation of the collection is guided by curatorial research, and the collection consists of 30 polychrome sculptures. The exhibition of the Benedictine and Jesuit Reliquaries in the Frei Agostinho da Piedade Exhibition Hall reveals the museum's intentions to allocate the two collections in the same place. The process of identifying the busts-reliquaries and the unfolding of the non-identification of the saints represented in the sculptures were discussed, thus trying to identify the iconographiciconological program of the Society of Jesus through the documentation and correlation of this collection in the Museum of Sacred Art with other collections of busts-reliquaries from other schools. The collection was analyzed in its entirety and the unfolding of its characteristics, from the perception of sculptures in its material culture, linked to history, art and archeology, to reliquaries and their forms throughout history, to the production of busts- reliquaries as receptacles of hierophanies that contemplate the demand of the church, which institutes sacred art through religious program and patronage and the artist's performance in the making of religious works. This dissertation was conceived from the understanding of the image as a historical document and its potential for the extroversion of senses and meanings by the collection and for the enjoyment of audiences in the environments to which these reliquaries were exposed.

This work proposes to analyze the exhibition of the Memorial of the Baianas in Salvador-Bahia, and the representation of the Baianas Seller of Acarajé in the exhibition of the Memorial. Analyzing the memorial as a place of memory and stories built from social and cultural representations. The problem arises through the absence of black representation in memory spaces. Also understanding the existence of the Memorial as a space for preserving the visual and gastronomic memory of these women, leads us to question the information projected in this environment. It is about seeking to understand Museology as a social practice, an accomplice in the emission of ideas, or even simplicity in apprehending cultural processes, committing to document, interpret and communicate within a social educational practice. In this aspect, the work discusses the articulation between culture, religion and heritage of the representations at the Memorial das Baianas in Salvador - Bahia. Highlighting the difficulties faced by Bahian women in maintaining the museum space and how the memorial becomes a space of resistance in a society still marked by racism and religious intolerance. For this work, we propose an analysis of how museums and museology have positioned themselves in the “battles of memories”.

This research, conducted at the Post Graduate Program of Museology (PPGMuseu), focused on the study of fourteen Portuguese vases that make up the decoration of the central corridor of the oldest wing of the Cemetery Nosso Senhor dos Aflitos in the city of Nazareth in Bahia (Brazil). This study privileges the prism of material culture and through bibliographic, documentary and field research sought to identify materiality, to analyze meanings and to recognize stories and contexts linked to the import of the glazed pots and their historical, political, economic and social relations in that city of Recôncavo Baiano that is reference in clay’s pottery making. The region of Recôncavo is known as a ceramic pole of Bahia State. This study also brings a historical approach to the city of Nazaré and its identifications as a producer of manioc flour and clay's pots and a city integrated on Jaguaripe River. Its strategic geographical position contributed to its political and economic development, resulting in influences from the metropolis, such as the creation of Santa Casa da Misericórdia de Nazareth. Studying the technique of glazed ceramics required a bibliographic review on the evolution of ceramic technical and the identification of its historical-cultural mark in the development of human being on earth. In addressing the technical specificities of glazing, a methodological approach was adopted based on decolonial studies and historical approaches on the trajectory of the technique of enameled ceramic, presented from national and international studies that punctuate the occupation of the European continent in the Seventh century and the cultural relations established with the Arab peoples and their ceramic work. A historical analysis was also built on the Carvalhinho factory - a registered trademark on twelve of the fourteen glazed vessels - showing the predominance of this manufacturing center in the Portuguese glassware and porcelain trade. Finally, we bring reflections on the paths found in this dissertation and the relationships established through the fourteen pots of crockery. 

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).

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.

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.

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.

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.

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. 

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. 

A presente pesquisa tem como propósito analisar o processo de informação produzido e gerido pelo Sistema de Documentação Museológica (SDM) e averiguar como a sua operação repercute no conteúdo apresentado na exposição de longa-duração do museu, a partir do estudo de caso da cadeirinha de arruar do Museu de Arte da Bahia (MAB). Considerando que a representação está sujeita ao modo como o objeto é documentado no museu e, caso haja equívocos na sua aplicação, pode causar distorções, o que influenciará nas interpretações do objeto ou mesmo torná-lo imperceptível ao público na exposição. A pesquisa possui aspectos teóricos e práticos. A teoria envolveu um levantamento bibliográfico que perpassa as discussões nas áreas da Museologia, Comunicação e Ciência da Informação; e a prática ocorre na análise da poiese do MAB, em específico visualizada no SDM, e na pesquisa de campo com a utilização do método da observação da exposição do MAB. A partir dessa análise, foi realizado um estudo comparativo com o Museu Histórico Nacional, do Rio de Janeiro e o Museu Nacional dos Coches, de Portugal, que possuem exemplares de cadeirinhas de arruar nas suas coleções, para verificar o processo da informação na relação SDM/exposição. Esse trabalho envolveu também a pesquisa histórica com o uso de fontes iconográficas, anúncios de jornais de época e relatos dos viajantes para investigar as relações que envolvem a cadeirinha de arruar, compreendendo o contexto histórico de seu uso e produção, a mão-de-obra escrava e a evolução do transporte urbano.  Do mesmo modo, foi realizado estudos para identificar as origens desse meio de transporte e o uso em outras culturas. Os resultados da pesquisa constataram que a produção de informação no SDM e a comunicação contínua com outros sistemas do museu possibilitam a disseminação de informação, refletindo no conteúdo apresentado sobre o objeto e as coleções na exposição, foco da comunicação do museu mediadora para com o público

The street informal trade of Salvador city, Bahia State, Brazil, have a peculiarity that express one representative element of local popular culture that is the coffee ambulant trade with allegoric little cars that simulate trucks and mini “trios elétricos”. The search allowed the interpretation of one special social reality, that of the Little Coffee Salesmen and their coffee little cars. These little cars are understood as objects that carry on the values of a qualified thus identity and symbolic patrimony of Bahia capital culture and quotidian. These social subjects changed the work activity in one genuine product of creative imagination from the survival necessity. They aggregate symbolic values that stimulate the awakening of various glances including the Museology render problematic and reflexion when four coffee little cars are received and signify again in the Museum space what also insert them in the process of their patrimony character recognition. The study was structured from three versants: the historic trajectory of coffee chairman activity in Salvador streets and the inventiveness of his work instrument; the appropriation of this work instrument by other glances and the relationship with people that experiment them in the streets; and at last the coffee little car as an object received in the Museu Afro Brasil and their new signifies. To analyses the way the Salvador Little Coffee Salesmen use and their representation as a cultural good concurs to Bahia popular culture enforcement and for the visibility of creative anonymous people that changed the urban scenery of one city and printed a stamp that call for valorization and recognition. Each salesman that circulate with his coffee little car has a combined of values, knowledge, choices and ways of life. The search promotes one museum practice linked with the importance of to establish a contemporary and inter-discipline museum field able to make the dialog between the social and the patrimonial. It preconizes actions that not privilege only the object of museum but also the manifestation space where they were and its relation with human being, for to consolidate it in Social Sciences epistemological field.

This research aims at the experimentation of theoretical and technical aspects for the construction of the virtual museum of graffiti made by women that makes us understand the interlacings between cyberculture and museology, highlighting the importance of the insertion and use of technology in museum spaces. need to create spaces capable of meeting the needs of museology and that help in the process of musealization of graffiti, considered as an artistic manifestation, characteristic of hip-hop culture, which uses techniques of the visual arts and urban space as resources for his expression. Graffiti, now decriminalized, as stated in art. 6 of Law 12,408 / 2011, which updates the wording of art. 65 of Law 9,605 of February 12, 1998, is often confused with the graffiti which, in turn, is expressed exclusively by lawyers and is still prohibited by law. This form of artistic expression stands out for its ephemerality and challenges faced by graffiti artists and grafiteiras during its production process. Within this universe of possibilities, our proposal focuses on the production of women who take to the streets their art as expressions of their lives and social positions. Graffiti has great historical importance within contemporary society, since it was from this artistic expression that many young people from the peripheries stood in the face of adversity in society. From this table, we search, through analyzes and observations of models of museums on the Internet, a way to musealize in order to preserve its memory given its ephemerality. In this dissertation, we look for parameters to construct and transport this museum, addressing all the functions of a museum institution and the possibilities that cyberspace provides.