Cette dissertation se concentre sur l'étude des répresentations au sujet de patrimoine, musée, ecomusée et musée communautaire selon des reportages publiés dans les journaux NOPH (Centre d´Orientation et Récherche Historique) et O Quarteirão. Le journal NOPH a été créé en 1983 avec le but de divulguer les actions du Centre d´Orientation et Récherche Historique de Santa Cruz sur les recherches et la divulgation de l´histoire de la municipalité de Santa Cruz, Rio de Janeiro, Brésil. En 1992, dans la I Rencontre Internationale des Ecomusées qui a eu lieu pendant la Eco92, les actions du NOPH ont été identifiées et reconnues par ses agents comme des actions d´écomuséologie et muséologie communautaire ce qui a résulté dans la création du Ecomuseu du Quarteirão Cultural do Matadouro de Santa Cruz avec le soutien de la Mairie de Rio de Janeiro. En 1993, le journal NOPH a été changé dans la rubrique O Quarteirão et il a passé à divulguer les actions du Centre et du Ecomusée a la fois. La reconnaissance du Centre comme action muséologique communautaire et la création du Ecomusée ont assumé un changement de paradigmes dans les concepts adoptés précédemment. Donc, avec l´objectif d´identifier les ruptures et les permanences dans les répresentations sur patrimoine, musée, ecomusée et musée communautaire, cette étude s´occupe de l´analyse de 31 exemplaires du journal NOPH, publiés entre 1984 et 1990, et de 40 exemplaires du jornal O Quarteirão, publiés entre 1993 et 2000. Il s´agit d´une étude de cas constituée par l´analyse des narrations qui révélent les répresentations présentes dans le corpus documentaire imprimé inséré dans la domaine de l´histoire de la presse étant dirigé surtout a la presse alternative en considérant le contexte dans lequel il a été constitué. Nous concluons que le Centre d'orientation et de recherche historique de Santa Cruz a deux moments distincts de l'action et marqué par contact avec la pensée muséologique internationale de l'année 1992, ce contact stimule un changement de paradigme sur les représentations du patrimoine et musée appropriation par les membres de NOPH. Dans cette recherche, on propose la réflexion à partir du champ de l´Histoire de l´Éducation basé dans les présuppositions théoriques d´auteurs de l´Histoire Culturelle, de l´histoire des musées et du mouvement muséologique, du champ du patrimoine, au-delà des études sur musées, ecomusées et musées communautaires. / Nesta dissertação tem-se como foco de estudo as representações sobre patrimônio, museu, ecomuseu e museu comunitário noticiadas nos periódicos NOPH (Núcleo de Orientação e Pesquisa Histórica) e O Quarteirão. O periódico NOPH foi criado em 1983, com a intenção de divulgar as ações do Núcleo de Orientação e Pesquisa Histórica de Santa Cruz sobre as pesquisas e divulgação da história do bairro de Santa Cruz, Rio de Janeiro, Brasil. No ano de 1992, no I Encontro Internacional de Ecomuseus, realizado durante a Eco92, as ações do NOPH foram identificadas e reconhecidas por seus agentes como ações de ecomuseologia e museologia comunitária, o que acarretou a criação do Ecomuseu do Quarteirão Cultural do Matadouro de Santa Cruz, com apoio da Prefeitura Municipal do Rio de Janeiro. No ano de 1993, o jornal do NOPH foi transformado em O Quarteirão e passou a divulgar as ações do Núcleo e do Ecomuseu concomitantemente. O reconhecimento do Núcleo enquanto ação museológica comunitária e a criação do Ecomuseu supuseram uma mudança de paradigmas nos conceitos adotados anteriormente. Portanto, com o intuito de identificar rupturas e permanências nas representações sobre patrimônio, museu, ecomuseu e museu comunitário este estudo detém-se na análise de 31 exemplares do jornal NOPH, publicados entre os anos de 1984 e 1990, e 40 exemplares do jornal O Quarteirão, publicados no período de 1993 a 2000. Trata-se de um estudo de caso constituído pela análise das narrativas que revelam as representações presentes no corpus documental impresso inserido no âmbito da história da imprensa direcionando-se especialmente para a imprensa alternativa, considerando-se o contexto em que foi constituído. Conclui-se que, o Núcleo de Orientação e Pesquisa Histórica de Santa Cruz possui dois momentos de atuação distintos e marcados pelo contato com o pensamento museológico internacional a partir do ano de 1992, tal contato estimula uma mudança de paradigmas sobre as representações de patrimônio e museu apropriadas pelos integrantes do NOPH. Nesta pesquisa propõe-se a reflexão a partir do campo da História da Educação, com embasamento nos pressupostos teóricos de autores da História Cultural, da história dos museus e do movimento museológico, do campo do patrimônio, além de estudos sobre museus, ecomuseus e museus comunitários. / This dissertation has its study focus on representations about heritage, museum, ecomuseum and community museum published in the periodicals NOPH (Nucleus of Guidelines for History Research) and O Quarteirão. The NOPH periodical was created in 1983 with the purpose of publishing the research actions by the Nucleus of Guidelines for History Research from Santa Cruz and to divulge the history of the municipality of Santa Cruz, Rio de Janeiro, Brazil. In 1992, upon the 1st International Meeting of Ecomuseums carried out during the Eco92, NOPH actions were identified and recognized by their agents as actions of ecomuseology and community museology that led to the creation of the Ecomuseum of the Quarteirão Cultural do Matadouro de Santa Cruz with the support of the City Hall of Rio de Janeiro. In 1993, the NOPH journal was changed into O Quarteirão and started publishing the actions of the Nucleus and of the Ecomuseum as well. The recognition of the Nucleus as a community museum action and the creation of the Ecomuseum assumed a change of paradigms in the concepts adopted previously. Therefore, in order to identify ruptures and permanencies in the representations about heritage, museum, ecomuseum and community museum, this study concentrates in the analysis of 31 editions of the NOPH journal published between 1984 and 1990 and of 40 editions of O Quarteirão journal, published from 1993 to year 2000. It is about a case study that comprises the analysis of accounts that reveal the representations present in the printed documental corpus which is inserted in the realm of the press history, especially addressed to the alternative press by considering the context where it was composed. We conclude that the Guidance Center and Historical Research of Santa Cruz has two distinct moments of action and marked by contact with the international museological thinking from the year 1992, this contact stimulates a paradigm shift on the representations of heritage and museum appropriated by members of NOPH.This research proposes a reflection starting from the field of Education History based in the theoretical presuppositions from authors of Cultural History, history of museums, museum movement and of the heritage field besides of studies about museums, ecomuseums and community museums.

Cette dissertation se concentre sur l'étude des répresentations au sujet de patrimoine, musée, ecomusée et musée communautaire selon des reportages publiés dans les journaux NOPH (Centre d´Orientation et Récherche Historique) et O Quarteirão. Le journal NOPH a été créé en 1983 avec le but de divulguer les actions du Centre d´Orientation et Récherche Historique de Santa Cruz sur les recherches et la divulgation de l´histoire de la municipalité de Santa Cruz, Rio de Janeiro, Brésil. En 1992, dans la I Rencontre Internationale des Ecomusées qui a eu lieu pendant la Eco92, les actions du NOPH ont été identifiées et reconnues par ses agents comme des actions d´écomuséologie et muséologie communautaire ce qui a résulté dans la création du Ecomuseu du Quarteirão Cultural do Matadouro de Santa Cruz avec le soutien de la Mairie de Rio de Janeiro. En 1993, le journal NOPH a été changé dans la rubrique O Quarteirão et il a passé à divulguer les actions du Centre et du Ecomusée a la fois. La reconnaissance du Centre comme action muséologique communautaire et la création du Ecomusée ont assumé un changement de paradigmes dans les concepts adoptés précédemment. Donc, avec l´objectif d´identifier les ruptures et les permanences dans les répresentations sur patrimoine, musée, ecomusée et musée communautaire, cette étude s´occupe de l´analyse de 31 exemplaires du journal NOPH, publiés entre 1984 et 1990, et de 40 exemplaires du jornal O Quarteirão, publiés entre 1993 et 2000. Il s´agit d´une étude de cas constituée par l´analyse des narrations qui révélent les répresentations présentes dans le corpus documentaire imprimé inséré dans la domaine de l´histoire de la presse étant dirigé surtout a la presse alternative en considérant le contexte dans lequel il a été constitué. Nous concluons que le Centre d'orientation et de recherche historique de Santa Cruz a deux moments distincts de l'action et marqué par contact avec la pensée muséologique internationale de l'année 1992, ce contact stimule un changement de paradigme sur les représentations du patrimoine et musée appropriation par les membres de NOPH. Dans cette recherche, on propose la réflexion à partir du champ de l´Histoire de l´Éducation basé dans les présuppositions théoriques d´auteurs de l´Histoire Culturelle, de l´histoire des musées et du mouvement muséologique, du champ du patrimoine, au-delà des études sur musées, ecomusées et musées communautaires. / Nesta dissertação tem-se como foco de estudo as representações sobre patrimônio, museu, ecomuseu e museu comunitário noticiadas nos periódicos NOPH (Núcleo de Orientação e Pesquisa Histórica) e O Quarteirão. O periódico NOPH foi criado em 1983, com a intenção de divulgar as ações do Núcleo de Orientação e Pesquisa Histórica de Santa Cruz sobre as pesquisas e divulgação da história do bairro de Santa Cruz, Rio de Janeiro, Brasil. No ano de 1992, no I Encontro Internacional de Ecomuseus, realizado durante a Eco92, as ações do NOPH foram identificadas e reconhecidas por seus agentes como ações de ecomuseologia e museologia comunitária, o que acarretou a criação do Ecomuseu do Quarteirão Cultural do Matadouro de Santa Cruz, com apoio da Prefeitura Municipal do Rio de Janeiro. No ano de 1993, o jornal do NOPH foi transformado em O Quarteirão e passou a divulgar as ações do Núcleo e do Ecomuseu concomitantemente. O reconhecimento do Núcleo enquanto ação museológica comunitária e a criação do Ecomuseu supuseram uma mudança de paradigmas nos conceitos adotados anteriormente. Portanto, com o intuito de identificar rupturas e permanências nas representações sobre patrimônio, museu, ecomuseu e museu comunitário este estudo detém-se na análise de 31 exemplares do jornal NOPH, publicados entre os anos de 1984 e 1990, e 40 exemplares do jornal O Quarteirão, publicados no período de 1993 a 2000. Trata-se de um estudo de caso constituído pela análise das narrativas que revelam as representações presentes no corpus documental impresso inserido no âmbito da história da imprensa direcionando-se especialmente para a imprensa alternativa, considerando-se o contexto em que foi constituído. Conclui-se que, o Núcleo de Orientação e Pesquisa Histórica de Santa Cruz possui dois momentos de atuação distintos e marcados pelo contato com o pensamento museológico internacional a partir do ano de 1992, tal contato estimula uma mudança de paradigmas sobre as representações de patrimônio e museu apropriadas pelos integrantes do NOPH. Nesta pesquisa propõe-se a reflexão a partir do campo da História da Educação, com embasamento nos pressupostos teóricos de autores da História Cultural, da história dos museus e do movimento museológico, do campo do patrimônio, além de estudos sobre museus, ecomuseus e museus comunitários. / This dissertation has its study focus on representations about heritage, museum, ecomuseum and community museum published in the periodicals NOPH (Nucleus of Guidelines for History Research) and O Quarteirão. The NOPH periodical was created in 1983 with the purpose of publishing the research actions by the Nucleus of Guidelines for History Research from Santa Cruz and to divulge the history of the municipality of Santa Cruz, Rio de Janeiro, Brazil. In 1992, upon the 1st International Meeting of Ecomuseums carried out during the Eco92, NOPH actions were identified and recognized by their agents as actions of ecomuseology and community museology that led to the creation of the Ecomuseum of the Quarteirão Cultural do Matadouro de Santa Cruz with the support of the City Hall of Rio de Janeiro. In 1993, the NOPH journal was changed into O Quarteirão and started publishing the actions of the Nucleus and of the Ecomuseum as well. The recognition of the Nucleus as a community museum action and the creation of the Ecomuseum assumed a change of paradigms in the concepts adopted previously. Therefore, in order to identify ruptures and permanencies in the representations about heritage, museum, ecomuseum and community museum, this study concentrates in the analysis of 31 editions of the NOPH journal published between 1984 and 1990 and of 40 editions of O Quarteirão journal, published from 1993 to year 2000. It is about a case study that comprises the analysis of accounts that reveal the representations present in the printed documental corpus which is inserted in the realm of the press history, especially addressed to the alternative press by considering the context where it was composed. We conclude that the Guidance Center and Historical Research of Santa Cruz has two distinct moments of action and marked by contact with the international museological thinking from the year 1992, this contact stimulates a paradigm shift on the representations of heritage and museum appropriated by members of NOPH.This research proposes a reflection starting from the field of Education History based in the theoretical presuppositions from authors of Cultural History, history of museums, museum movement and of the heritage field besides of studies about museums, ecomuseums and community museums.

Cette dissertation se concentre sur l'étude des répresentations au sujet de patrimoine, musée, ecomusée et musée communautaire selon des reportages publiés dans les journaux NOPH (Centre d´Orientation et Récherche Historique) et O Quarteirão. Le journal NOPH a été créé en 1983 avec le but de divulguer les actions du Centre d´Orientation et Récherche Historique de Santa Cruz sur les recherches et la divulgation de l´histoire de la municipalité de Santa Cruz, Rio de Janeiro, Brésil. En 1992, dans la I Rencontre Internationale des Ecomusées qui a eu lieu pendant la Eco92, les actions du NOPH ont été identifiées et reconnues par ses agents comme des actions d´écomuséologie et muséologie communautaire ce qui a résulté dans la création du Ecomuseu du Quarteirão Cultural do Matadouro de Santa Cruz avec le soutien de la Mairie de Rio de Janeiro. En 1993, le journal NOPH a été changé dans la rubrique O Quarteirão et il a passé à divulguer les actions du Centre et du Ecomusée a la fois. La reconnaissance du Centre comme action muséologique communautaire et la création du Ecomusée ont assumé un changement de paradigmes dans les concepts adoptés précédemment. Donc, avec l´objectif d´identifier les ruptures et les permanences dans les répresentations sur patrimoine, musée, ecomusée et musée communautaire, cette étude s´occupe de l´analyse de 31 exemplaires du journal NOPH, publiés entre 1984 et 1990, et de 40 exemplaires du jornal O Quarteirão, publiés entre 1993 et 2000. Il s´agit d´une étude de cas constituée par l´analyse des narrations qui révélent les répresentations présentes dans le corpus documentaire imprimé inséré dans la domaine de l´histoire de la presse étant dirigé surtout a la presse alternative en considérant le contexte dans lequel il a été constitué. Nous concluons que le Centre d'orientation et de recherche historique de Santa Cruz a deux moments distincts de l'action et marqué par contact avec la pensée muséologique internationale de l'année 1992, ce contact stimule un changement de paradigme sur les représentations du patrimoine et musée appropriation par les membres de NOPH. Dans cette recherche, on propose la réflexion à partir du champ de l´Histoire de l´Éducation basé dans les présuppositions théoriques d´auteurs de l´Histoire Culturelle, de l´histoire des musées et du mouvement muséologique, du champ du patrimoine, au-delà des études sur musées, ecomusées et musées communautaires. / Nesta dissertação tem-se como foco de estudo as representações sobre patrimônio, museu, ecomuseu e museu comunitário noticiadas nos periódicos NOPH (Núcleo de Orientação e Pesquisa Histórica) e O Quarteirão. O periódico NOPH foi criado em 1983, com a intenção de divulgar as ações do Núcleo de Orientação e Pesquisa Histórica de Santa Cruz sobre as pesquisas e divulgação da história do bairro de Santa Cruz, Rio de Janeiro, Brasil. No ano de 1992, no I Encontro Internacional de Ecomuseus, realizado durante a Eco92, as ações do NOPH foram identificadas e reconhecidas por seus agentes como ações de ecomuseologia e museologia comunitária, o que acarretou a criação do Ecomuseu do Quarteirão Cultural do Matadouro de Santa Cruz, com apoio da Prefeitura Municipal do Rio de Janeiro. No ano de 1993, o jornal do NOPH foi transformado em O Quarteirão e passou a divulgar as ações do Núcleo e do Ecomuseu concomitantemente. O reconhecimento do Núcleo enquanto ação museológica comunitária e a criação do Ecomuseu supuseram uma mudança de paradigmas nos conceitos adotados anteriormente. Portanto, com o intuito de identificar rupturas e permanências nas representações sobre patrimônio, museu, ecomuseu e museu comunitário este estudo detém-se na análise de 31 exemplares do jornal NOPH, publicados entre os anos de 1984 e 1990, e 40 exemplares do jornal O Quarteirão, publicados no período de 1993 a 2000. Trata-se de um estudo de caso constituído pela análise das narrativas que revelam as representações presentes no corpus documental impresso inserido no âmbito da história da imprensa direcionando-se especialmente para a imprensa alternativa, considerando-se o contexto em que foi constituído. Conclui-se que, o Núcleo de Orientação e Pesquisa Histórica de Santa Cruz possui dois momentos de atuação distintos e marcados pelo contato com o pensamento museológico internacional a partir do ano de 1992, tal contato estimula uma mudança de paradigmas sobre as representações de patrimônio e museu apropriadas pelos integrantes do NOPH. Nesta pesquisa propõe-se a reflexão a partir do campo da História da Educação, com embasamento nos pressupostos teóricos de autores da História Cultural, da história dos museus e do movimento museológico, do campo do patrimônio, além de estudos sobre museus, ecomuseus e museus comunitários. / This dissertation has its study focus on representations about heritage, museum, ecomuseum and community museum published in the periodicals NOPH (Nucleus of Guidelines for History Research) and O Quarteirão. The NOPH periodical was created in 1983 with the purpose of publishing the research actions by the Nucleus of Guidelines for History Research from Santa Cruz and to divulge the history of the municipality of Santa Cruz, Rio de Janeiro, Brazil. In 1992, upon the 1st International Meeting of Ecomuseums carried out during the Eco92, NOPH actions were identified and recognized by their agents as actions of ecomuseology and community museology that led to the creation of the Ecomuseum of the Quarteirão Cultural do Matadouro de Santa Cruz with the support of the City Hall of Rio de Janeiro. In 1993, the NOPH journal was changed into O Quarteirão and started publishing the actions of the Nucleus and of the Ecomuseum as well. The recognition of the Nucleus as a community museum action and the creation of the Ecomuseum assumed a change of paradigms in the concepts adopted previously. Therefore, in order to identify ruptures and permanencies in the representations about heritage, museum, ecomuseum and community museum, this study concentrates in the analysis of 31 editions of the NOPH journal published between 1984 and 1990 and of 40 editions of O Quarteirão journal, published from 1993 to year 2000. It is about a case study that comprises the analysis of accounts that reveal the representations present in the printed documental corpus which is inserted in the realm of the press history, especially addressed to the alternative press by considering the context where it was composed. We conclude that the Guidance Center and Historical Research of Santa Cruz has two distinct moments of action and marked by contact with the international museological thinking from the year 1992, this contact stimulates a paradigm shift on the representations of heritage and museum appropriated by members of NOPH.This research proposes a reflection starting from the field of Education History based in the theoretical presuppositions from authors of Cultural History, history of museums, museum movement and of the heritage field besides of studies about museums, ecomuseums and community museums.

Philosophiae Doctor - PhD / Since 1994, the District Six Museum, in constructing histories of forced removals from District Six, Cape Town, commenced as a post-apartheid memory project which evolved into a memorial museum. Design has been a central strategy claimed by the museum in its process of making memory work visible to its attendant publics evolving into a South African cultural brand. Co-design within the museum is aesthetically infused with sensitively curated exhibitions and a form of museumisation, across two tangible sites of engagement, which imparts a unique visual language. The term design became extraordinarily popular in contemporary Cape Town, where the city was - in 2014 -the World Design Capital. Yet at the same time as design was being inscribed into the public imaginary, it was simultaneously curiously undefined although influential in shifting representational aesthetics in the city. This research seeks to ask questions about this proliferation of interest in design and to examine this through a close reading of the work of the District Six Museum situated near District Six. In particular, micro and macro design elements are explored as socio-cultural practice in re-imagining community in the city that grew out of resistance and cultural networks. Various design strategies or frameworks of representation sought to stabilize and clarify individual and collective pasts enabling and supporting ex-residents to reinterpret space after loss, displacement and separation and re-enter their histories and the city. Post-apartheid museum design modes and methodologies applied by the District Six Museum as museumisation disrupts conventional historiographies in the fields of art, architectural and exhibition design, where the focus is placed on temporal chronologies, in a biographic mode profiling examples of works and designers/artists. Instead, the research contextualises the work of design as making in a more open sense, of exploring the very constructedness of the museum as a space of method, selection, process and representation thereby asking questions about this reified term design as method and practice. The designing ways of the District Six Museum contribute to understanding idioms mediated through design frameworks allowing for a departure from the limited ways design history has been written. Through an unlayering of projects, practices and an examination of archival case studies, exhibition curation, the adaptive reuse of buildings and through institutional rebranding my argument is that the particularities of the claims to design work at the District Six Museum provide a rich case for relating to other contemporaneous processes of making apartheid’s spatial practices visible as projects such as this claim community. Therefore seeking to demystify how this community museum ‘making’ has been fashioned through an investment in various design disciplines, forms and practices revealing the inherent complexity in doing so.

<p>This thesis is largely about museums and their role and development in and for society. With a field/case study of the District Six Museum in Cape Town, we try to encapsulate a modern function for museums within a context of 1) the current worldwide discussion on museums and their future, and 2) the development of a new democratic nation in South Africa, and museums possible role in that process. Through analysis of interviews made with concerned people within and outside the District Six museum weintend to get a picture of the views on this particular museum and its role and function, for its community and society at large, plus for other museums, as a possible role model. We find that this museum might be close to a type of museum that has been asked for by museologists and others in recent times.</p> / <p>Den här D-uppsatsen behandlar museer och deras roll i den samhälleliga utvecklingen. Genom en fältstudie av District Six Museum i Kapstaden har vi försökt fånga och diskutera hur ett museum av idag kan fungera. Detta har skett utifrån två kontexter; dels den pågående och världsomspännande debatten om museer och deras framtid, dels utvecklingen av en ny demokratisk nation i landet Sydafrika och vilken roll museer har i den processen. Genom analys av intervjuer vi har gjort med aktiva inom och utanför District Six Museum försöker vi få en bild av just detta museums roll och funktion; för sina egna medborgare och samhället runt omkring. Vi diskuterar vidare hur District Six fungerar som förebild för andra museer och hur det faktiskt uppfyller många av de kriterier och önskemål som museologer idag sätter upp för hur ett samtida och aktivt museum bör arbeta.</p>

This thesis is largely about museums and their role and development in and for society. With a field/case study of the District Six Museum in Cape Town, we try to encapsulate a modern function for museums within a context of 1) the current worldwide discussion on museums and their future, and 2) the development of a new democratic nation in South Africa, and museums possible role in that process. Through analysis of interviews made with concerned people within and outside the District Six museum weintend to get a picture of the views on this particular museum and its role and function, for its community and society at large, plus for other museums, as a possible role model. We find that this museum might be close to a type of museum that has been asked for by museologists and others in recent times. / Den här D-uppsatsen behandlar museer och deras roll i den samhälleliga utvecklingen. Genom en fältstudie av District Six Museum i Kapstaden har vi försökt fånga och diskutera hur ett museum av idag kan fungera. Detta har skett utifrån två kontexter; dels den pågående och världsomspännande debatten om museer och deras framtid, dels utvecklingen av en ny demokratisk nation i landet Sydafrika och vilken roll museer har i den processen. Genom analys av intervjuer vi har gjort med aktiva inom och utanför District Six Museum försöker vi få en bild av just detta museums roll och funktion; för sina egna medborgare och samhället runt omkring. Vi diskuterar vidare hur District Six fungerar som förebild för andra museer och hur det faktiskt uppfyller många av de kriterier och önskemål som museologer idag sätter upp för hur ett samtida och aktivt museum bör arbeta.

[pt] A pesquisa se situa no recorte temporal após o Programa de Aceleração do Crescimento/Urbanização de Assentamentos Precários (PAC-UAP), programa federal de políticas de urbanização de favelas iniciado em 2007, cujo legado para a Favela da Rocinha dará forma a uma economia comum das relações sociais no que tange a maior participação comunitária e redes de assistencialismo mútuo. Como desdobramento desse episódio, surge o objeto do presente estudo, o Museu Sankofa Memória e História da Rocinha, museu comunitário fundado em 2011, como fruto do programa Pontos de Memória, contemplado em 2009. A narrativa sofre então uma radical alteração do paradigma da representação cultural, que insurge por meio da expressão local dessas comunidades, através de seus passado histórico e memória vivos, os quais constituem uma renovação de estatuto do patrimônio cultural imaterial carioca que, por sua vez, enseja um fortalecimento nos movimentos sociais em multidão. Frente às constantes formas de opressão, ao representar ditos territórios periféricos reprimidos pela força neoliberal, as favelas metropolitanas insurgem de forma musealizada a partir de 2006, de acordo com os preceitos da nova museologia, constituindo uma rede museológica comunitária tanto física quanto virtual. Por conseguinte, se desenvolve um mecanismo à revelia do modus operandi do mercado por uma rede autogovernada construída pelo esforço coletivo, que será inaugural para novas formas de resistência à apropriação do bem comum, por meio de instituições como ONGs e demais movimentos locais. Por fim, é objetivo do estudo analisar a comunalidade, ou seja, a (re)produção do bem comum em contextos marginalizados, acessado pela chave patrimonial como campo de disputa e negociação, de modo a emancipar seus sujeitos e subjetividades. / [en] This research is situated in aftereffects of Programa de Aceleração do Crescimento/Urbanização de Assentamentos Precários (PAC-UAP), a federal programme of favela s urbanization policy grounded in 2007, which legate to Favela da Rocinha would be about common s economy of social relations in reference to a reciprocal communitarianism and assistencialism s network. A direct link to that moment is this research s object Museu Sankofa Memória e História da Rocinha, a community museum based in 2011, as a product of Memory Hotspots govt s program conquered in 2009. Narrative so suffers a radical change from cultural misrepresentation paradigm, which insurge through a local expression by communities, with them historical past and memory alive, raises an intangible heritage bylaw s renewal and, on the other hand, it strengthens social movements in multitude s background. Oftenly facing different systems of oppression, frame those peripheral territories by neoliberal task, the metropolitan favelas begin insurging in shape of musealized bodies since 2006, according to new museology s theory, what creates a real and virtual museological community s network. As a matter of fact, it has developed since then a countermovement against market modus operandi by self-governance cells working collectively, what will shape new ways of resistance to common s expropriation, through institutions such as NGOs and many other local movements. Finally, it s the main goal of this research analyze commonality, i.e., the self-reproduction of commons on marginalized contexts, on heritage s field of struggle and negotiation, to emancipate its subjects and subjectivities.

A new cultural policy developed in Sweden in the 1960’s in order to renew the activities of mseums in a more socially relevant direction. The dissertation examines whether the museums adopted the new policy and to what extent the objectives were achieved. The thesis analyses three main areas: the new cultural policy and the attempts to implement it; activities in selected museums along with different intellectual trends that shaped their activities; and the debate between different “thought collectives” (L. Fleck) regarding museums’ missions and objectives as well as expectations within the museum sector. How did the various “actors” relate to the objectives of the new cultural policy? The thesis confirms the potential of the museums as generators for renewal and innovation in terms of democracy and development of the society. There was a clear shift in attitudes from values associated with the “Cultural heritage museum” towards the in this thesis introduced idea of the “Community museum”. The study shows how museums tried to introduce activities relating to current political and social issues, which supports the principal hypothesis in the study, that the museums became more socially relevant during the investigated period. However, during the 1980s, there could be seen a clear recurrence back to the idea of “Cultural heritage museum”. The movement in opposite directions illustrates the museums’ strong ties to the earlier traditional ”styles of thought” (Fleck) and their role as cultural guardians, which severely restricted their capacity for innovation and new ways of thinking. Nevertheless, the Swedish Exhibition Agency (Riksutställningar) performed a role as a searhead for the new cultural policy, corresponding with the heterodoxy and new style of thinking represented by the “Community museum”. A number of persons dominating the debate within the museum sector had a crucial importance in the shift towards the concept of “Community museums”. A revitalisation of the exhibitions, pedagogy and content was accomplished, often as a result of the Swedish Exhibition Agency’s efforts to develop the medium. During the period 1965–1990 Swedish museum exhibitions moved towards a temporary and more socially oriented content. According to Steven Conn’s principal thesis “Do museums still need objects?” the importance of objects gradually declined during the last century. In line with this development, the new Museum of Work had no objects/collections of its own. Furthermore, the arrival of new technology in the late 1980’s gave preconditions for reshaping knowledge and contributed to new attitudes towards communication. Museums were now seen as centres for social contact and communication. The role of museology as an academic discipline in the reprogramming of the museums towards a more socially oriented approach is another important issue. Museology has been criticized by those who – int the debate – questioned the entire idea of “Community museum”.

Cette recherche aborde la scène politique de deux pays d’Afrique de l’Est (Éthiopie-Kenya) en s’appuyant sur une analyse des enjeux politiques inhérents à la mise en place d’institutions mémorielles telles que les musées, les mausolées et autres lieux de mémoires. Notre thèse est que ces musées sont à comprendre avant tout comme des espaces intermédiaires de négociation entre les groupes qui les portent, l’État qui les finance ou les autorise, et les organisations internationales qui soutiennent et influencent les projets patrimoniaux des gouvernements. Cette recherche se concentre ainsi sur deux études de cas : le musée Konso en Éthiopie et le musée-mausolée de Koitalel Samoei au Kenya. Ces institutions s’inscrivent dans des contextes politiques particuliers au début des années 2000, à savoir l’application effective du pluralisme politique au Kenya et le renforcement de l’autoritarisme en Éthiopie. Au Kenya, la négociation autour de l’interprétation du passé en termes politiques se fait au sein même du musée-mausolée dédié au héros Koitalel Samoei, tandis que le cas éthiopien souligne plutôt que les rapports de pouvoir sont restructurés ou réorganisés par la présence d’un premier musée ethnographique en région, le musée Konso.L’apparition de musées communautaires témoigne, au Kenya comme en Éthiopie, d’un retour de l’identité ethnique en politique, qui est à la fois brandie comme une bannière par les gouvernements, mais également utilisée comme une catégorie opératoire ou une ressource par des acteurs particuliers, qu’on appellera ici des « entrepreneurs de patrimoine ». Par l’usage d’un nouveau capital, le patrimoine et sa préservation, ces « entrepreneurs de patrimoine » s’imposent ainsi à la fois comme des « entrepreneurs de soi » au sens de Michel Foucault, mais également comme des « entrepreneurs du nous » en politique, occupant une position graduelle dans les négociations et les prises de décisions publiques. Dès lors, il faut décentrer le regard pour s’intéresser à ce que le musée fait au politique, et non plus seulement à ce que la politique fait des musées.En incluant également l’analyse des usages politiques de la mémoire étatiques et internationaux, ce travail cherche à renverser la perspective en adoptant une entrée microsociologique et ethnographique en science politique, étudiant les déterminants et les modalités de la reconstruction nationale du point de vue des musées communautaires. Cette approche « par le bas », articulée aux niveaux d’analyse macro (État, idéologie, cadre institutionnel) et micro (les institutions et acteurs du patrimoine, les élites politiques locales) invite ainsi à une réflexion plus générale sur la construction, la qualification et les perceptions des régimes politiques, entamant une réflexion sur la nature de l’État qui se dévoile à travers ces nouvelles politiques mémorielles et patrimoniales, ainsi que sur le rôle joué par ces nouveaux « entrepreneurs de patrimoine » dans la reconfiguration de la compétition politique. / This dissertation aims at understanding the political scene in two East African countries – Ethiopia and Kenya – by analysing the political dynamics surrounding the creation of memorial institutions such as museums, mausoleums and other memory spaces. I argue that these institutions must be first and foremost understood as intermediary spaces of negotiation between groups that are supporting them; the State that is financing and / or authorising them; as well as international organisations that are assisting and influencing the countries’ patrimonial policies. The two case studies of this research - the Konso Museum in Ethiopia and the museum-mausoleum of Koitalel Samoei in Kenya – are institutions that relate to specific political context: in Kenya, where political pluralism has been effectively accepted in the 2000s, the negotiation surrounding the political interpretation of the past takes place within the mausoleum-museum. In Ethiopia, where authoritarianism has been reinvigorated, local power relations are structured and reorganised by the presence of the South region’s first ethnographic museum.Both in Kenya and Ethiopia, the contemporary emergence of community museums illustrates the growing salience of ethnic identities in the political sphere – used as a resource and category of action both by the State and “patrimonial entrepreneurs”. By using a new kind of capital – heritage and its conservation – the latter strengthen their position both as “self entrepreneurs” (in the sense of Michel Foucault) and “we-entrepreneurs”, occupying an intermediary position in negotiations and public decision-making. Thus, we must look not only at what politics do to museums but also how museums do impact on political dynamics.In my research, through the study of community museums, I analyse the political uses of State and international memories, thus aiming at understanding the determinants and modalities of nation (re)building. I have adopted a microsociological and ethnographic approach within the framework political science. This “bottom-up” approach, articulated with macro levels of analysis (the State, ideologies and institutions) as well as micro levels (institutions and actors of heritage, local political elite) leads my argumentation to a larger debate on construction, qualification and perceptions of political regimes, the nature of the State as well as the role played by these new “patrimonial entrepreneurs” in the reconfiguration of political competition

Submitted by Luciana Figueiredo Avelar (lucianafavelar@gmail.com) on 2015-04-16T13:33:45Z No. of bitstreams: 1 Dissertação_AVELAR, Luciana.pdf: 1455127 bytes, checksum: 02e67f5d28bf0f511132fbf90a9c599c (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2015-05-04T19:10:57Z (GMT) No. of bitstreams: 1 Dissertação_AVELAR, Luciana.pdf: 1455127 bytes, checksum: 02e67f5d28bf0f511132fbf90a9c599c (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2015-05-06T14:53:02Z (GMT) No. of bitstreams: 1 Dissertação_AVELAR, Luciana.pdf: 1455127 bytes, checksum: 02e67f5d28bf0f511132fbf90a9c599c (MD5) / Made available in DSpace on 2015-05-06T14:53:13Z (GMT). No. of bitstreams: 1 Dissertação_AVELAR, Luciana.pdf: 1455127 bytes, checksum: 02e67f5d28bf0f511132fbf90a9c599c (MD5) Previous issue date: 2015-03-20 / The Taquaril Museum, created in 2010, is studied as a contemporary museum institution, as a community museum, as an initiative driven by the government sector through the Pilot Action of the program Pontos de Memória, carried out by the Brazilian Institute of Museums (Ibram). With inquiry conducted through desk research and interviews, supplemented by consulting other sources, are described and analyzed: the emergence context of Taquaril Museum, stages and processes of its creation and its establishment, faced challenges and prospects for continuity. The study is made from literature review about the development, the transformation and the diversification of the museums in the West. These ones considered as tools used in social processes of memories construction and identitys affirmation. Are focused the so-called new museology and the emergence, in recent years, of socially oriented museums, engaged in satisfy society interests in a more democratic way. It is addressed the current national development context of inclusive cultural policies and a specific national public policy for the museum sector. It is observed that the trajectory of the Taquaril Museum, within this scenario, is impacted by agents and circumstances of the internal context of the institution and of the local community. And it is also impacted by the external environment, especially the operation of Ibram and the program Pontos de Memória. It is concluded that there are still obstacles to be faced by Taquaril Museum for its consolidation as a community museum. / O Museu do Taquaril, criado em 2010, é estudado como instituição museológica contemporânea, como museu comunitário, como iniciativa impulsionada pelo setor governamental por meio da Ação-Piloto do programa Pontos de Memória, do Instituto Brasileiro de Museus (Ibram). Com investigação realizada por meio de pesquisa documental e entrevistas, complementada por consulta a outras fontes, são descritos e analisados: o contexto de surgimento do Museu do Taquaril, etapas e processos de sua criação e de seu estabelecimento, desafios enfrentados e perspectivas para sua continuidade. O estudo é feito a partir de revisão de literatura sobre o desenvolvimento, a transformação e a diversificação dos museus no ocidente, observados como ferramentas utilizadas em processos sociais de construção de memórias e afirmação de identidades. São focalizados a chamada nova museologia e o surgimento em anos recentes de museus de cunho social, associados ao atendimento mais democrático de interesses da sociedade. É abordado o contexto nacional atual de implementação de políticas culturais inclusivas e de uma política pública nacional específica para o setor museal. Observa-se que a trajetória do Museu do Taquaril, iniciativa inserida nesse cenário, é impactada por agentes e circunstâncias do contexto interno da instituição e da comunidade local, assim como do contexto externo, especialmente a atuação do Ibram e o programa Pontos de Memória. Conclui-se que ainda há obstáculos a serem enfrentados pelo Museu do Taquaril para sua consolidação como museu comunitário.