Categorias
Ecomuseus educação patrimonial

Museums are things too serious to be taken seriously!

One of the symptoms of the decline of Portuguese museums is the atrocious impossibility of them to manifest the Laughter.

When we enter a museum, the smiles we see in its visitors are rare. There is no room for laughter. The objects embodied in his plinths do not elicit any laughter. When we leave museums we do not feel any happiness, although “surveys to the satisfaction of visitors” are one of the current tools of what can be called “cultural marketing”, they never ask if we are happy. It is true that they ask, on a scale of 1 to 5 if we like, if we will return, if we recommend a friend. But happiness is an absence. Never ask if we laugh, if we are happy, though happiness is a criterion of satisfaction.

So little, in the current search of the ICOM community, for a new museum concept (https://icofom.mini.icom.museum/zoom-meeting-with-co-chairs-of-icom-define/), we checked the mobilization of the search for the dimension of happiness and laughter in the museum. We can then verify a correspondence between this absence of nouns or adjectives directly related to the generative tree of laughter (and happiness) and the practices of so-called museology (traditional or objects).

What I am trying to show, in my thesis, is whether in museums we could be happier, or stay happier, we would be closer to a comprehensive museum. A museum that achieves a design of relevance to society, in addition to the great collection of objects of hegemonic memories. And there are several examples of such experiences.

In Jean Luc-Godard’s film “Band à Part” (1964) the protagonists Anna Karina, Samy Frey and Claude Brasseur try to break the record for the fastest visit to the Louvre. (https://youtu.be/J9i771qYngY). This experience, which is a practice of happiness and well-being, warned, in the protesters of the sixties of the last century, about the need to open museums to the world. “Let the Seine cross the Louvre,” wrote the sixty-eight rebels on the walls of the Museum. It was then a sign of change, which Santiago sought to interpret.

It’s been a few years, in a meeting I had at the Museu dos Coches in Lisbon where I did some reflections on the proposals for work in museology and launched some challenges to museums in Portugal: With the title “a museology that is useless for life is useless”, As is customary in our land, these kinds of ideas are the target of the piece of “gerontocracy” illuminated and forgotten in the garbage cans of seminaries built for statistical purposes and career management.

The structural idea of his work was based on a reading (or search) of the need to adapt museological processes to the times of the city. This is because, at the time, I had the perception that Museums, as places where processes of patrimonial memory took shape, were, as they still remain, increasingly out of step with the rhythms and senses of the world. Museums, in Portugal, are more and more places of other times with narratives where analogue monovision emerges as more and more frightening forms in its fake production configuration.

For those who have the patience to observe that in museums there are no laughs or even a few smiles, this is visible to the naked eye. These post-pandemic times are an example of this. As we witness in the city the enormous happiness of this reunion with life and with others, now that the Pandemic is under control, museums continue with “their usual business” of selling cultural programs of yesteryear, stereos and without feeling the pulsation of life.

Despite everything, there are proposals from social museology to enhance laughter. To work with happiness. The proposals of Pierre Mayrand, in this country of ours, and a few years ago I spoke of it, are an example of this, although as usual things have gone unnoticed in these museologies which, for fashion reasons, claim to be critical. The debate is even denser than it may seem at first glance, rooted in Renaissance debates, as we will speak elsewhere.

But let’s go to the absence of the laugh in the city’s museums.

Returning from an experience in Barcelona, I was amazed to see that the city was full of young people laughing in the streets. Some of them gathered in the museums of the “Barrio Chinó/La Raval”, occupied bookshops, played outdoors and extolled what made them happy: -Live life! It was an experience of happiness “walking the streets remembering Francisco Ferrer, the educator shot after the tumult of the tragic week of 1909.

In our capital Lisbon, I faced the city without laughter, anxious, without youth. Closed bookstores, no people. Cultural centres and lifeless libraries. It is true that the population has aged. It is true that young people in the country have an appetite for riparian areas where access to beers is easy and uncontrolled. It is true that the schools have resumed, and as such the necessary occupation the daily. But still, what justifies the absence of laughter in the city’s proposals? And in their museums?

There are some hypotheses that are worth thinking of as a critical exercise. One of them is the “aging” of museums. All social organizations have a life cycle. A youth, irreverent and creative; a maturity when its services extend to society, and a definition, when its services cease to adjust to the rhythms and needs of the city.

Social organizations, as living bodies, are subject to the laws of nature and need to show their social relevance. IF they do not show their value to society, they cease to be relevant. They define and society stops counting on them. They are replaced by other forms of organization.

It is true that there is always the possibility of adaptation and regeneration of social organizations. If museums are aging they may eventually reinvent themselves, recreate themselves. They will be able to take on new forms and new qualities, as intended by this new conceptual search.

This is clear, if this question, of its social value, is a problem, as I actually think it is, although many still do not understand it.

To simplify, we can think that this symptom of lack of adaptation, this kind of social Darwinism, applied to the analysis of the functions of museums, is nothing more than the entropy that general theory of systems shows us. Any system is permanently in the process of producing synergies and entropies. Will that theory work for museums?

If so, a museum, or museums in Portugal, as social organizations, observed from the general theory of systems, as a set of interconnected units that perform a set of functions relevant to society, in what situation are they?

If we try to observe the way they relate to society, we can observe their haemostasis and their entropies. The key to understanding the balance of the system is haemostasis. But when systems are analysed, their entropies are essentially sought. This is the force that competes for its deterioration.

And here we are led to the realization, which stems from the post-pandemic observation, that the impossibility and absence of laughter in Portuguese museums is a sign of its entropy. Of its aging. From its decay as I have already glazed here. One solution to the problem would be to let The Laughter get in to Portuguese museums. If you knew how to do it…

Categorias
Ecomuseus educação patrimonial

The Costume Museum of São Brás de Alportel and the signs of the decadence of museums in Portugal?

The signs of the decadence of museums in Portugal have been increasing sharply over the years of the Pandemic. The case of the Museu do Traje de São Brás is a paradigmatic example.

There have been some references to the case in the regional press, with little emphasis on national channels, with particular relevance to the silence of organizations representing museums and their professionals.

APOM, through the voice of its president João Neto, has sought to intervene constructively (https://www.sulinformacao.pt/2021/08/museu-do-traje-de-sao-bras-pode-tentar-reconciliacao-atraves- de-exposure-on-mercy/) to overcome conflicts.

The warning signal dates back to June, with the attentive José D’ Encarnação giving the cry “Save the Museum” (https://notascomentarios.blogspot.com/2021/07/vamos-salvar-o-museu.html?fbclid =IwAR2IGylM0A5kVJ7XleBiqFFJ8BwR3DC8KTugmK8MkIBxqbkhJeUi3QzlYbI), accompanied days later by the ever-attentive Dália Paulo (https://www.sulinformacao.pt/2021/08/museu-do-traje-de-o-patrio-sao-human-saobras) -cultural-to-safeguard/)

On the part of ICOM nothing emerged. One might think that the fairs would divert attention. Despite the relevance of the dispute about the free admission of museum professionals in temporary exhibitions of public facilities (https://icom-portugal.org/noticias/), yet another sign of decadence, the case of São Brás seems to be absent from the schedule. A sign of his rampant elitism.

Even more shocking will be the absence of a public position from MINOM Portugal. Emanuel Sancho was president of this ICOM Affiliate Structure, except for three mandates (between 2008-2018), with the Museum of São Brás having hosted relevant initiatives of Social Museology, some of which with international references. The absence of a public position is symptomatic of its decay after the Algarve decade.

But what counts in these cases are the hugs of solidarity that Emanuel Sancho deserves, and the support that his museum will be able to gather in this difficult phase, in the face of demonstrating its relevance in São Brás and for Portuguese museums. (Why being a network shouldn’t everyone be in solidarity when a unit is affected?)

The question, as I understand it, can be summed up in a few words. The Costume Museum of São Brás is supervised by the Santa Casa da Misericórdia. It was the solution found in the early nineties of the last century, when local forces, animated by the dynamics of the local development of Barrocal and Serra do Caldeirão, anchored in a network of local cultural animators, proposed the creation of a “cultural center” in the space of the old mansion inherited by the institution. It was configured in the form of a museum, in a proposal to renew the institutional figure, welcoming community initiatives, serving the community through the work on its memory, and through its work it gained an international dimension. It is this relevant role that the new merciful table legitimately challenges, and that it tries to domesticate for purposes that do not escape readings about the repositioning of local actors, already with more complex objectives. Sifting, the signal that is perceived is once again the voice of the owner taming the local initiative

The externalities of museums are always difficult to account for for grocers and wild ducks, more interested in building tall and insisting on solutions from the past. They are short term views. We have witnessed for decades the transformation of the landscape, social and natural, that has renewed this region. Dynamics of transformation are present that this museum seeks to take advantage of, asking it now to become a docile and obedient museum of the past. If this museum does not understand the opportunities to face social challenges, it will be like so many other dead, lifeless places, fed by people from the past and occasional curators.

That is why I speak of the decay of Portuguese museums, which remain incapable of demonstrating their relevance in society.

Antero de Quental, back in 1871, lectured on the “Causes of the Decay of Peninsular Peoples”. There were, according to his positive thinking, and if memory serves me correctly, three causes: religious, political and economic. Religious, because inquisitorial thinking had clouded Renaissance creativity; Political, because centralism had annihilated the dynamics of the councils; and economic, because the atavism of the slave trade (from the prey of the Discoveries) had crippled the creative force of the creative cities.

By evoking the poet Antero at the end of a hundred and fifty years, we have to give some context to this generation of seventy who tried, without great success, to renew the cultural life of the nation. Positive thinking, the search for causes with a deterministic process of evaluating its consequences, was dominant in time. Also the theme of Decadence was fashionable. In Literature and History: Fed by a late romanticism aside; and Arnold Tonybee’s March to Progress (civilization) readings. Herculano and Martins undertook to give them relevance.

But let’s go to the signs. From my point of view all the signs are there. The new religion, evoking sustainability, evokes money that does not enter the museum’s cash register, hindering its autonomy, centralizing decision-making and condemning the museum to a vegetative, lethargic state. Unless, of course, it bows to the predatory logics of tourism and the circumstantial power of this time and the agendas of its actors.

Signs in a country that is indignant at the fragmentation of its heritage objects and remains unable to face the great transition that complexity in the world shows us in these times of anger.

PS: Nor will it be surprising the silences of the universities that cultivate critical studies of heritage. There will also be signs…

Categorias
Ecomuseus

Memory house in Guimarães

https://www.casadamemoria.pt/

Território e ComunidadeExposição permanente

A Casa da Memória de Guimarães é um centro de interpretação e conhecimento que dá a conhecer, através da exposição Território e Comunidade, várias perspetivas da memória de um lugar.

No espaço expositivo da Casa da Memória poderá encontrar imagens, histórias, documentos e objetos que permitem conhecer diferentes aspetos da comunidade vimaranense através de um largo arco temporal: da Pré-História à Fundação da Nacionalidade, passando pelas Sociedades Rurais e Festividades e Industrialização do Vale do Ave, até à Contemporaneidade. Há muitas formas de visitar a Casa da Memória, tantas quantos os seus visitantes, mas a sua programação reforça-o com convites regulares para visitas guiadas ou oficinas que multiplicam os olhares que podemos ter sobre este espaço.

_

Guia da Exposição Download 

Categorias
Ecomuseus educação patrimonial

Poetics of autonomy XXI – The Place of Museums

On May 18th, anothehttps://icom.museum/en/resources/standards-guidelines/museum-definition/r of the conventional dates is celebrated, in this case the International Museum Day (DIM in disciplinary slang), this year dedicated to the theme “Museums for equality: diversity and inclusion”.

However, the lack of definition about what is and is not a museum persists. After the impasse generated by the revolt of the “national committees” in the middle of the Kyoto General Assembly, in 2019, where the decision on the proposed definition was postponed, the executive committee ended up renaming a new commission to study the subject.

I have already stated my opinion several times
about the futility of this debate. To define a thing is to categorize it. Create limits on what is included and what is not included. The problem with defining what a museum is is that it is necessary to distinguish what the formal institution “museum” (organization) is about, what it does there (and the relationships that are established there (processes).

Now, we have known for a long time that the processes linked to heritage and memories, as social relations, happen in the whole society and in all social organizations, on which they build their mnemonic narratives of legitimation of power. It is not an exclusive attribute of the “Museum”.

However, there is an organization called “Museum”, which being a social construction, likes to portray its history as a “sacred place”. A place of contemplation that assumes as exclusive, because in it there are objects that do not exist, because they are endowed with an essence. This individuality is only accessible because it is mediated by a “priest”. The definition of “Museum” as an organization is a result of this debate over time, which reflects the different commitments about what is sacred and exclusive with criteria and categories established in a time of regularities.

Walter Benjamim, in his “Theses on the“ Philosophy of History ”, which I remember having a book in an edition of Assírio e Alvim (About Art, Technique, Language and Politics, 1982), speaks of the 19th century as a century of Museums. Like a time, where the nations under construction created narratives about an inherited past materialized in objects filled with aura (symbolic objects that had the function of allowing a transcendence of the individual and collective being).

Throughout the twentieth century, museums and their heralds have been cannibalized in different ways through different channels. They lived for a long time with other institutions of memory, (archives, libraries, universities), took the form of institutions (national museums, military museums, business museums, municipal museums), functionally specialized (art museums, ethnology, archeology, of natural history and philosophy of science). In some cases, they are modernized by building their own object (science and technology museums), in other cases by incorporating the social (of communities and territories).

Within the museum itself, where general and specific museology was stabilized, instability was installed, first through educational services (1950s), then through community museums (1970s), complaining about the “integral museum” and “museum as an instrument of development” (eco museum).

Between the first definitions of museums and their successive mutations and adjustments (for a history of the definition see hear, we can find the various dialogues and tensions experienced in different times that will influence the readings of the museum concept. Over time this concept varies and adapts. The current discussion is revealing of the impasse reached between the various visions in tension.
In the next DIM2020 we have an old definition that some defend, others consider as small to contain the new impulses. A definition that is announced to be reformulated and that pleases some and deserves doubts from several professionals.

What this means is that instability is installed, and as much as the current definition pleases many, it has already changed. Not to recognize the change is to do like the ostrich that hides its head in a hole to hide.

Will it be able to accept the challenge of Diversity and Social Inclusion?

Categorias
Ecomuseus

Guinea-Bissau Museums (Chronicle of Guinea VIII)

On the seventh day in Bissau I visited the Ethnographic Museum of Guinea. Created in colonial times, mainly with wooden statuary of the Nadau people, it went through many vicissitudes. After independence, a display was made of the estate in Nigeria that did not return. In the civil war, the building housed the interior ministry and the pieces went to the Amílcar Cabral University.

Albano Mendes, the director expressed concerns about the future. He accompanied us on a visit to the two rooms of the museum. There is a lack of conservation, a lack of inventories, a lack of documentation. You have problems in the audiovisual area. In Guinea no training in heritage.

Museums in Guinea:

  • Military Museum,
  • Ethnographic Museum,
  • Cacheu Memorial.
  • Bafafá Museum.
  • Guleji Museum and Dombali Eco-Museum in National park.

Classified Natural Heritage
• Buê National Park
• Cantanhez National Park
• Dumboli National Park
• João Vieira and Poilão National Park
• Cufada Lagoon Natural Park
• Orange National Park
• Cacheu River Terrafe National Park

Categorias
Billets Ecomuseus

Museoak/Museos/Musées/Museus – Pirinioak/Pirineos/Pyrénées/Pirineus – Mintegia/Seminario/Séminaire/Seminari

Abenduak 13 / 13 de diciembre / 13 décembre / 13 de desembre (2019)

Universidad del País Vasco/Euskal Herriko Unibertsitatea

Hezkuntza, Filosofia eta Antropologia Fakultatea

Facultad de Educación, Filosofía y Antropología

Donostia-San Sebastián

Mintegia / Seminario / Séminaire / Seminari

Museoen kudeaketa Pirinioetan: indarguneak eta ahuleziak

Gestionar museos en los Pirineos: fortalezas y debilidades

Gérer des musées dans les Pyrénées: forces et faiblesses

Gestionar museus als Pirineus: fortaleses i debilitats

Mintegi honen helburua Pirinioetako museoen kudeaketan ematen diren indarguneak eta ahuleziak aztertzea eta horiei buruz eztabaidatzea da. Horretarako mahai-inguru batzuk antolatuko dira, eta bertan Pirinioetako zenbait museotako arduradunek parte-hartuko dute. Indarguneei eta ahuleziei buruzko eztabaidek hiru ardatz izango dituzte: (1) ekitaldiak, (2) bertako herritarren parte-hartzea, eta (3) kultur turismoa sustatzea. Halaber, parte-hartzaileek  beren museo-guneen testuinguru sozioekonomikoa eta kudeatzeko dituzten aurrekontuak azalduko dituzte. Mintegian bertan esandakoan oinarrituz, ondorio batzuk zehaztuko dira eta PATRIM+ proiektuan txertatuko dira.

Mintegi hau Landa Ondare- eta Berrikuntza-Guneen Piriniotar Sarea-PATRIM+ proiektuaren baitan antolatu da.

El objetivo de este seminario es analizar y debatir acerca de las fortalezas y debilidades que se plantean en la gestión de los museos de los Pirineos. Para ello se constituirán unas mesas de debate en las que participarán responsables de museos situados en los Pirineos. El debate acerca de las fortalezas y debilidades girará en torno a los siguientes tres ejes: (1) actividades, (2) participación de la población local, y (3) fomento del turismo cultural. Asimismo, los participantes presentarán el contexto socioeconómico en el que se ubican sus centros y los presupuestos con los que cuentan para gestionarlos, con el objetivo de encuadrar el debate.  A partir del seminario se elaborarán unas conclusiones que serán incorporadas al programa PATRIM+

Este seminario se organiza en el marco del proyecto Red Pirenaica de Centros de Patrimonio e Innovación Rural-PATRIM+

            L’objectif de ce séminaire est d’analyser et de débattre des forces et des faiblesses qui apparaissent dans la gestion des musées dans les Pyrénées. À cette fin, quelques tables rondes seront organisées, auxquelles participeront des responsables de musées situés dans les Pyrénées. Le débat sur les forces et les faiblesses s’articulera autour des trois axes suivants: (1) activités, (2) participation de la population locale et (3) promotion du tourisme culturel. Les participants présenteront le contexte socio-économique de leurs équipements et les budgets dont ils disposent pour les gérer, afin de poser le cadre des débats. A l’issue du séminaire, des conclusions seront élaborées et intégrées au programme PATRIM+.

Ce séminaire est organisé dans le cadre du projet de Réseau pyrénéen des centres d’innovation et de patrimoine rural-PATRIM+.

L’objectiu d’aquest seminari és analitzar i debatre sobre les fortaleses i debilitats que es plantegen en la gestió dels museus dels Pirineus.  Per aconseguir-ho es constituiran unes  taules de debat en què participaran responsables de museus situats en els Pirineus. Aquest debat girarà al voltant dels següents eixos: (1) activitats, (2) participació de la població local i (3) foment del turisme cultural. Tanmateix, els participants presentaran el context socioeconòmic en el qual es troben els seus centres i els pressupostos amb què compten per a la seva gestió, amb l’objectiu d’emmarcar el debat. A partir del seminari s’elaboraran unes conclusions que seran incorporades al programa PATRIM+.

Les Jornades s’organitzaran en el marc del projecte Xarxa Pirinenca de Centres de Patrimoni i Innovació Rural-PATRIM.

Behin-behineko egitaraua / Programa provisional / Programme provisoire 

Hitzaldia / Ponencia / Conférence / Ponència

Diaz Balerdi, Iñaki (Universidad del País Vasco/Euskal Herriko Unibertsitatea, PATRM+)

Grau, Luis (ICOM-España y Museo de León)

Mahai-inguruak / Mesas de debate / Tables rondes / Taules de debat

Aguirre, Ainhoa (Museo de las Brujas/Sorginen Museoa)

Aguirre, Cristina (K6 Gestión Cultural-Igartubeiti, PATRIM+)

Chaboussou, Pauline (Communauté de Communes Couserans-Pyrénées, PATRIM+)

Del Valle, Carla (Musèu dera Val d’Aran)

Macé, Christine (MúSIC Musée des Instruments et des cultures du monde Céret)

Macé, Paul (MúSIC Musée des Instruments et des cultures du monde Céret)

Mur, Jorge (Espacio Pirineos, PATRIM+)

Perisé, Eva (Museu Hidroelèctric de Capdella)

Planas de la Maza, Marta (Àrea de Museus i Monuments del Ministeri de Cultura, Joventut i Esports d’Andorra. Museu Casa Rull)

Serrano, Roberto (Museo Etnológico de San Juan de Plan)

Subias, Begoña (Museo Ángel Orensanz y Artes del Serrablo)

Vilardell, Roser (Museu Etnogràfic de Ripoll)

Ondorioak / Conclusiones / Conclusions / Conclusions

Abella, Jordi (Ecomuseu de les Valls d’Àneu, PATRIM+)

Arbués, Clara (Museo Diocesà d’Urgell)

Antolatzaileak / Organizadores / Organisateurs / Organitzadors:

Universidad del País Vasco/Euskal Herriko Unibertsitatea (UPV/EHU)

Ecomuseu de les Valls d’Àneu

Communauté de Communes Couserans-Pyrénées

Argibideak / Información / Information / Informació:

Ecomuseu de les Valls d’Àneu

Carrer del Camp, 22-24

25580 Esterri d’Àneu (Lleida)

Tel. 973 62 64 36

ecomuseu@ecomuseu.com

Categorias
Billets Ecomuseus

Espaço EVOA Lezíria do Tejo

O espaço EVOA – Espaço de Visitação e Observação de Aves, localizado na Margem Sul do Rui Tejo, com acesso a partir da saída da Ponte de Vila França de Xira na EN 10 é um projeto apoiado pela ABLGVFX – Associação de Beneficiários da Lezíria Grande de Vila Franca de Xira , Aquaves , a Câmara Municipal de Vila Franca de Xira, a Companhia das Lizírias, a Reserva Natural do Estuário do Tejo  e a  LPN_ Liga de Proteção da Natureza

Trata-se dum espaço de visita e de interpretação da natureza (na sua componente de observação de aves), para observadores de aves, amantes de fotografia, escolas e famílias em passeio de fim-de semana.  Tem uma entrada paga, através da qual se têm acesso a um conjunto de facilidade disponíveis na casa. Espaço expositivo e auditório, loja e bar. Através da compra de bilhete acede-se ao espaço natural, que dispõe de um circuito com cerca de 5 km, percorrendo vários a zona lagunar. O espaço de observação dispões de casa abrigo. 

Os conteúdos expositivos são os clássicos deste tipo de centro de interpretação, com várias explicações sobre a importância da conservação da avifauna, no mundo e no estuário do Tejo. 

A ABLGVFX foi constituída em 1991, substituindo a Associação de Defesa da Lezíria Grande de Vila Franca de Xira, criada em 1947.

A AQUAAVES é uma associação ambiental par Conservação e Gestão de Ambientes Naturais, foi fundada em 1992 com o intuito de proteger os diversos habitats.

O Município de Vila Franca é um município estuarino, ocupando uma vasta área do rio incluindo os três do seus maiores  Mouchões: Lombo do Tejo, Alhandra e Póvoa. O

Companhia das Lezírias, é uma  das maiores companhia agrícolas,com uma área de cerca de 17,5 mil ha divididos dois núcleos: a  Charneca do Infantado (Benavente); e  a Lezíria Grande de Vila Franca de Xira. Deste último, onde se localiza o espaço EVOA (com cerca de 11 ha) tem uma  área incluída na Reserva Natural do Estuário do Tejo. Trata-se duma unidade agrícola que desenvolve atividades produtivas por pastagens biológicas, canteiros de arroz, sapais, valas, e uma atividade turística.

A Reserva Natural do Estuário do Tejo  é desde 1976 uma área de paisagem protegida  zona mais a montante do estuário com uma de 14.200 ha. Integra um importante conjunto de habitats naturais de aves migradoras, ´~

A LPN é a mais antiga associação ambiental (desde 1948)  é uma organização não governamental de ambiente (ONGA). Temo como missão  contribuir para a Conservação da Natureza e para a defesa do Ambiente, numa perspetiva de desenvolvimento sustentável, que assegure a qualidade de vida às gerações presentes e vindouras. Tem como actividade  desenvolvimento de ações de educação para  o património ambiental,  projetos de Conservação da Natureza; e actividade de sensibilização da opinião publica

Categorias
Billets Ecomuseus

Arqueologia Socialmente Útil

A questão da arqueologia publica ao serviço da sociedade tem vindo a ser debatida em diversos lugares, em particular como ferramenta de processos museológicos. Processo que se formam em contextos de parques arqueológicos, onde a comunidade é mobilizada para contar as suas histórias e convidada a participar nos trabalhos arqueológicos.

Os informantes locais são sempre uma boa fonte de informação para os arqueólogos que não conhecem a topografia dos territórios, nem as memórias a eles associados. São ferramentas de completam os processos científicos. 

Noutros lugares, como por exemplo na Irlanda do Norte, em Causuay, a arqueologia é usada para trabalhar as memórias dos conflitos locais, entre católicos e protestantes. Trata-se de uma ferramenta que usa a arqueologia como instrumento para resolução de conflitos. Nesta experiência, na Irlanda do Norte, marcada pelo conflito entre independentista e lealistas, a memórias conflitual é marcada por narrativas identitárias, que ao longo do século XX dividiram os espaço social. Residências de católicos e bares de católicos dum lado da rua. Do outro lado da rua protestantes. 

Noutra altura falaremos desta questão. o que a arqueologia chamou a atenção, é que no século XVII, quando se processa a colonização (no Irlanda chama-se Plantação) dos e escoceses, na vida urbana não  há segregação entre colonos e locais. A descoberta dessa evidência arqueológica leva os participantes da comunidade a procurarem os momentos em que a separação ou segregação se torna dominante. 

Através desse reconhecimento é possível reconstruir o futuro. A arqueologia pública tem esse mérito.

Em Portugal o trabalho de Manuel Calado dá-nos uma prespetiva dessa história com o livro “Arqueologia Pública em Portugal Balanço de Um Século,  in iN: Património arqueológico e cultura indígena. – Teresina, cop. 2011, p. 109-120. ISSN 978-989-8300-31-7.

 

Esta série de filmes disponíveis do Youtube dá conta duma Experiência no Parque argentino de La Puna 

https://youtu.be/bUS7IWxMyCE

https://youtu.be/Bqo-2d5jkFA

https://youtu.be/ieirG7aVoTw

https://youtu.be/aDs7QigJLYE

https://youtu.be/-G0C2vIk4jQ

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