Master C<strong>la</strong>sses (MC)Se<strong>de</strong> C<strong>en</strong>tro Cultural <strong>de</strong> <strong>la</strong> Cooperación “Floreal Gorini”Lunes 3 <strong>de</strong> septiembre————————————————————————————————————————————————————————————————————————————————————————————————————————————————MC1 Sa<strong>la</strong> Meyer Dubrovsky (3° piso)El racismo <strong>en</strong> cuestión: posibilida<strong>de</strong>s <strong>de</strong> investigación <strong>en</strong> <strong>historia</strong> <strong>oral</strong>ALBERTI, Ver<strong>en</strong>a y PEREIRA, Amilcar Araujo10 a 13 horas————————————————————————————————————————————————————————————————————————————————————————————————————————————————MC2 Sa<strong>la</strong> Hector P. Agosti (2° piso)The ‘trauma’ question: Recording and pres<strong>en</strong>ting <strong>oral</strong> testimoniesof viol<strong>en</strong>ce in post-authoritarian societiesFIELD, Sean10 a 13 horas————————————————————————————————————————————————————————————————————————————————————————————————————————————————MC3 Sa<strong>la</strong> Laks (3° piso)Historia <strong>oral</strong>, ecología y medio ambi<strong>en</strong>teMONTYSUMA, Marcos Fabio Freire10 a 13 horas————————————————————————————————————————————————————————————————————————————————————————————————————————————————MC4 Sa<strong>la</strong> Anibal Ponce (2° piso)Qualitative Data Collection and Analysis using NVivo9: An Introductionfor Oral HistoriansGUTIERREZ, Juan José10 a 13 horas————————————————————————————————————————————————————————————————————————————————————————————————————————————————MC5 Sa<strong>la</strong> Meyer Dubrovsky (3° piso)Archiving <strong>oral</strong> history recordingsPERKS, Rob y STEWART, Mary14 a 17 horas————————————————————————————————————————————————————————————————————————————————————————————————————————————————MC6 Sa<strong>la</strong> Laks (3° piso)Viol<strong>en</strong>cia e interculturalidad <strong>en</strong> <strong>el</strong> nuevo manejo discursivo sobre<strong>la</strong> Pachamama y lo indíg<strong>en</strong>aRIVERA CUSICANQUI, Silvia14 a 17 horas————————————————————————————————————————————————————————————————————————————————————————————————————————————————MC7 Sa<strong>la</strong> Aníbal Ponce (2° piso)Experi<strong>en</strong>cias <strong>de</strong> resist<strong>en</strong>cia <strong>en</strong> <strong>el</strong> <strong>siglo</strong> XX ante mo<strong>de</strong>los económicos:<strong>el</strong> caso <strong>de</strong> <strong>la</strong>s comunida<strong>de</strong>s minerasMEZA, Ada Marina Lara14 a 17 horas14
Sesiones parale<strong>la</strong>s / Parall<strong>el</strong> sessionsMartes 4 <strong>de</strong> septiembre9 a 11 horasC<strong>en</strong>tro Cultural G<strong>en</strong>eral San Martín——————————————————————————————————————————————Subtema / Subteme 1Patrimonio museos e <strong>historia</strong> <strong>oral</strong> / Heritage, museumsand Oral History1.1 Archivos y lugares <strong>de</strong> <strong>la</strong> memoria / Archives andp<strong>la</strong>ces of memorySa<strong>la</strong> C - Mesa / Session 1Patrimonio, museos e Historia Oral / Heritage, museumsant Oral HistoryCoordinan / Chair: Nélida Agüeros e Inés Rodríguez Agui<strong>la</strong>r——————————————————————————————————————————————BUARQUE <strong>de</strong> HOLLANDA, Bernardo Borges y MENDONCA LOPES RIBEIRO,Ludmi<strong>la</strong>Football, Memory and Heritage: A project for thecreation of a collection of Oral History interviews forthe Football MuseumThis paper aims to show the initial results from the project “Football, Memoryand Heritage: a collection of Oral History interviews for the Football Museum.”This research is performed at the C<strong>en</strong>ter for Research and Docum<strong>en</strong>tation onContemporary History of Brazil (FGV / Rio <strong>de</strong> Janeiro) in partnership with theFootball Museum (São Paulo / Brazil). The paper shows, on the one hand, howthe interest in soccer and its patrimonial and institutional aspects in Braziliansociety has be<strong>en</strong> increasing since the creation of collections of testimonies byinstitutions such as the Museum of Image and Sound in Rio <strong>de</strong> Janeiro (1965)and in São Paulo (1970), and the Football Museum, op<strong>en</strong>ed in 2008, which followsthe <strong>la</strong>test world expographic standards.In addition, this article seeks to explore the testimonies collected from formerp<strong>la</strong>yers of the Brazilian team, who p<strong>la</strong>yed in the 1958, 1962 and 1970 WorldCups, wh<strong>en</strong> the team won its third championship, in or<strong>de</strong>r to bring to discussionof how the complex re<strong>la</strong>tionships betwe<strong>en</strong> history and national memoryoperate in the sports universe.The c<strong>en</strong>tral argum<strong>en</strong>t to be raised here is that, in the discourse of former p<strong>la</strong>yerssuch as Djalma Santos and others still living, the nostalgia for a bygone eraof victories rekindles an important discussion to the collective imagination.The <strong>de</strong>marcation of boundaries betwe<strong>en</strong> a glorious past – since close to nationalroots – and a pres<strong>en</strong>t of <strong>de</strong>feats or failures marked by “forgetting” thetrue form of national p<strong>la</strong>y, activates a rhetoric – built not only by the athletesbut by an expressive fraction of the sporting press and the more g<strong>en</strong>eral publicopinion – in which the national sporting memory is se<strong>en</strong> as impregnated withrepres<strong>en</strong>tations associated with nostalgia, loss and ali<strong>en</strong>ation from a “gol<strong>de</strong>nage” of auth<strong>en</strong>tic Brazilian football.CLASEN <strong>de</strong> PAULA, DéboraEl lugar <strong>de</strong> <strong>la</strong> memoria: <strong>el</strong> acervo <strong>de</strong> <strong>historia</strong> <strong>oral</strong> <strong>en</strong> <strong>el</strong>Museo Municipal Parque <strong>de</strong> <strong>la</strong> Baronesa (P<strong>el</strong>otas, RioGran<strong>de</strong> do Sul, Brasil)Este trabajo ti<strong>en</strong>e como objetivo pres<strong>en</strong>tar <strong>el</strong> archivo docum<strong>en</strong>tal, más específicam<strong>en</strong>te<strong>el</strong> acervo <strong>de</strong> testigos, exist<strong>en</strong>te <strong>en</strong> <strong>el</strong> Museo Municipal Parque <strong>de</strong> <strong>la</strong>Baronesa localizado <strong>en</strong> <strong>la</strong> ciudad <strong>de</strong> P<strong>el</strong>otas. El Museo, antigua resi<strong>de</strong>ncia <strong>de</strong> <strong>la</strong>abastada familia Antunes Maci<strong>el</strong>, fue inaugurado <strong>en</strong> abril <strong>de</strong> 1982 y protegidohistóricam<strong>en</strong>te por <strong>el</strong> Patrimonio Histórico <strong>en</strong> 1985 volviéndose reconocido local<strong>de</strong> memoria <strong>de</strong> <strong>la</strong> ciudad. Su expografía compuesta por muebles, ut<strong>en</strong>siliosy textiles <strong>de</strong> difer<strong>en</strong>tes épocas y proce<strong>de</strong>ncias ti<strong>en</strong>e como propuesta pres<strong>en</strong>tar<strong>el</strong> contexto p<strong>el</strong>ot<strong>en</strong>se <strong>en</strong> <strong>la</strong> segunda mitad <strong>de</strong>l <strong>siglo</strong> XIX, período <strong>en</strong> que <strong>la</strong>ciudad vivía su apogeo económico <strong>de</strong>bido al <strong>de</strong>sarrollo <strong>de</strong> los sa<strong>la</strong><strong>de</strong>ros. Sinembargo, <strong>la</strong> casa que pasó por varias reformas, pres<strong>en</strong>ta innúmeros huecos<strong>en</strong> <strong>el</strong> que se refiere a sus transformaciones <strong>en</strong> <strong>la</strong> estructura interna, así como,<strong>de</strong> lo que se usó <strong>en</strong> sus difer<strong>en</strong>tes espacios. De esta forma, <strong>la</strong> utilización <strong>de</strong> <strong>la</strong><strong>historia</strong> <strong>oral</strong>, a través <strong>de</strong> <strong>la</strong>s <strong>en</strong>trevistas realizadas con miembros <strong>de</strong> <strong>la</strong> familiafue extremam<strong>en</strong>te importante para reconstituir parte <strong>de</strong> <strong>la</strong> <strong>historia</strong> <strong>de</strong> <strong>la</strong> casa.A<strong>de</strong>más, se permitió que afloraran difer<strong>en</strong>tes memorias acerca <strong>de</strong> <strong>la</strong> niñez vivida<strong>en</strong> <strong>el</strong> casarón construido <strong>en</strong> 1864.FRESSOLI, María GuillerminaEl vínculo <strong>en</strong>tre los modos <strong>de</strong> rememorar y lo s<strong>en</strong>siblea partir <strong>de</strong>l caso <strong>de</strong>l Museo Móvil <strong>de</strong> Fe<strong>de</strong>raciónEste trabajo se propone reflexionar sobre <strong>el</strong> Museo Móvil <strong>de</strong> Fe<strong>de</strong>ración (EntreRíos), <strong>el</strong> cual surge a partir <strong>de</strong> un alejami<strong>en</strong>to <strong>de</strong> los habitantes <strong>de</strong> Fe<strong>de</strong>ración<strong>de</strong>l museo tradicional <strong>de</strong> <strong>la</strong> localidad. De acuerdo a los gestores <strong>de</strong>l Museo Móvil,dicho distanciami<strong>en</strong>to es ocasionado por <strong>la</strong> tristeza que <strong>el</strong> viejo museoproduce a los habitantes <strong>de</strong> Fe<strong>de</strong>ración <strong>en</strong> tanto repres<strong>en</strong>ta para <strong>el</strong>los <strong>la</strong> ruina<strong>de</strong> un espacio comunitario perdido. Esta pérdida se re<strong>la</strong>ciona con una mudanzaabrupta que <strong>la</strong> totalidad <strong>de</strong> <strong>la</strong> gril<strong>la</strong> urbana <strong>de</strong>bió afrontar durante <strong>la</strong> últimadictadura, tras<strong>la</strong>do que -acor<strong>de</strong> con <strong>la</strong>s políticas vig<strong>en</strong>tes <strong>en</strong> ese mom<strong>en</strong>to<strong>de</strong>struyósus prácticas y espacios <strong>de</strong> sociabilidad. Ante <strong>la</strong> resist<strong>en</strong>cia que manifiestanlos habitantes <strong>de</strong> Fe<strong>de</strong>ración fr<strong>en</strong>te <strong>el</strong> viejo museo, es que <strong>el</strong> mismoconcibe <strong>el</strong> diseño <strong>de</strong> un dispositivo móvil <strong>de</strong>stinado a recoger los recuerdos <strong>de</strong><strong>la</strong> <strong>historia</strong> local <strong>en</strong> <strong>el</strong> acto mismo <strong>de</strong> tras<strong>la</strong>do sobre <strong>la</strong> gril<strong>la</strong> urbana, esta acción<strong>de</strong>sp<strong>la</strong>za <strong>en</strong> cada contexto los modos <strong>en</strong> que <strong>el</strong> acerbo <strong>de</strong>l museo es <strong>de</strong>finido apartir <strong>de</strong> <strong>la</strong> situación <strong>de</strong> mirada que cada nuevo <strong>en</strong>torno ofrece (<strong>el</strong> barrio, unaescue<strong>la</strong>, hogar <strong>de</strong> ancianos o <strong>la</strong> p<strong>la</strong>za pública). D<strong>en</strong>tro <strong>de</strong> ese sistema <strong>de</strong> acción,es <strong>de</strong> interés <strong>de</strong> este trabajo observar los modos <strong>de</strong> rememoración que <strong>el</strong>Museo Móvil construye o habilita. Específicam<strong>en</strong>te nos preguntamos cómo sereformu<strong>la</strong>n, <strong>en</strong> <strong>la</strong> acción <strong>de</strong>l tras<strong>la</strong>do y <strong>la</strong> inclusión <strong>de</strong> <strong>la</strong> conting<strong>en</strong>cia <strong>de</strong> cadasituación <strong>de</strong> apertura, los modos <strong>en</strong> que <strong>el</strong> pasado es dado a ver. A partir <strong>de</strong> <strong>la</strong>re<strong>de</strong>finición que <strong>el</strong> museo <strong>de</strong> Fe<strong>de</strong>ración afronta ante <strong>la</strong> resist<strong>en</strong>cia ocasionadapor una memoria herida fr<strong>en</strong>te al viejo museo, nos proponemos reflexionarsobre <strong>el</strong> vinculo <strong>en</strong>tre lo s<strong>en</strong>sible y <strong>la</strong>s formas <strong>de</strong> rememoración crítica quepue<strong>de</strong>n formu<strong>la</strong>rse <strong>de</strong>ntro <strong>de</strong>l espacio museístico; para luego <strong>de</strong>sarrol<strong>la</strong>r unareflexión más g<strong>en</strong>eral <strong>en</strong> torno a <strong>la</strong> re<strong>la</strong>ción <strong>de</strong> los museos <strong>de</strong> memoria y losregím<strong>en</strong>es <strong>de</strong> s<strong>en</strong>sibilidad <strong>en</strong> <strong>la</strong> formu<strong>la</strong>ción <strong>de</strong> mo<strong>de</strong>los <strong>de</strong> gestión críticos.GEHRKE, Cristiano y PEIXOTO, LucianaThe Oral History in MuseumsThe ethnographic museum of Colônia Maci<strong>el</strong> (Maci<strong>el</strong> Colony) – having as themethe memories of the immigrant <strong>de</strong>sc<strong>en</strong>dants with Italian speech that colonizedthe rural portion of the P<strong>el</strong>otas’s municipality – was implem<strong>en</strong>ted betwe<strong>en</strong>2004 and 2006, by the Teaching and Research Laboratory in Anthropologyand Archaeology – LEPAARQ (in Portuguese) with the technical staff support,linked to the Institute of Human Sci<strong>en</strong>ces of Fe<strong>de</strong>ral University of P<strong>el</strong>otas.Result by a research project, <strong>de</strong>v<strong>el</strong>oped from April 2000 to May 2002 whichaimed to rescue the historic memory of formation and trajectory of P<strong>el</strong>otas’sItalian community, including the rural colony and urban community of immigrantsand which inclu<strong>de</strong>d <strong>oral</strong> history studies, iconography and archeology /material culture, the museum turned out to be an instrum<strong>en</strong>t to exploitation ofi<strong>de</strong>ntity by Italian immigrants <strong>de</strong>sc<strong>en</strong>dants.The museum is located at Colônia Maci<strong>el</strong>, 8th district of P<strong>el</strong>otas/RS/Brazil, approximat<strong>el</strong>y40 (forty) kilometers from the city c<strong>en</strong>ter. The choice of this colonyas c<strong>en</strong>tral, core of the research <strong>de</strong>v<strong>el</strong>opm<strong>en</strong>t, was based on two criteria: a) wasi<strong>de</strong>ntified as the most repres<strong>en</strong>tative of Italian pres<strong>en</strong>ce in P<strong>el</strong>otas (ANJOS,1995); b) <strong>de</strong>spite having be<strong>en</strong> established by the imperial governm<strong>en</strong>t, wasnever recognized as such by the historiography, thereby causing discont<strong>en</strong>t forthe community of Italian <strong>de</strong>sc<strong>en</strong>t, who wants historic recognition of ColôniaMaci<strong>el</strong> as the 5th Italian colony in Rio Gran<strong>de</strong> do Sul/Brazil.LAGUNAS, Cecilia; RAMOS, Mariano y CIPOLLA, DamiánHistorias <strong>de</strong> vidas y patrimonio cultural <strong>de</strong> <strong>la</strong>s mujeresa través <strong>de</strong> los museosEste trabajo ti<strong>en</strong>e como objetivo abordar <strong>el</strong> patrimonio cultural <strong>de</strong> <strong>la</strong>s mujeresreflejado a través <strong>de</strong> los museos. Para <strong>la</strong> realización <strong>de</strong> <strong>la</strong> investigación seutilizará <strong>la</strong> bibliografía pertin<strong>en</strong>te a <strong>la</strong> temática y los testimonios <strong>oral</strong>es a través<strong>de</strong> <strong>la</strong>s mujeres refer<strong>en</strong>tes y creadoras <strong>de</strong> estos espacios. De esta forma <strong>la</strong>utilización <strong>de</strong> <strong>la</strong> <strong>historia</strong> <strong>oral</strong> nos permite <strong>el</strong> abordaje <strong>de</strong> <strong>la</strong> temática a partir<strong>de</strong> <strong>la</strong> recuperación, interpretación y difusión mediante <strong>la</strong> diversidad <strong>de</strong> experi<strong>en</strong>ciassociales <strong>de</strong> aqu<strong>el</strong><strong>la</strong>s mujeres <strong>en</strong> re<strong>la</strong>ción con <strong>el</strong> patrimonio cultural <strong>de</strong><strong>el</strong><strong>la</strong>s a través <strong>de</strong>l tiempo. El uso <strong>de</strong> este método nos permitirá <strong>la</strong> construcción<strong>de</strong> fu<strong>en</strong>tes históricas y <strong>la</strong> posibilidad <strong>de</strong> recuperar <strong>la</strong> memoria <strong>de</strong> un <strong>en</strong>tramado<strong>de</strong> <strong>la</strong>zos sociales. Es <strong>de</strong>cir, lograr <strong>la</strong> participación <strong>de</strong> todos aqu<strong>el</strong>los que no<strong>en</strong>tran <strong>en</strong> <strong>la</strong> narrativa histórica dominante y están aus<strong>en</strong>tes <strong>en</strong> <strong>la</strong>s fu<strong>en</strong>tes tradicionales.Aunque si bi<strong>en</strong> no es <strong>el</strong> único método que podría utilizarse para <strong>la</strong>transformación <strong>de</strong> <strong>la</strong> <strong>historia</strong>, es <strong>el</strong> más a<strong>de</strong>cuado que <strong>en</strong>contramos para estainvestigación. Por lo tanto, los <strong>historia</strong>dores, que recurr<strong>en</strong> a <strong>la</strong> <strong>historia</strong> <strong>oral</strong>como instrum<strong>en</strong>to para <strong>de</strong>sarrol<strong>la</strong>r y ampliar los conocimi<strong>en</strong>tos <strong>de</strong>l pasado,ocupan <strong>el</strong> lugar privilegiado <strong>de</strong> editor, ya que pue<strong>de</strong> p<strong>en</strong>sar que evi<strong>de</strong>ncia s<strong>en</strong>ecesita, buscar<strong>la</strong> y conseguir<strong>la</strong>, produci<strong>en</strong>do docum<strong>en</strong>tos que funcionaráncomo registro para <strong>el</strong> futuro.15
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