Abstract
In the state of São Paulo, despite its more than five thousand kilometers of railroads and hundreds of stations, warehouses, and residential complexes destined for railway workers, only 12 items are listed by the Instituto de Preservação do Patrimônio Histórico e Artístico Nacional (IPHAN) (Institute of National Historical and Artistic Heritage). In the list of the Council for the Defense of the Historical, Archaeological, Artistic and Tourist Heritage of the State of São Paulo (CONDEPHAAT), there are 32 railway buildings listed. The scarce number of railroad properties under the protection of the State’s preservation agencies shows the selective criteria adopted by the official policies of historical heritage preservation. There are no official statistics, but it is known that many cities claim the historical value of their respective railroad heritage, taking into account the cultural relevance, usually associated with the origin of their own urban formations. Since the turn of the twenty-first century, the Brazilian and São Paulo railroad system has been in the headlines of newspapers and TV stations spreading images of abandoned and depleted stations, rolling stock depreciated by the weather and disuse, passenger cars, locomotives, and wagons rotting in urban yards. Theft of rails and poles became a routine agenda until the plundering was completed. The demand for the preservation and musealization of this type of heritage, stimulated by the bonds of affection in the imagination of a large part of the population that cultivates the railway memory, intensified in another way. The objective of this text is to point out guidelines for the musealization of open-air railway heritage, taking into account the methodological principles of museology and the distinct potentialities of cultural appropriation of these tangible and intangible assets by the populations of its surroundings with a view to the recognition of their cultural value and the regeneration of urban texture and social tessitura.
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Notes
- 1.
The numbers are in the Wikipedia entry, available at https://pt.wikipedia.org/wiki/Ferrovia_Paulista_S/A. Accessed on 06/08/2019.
- 2.
Created on March 15, 1985 by Decree No. 91,144 of President José Sarney, the Ministry of Culture (MinC) was transformed into the Secretariat of Culture on April 12, 1990, in the government of President Fernando Collor de Mello, recreated on November 19, 1992, by Law No. 8. On January 1, 2019, after the administrative reform of the newly appointed government of Jair Bolsonaro, the Ministry of Culture was officially extinguished by Provisional Measure No. 870, returning to the status of Special Secretariat.
- 3.
The Railroad Project team is composed by architects José Antonio Chinelato Zagato (Coordinator; 2009–2019), Alberto Fernando A. Candido (2009–12), and Adda Ungaretti (2012) and historians Amanda W. Caporrino (2010–2011; 2018–2019) and Ana Luiza Martins (2008–2012). The group is subordinated to the director of the GEI Elisabete Mitiko and the coordinator of the UPPH Valéria Rossi Domingos.
- 4.
Cf. Federal Law 11.904/2019, Article 1: For the purposes of this Law, museums are considered to be non-profit institutions that conserve, investigate, communicate, interpret, and exhibit, for preservation, study, research, education, contemplation, and tourism purposes, sets and collections of historical, artistic, scientific, technical, or of any other cultural nature, open to the public, at the service of society and its development.
- 5.
Cultural Landscape/Iphan. Accessed at http://portal.iphan.gov.br/pagina/detalhes/899/
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Kaseker, D.P. (2021). Museums, Railway Memories, and Cultural Landscapes. In: Lopes da Cunha, F., Rabassa, J. (eds) Festivals and Heritage in Latin America. The Latin American Studies Book Series. Springer, Cham. https://doi.org/10.1007/978-3-030-67985-9_9
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