Filomena Sousa is a FCT researcher in Memória Imaterial – a non-governmental organization that created and manages the MEMORIAMEDIA project, in Portugal. She holds a Postdoc in Anthropology (FCSH/UNL) and a PhD in Sociology (ISCTE-IUL). She is a collaborator of the FCSH/UNL "Institute for the Study of Literature and Tradition - heritage, arts and cultures" (IELT). She develops research projects in the context of policies and instruments for identifying, documenting and safeguarding intangible cultural heritage and has directed several documentaries about cultural expressions.
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The definition of “ICH e-inventory” adopted by the project includes: online published inventories with free access, of or about expressions of one or more domains of the intangible cultural heritage – "oral traditions and expressions, including language as a vehicle of the intangible cultural heritage; performing arts; social practices, rituals and festive events; knowledge and practices concerning nature and the universe; traditional craftsmanship" (UNESCO, 2003, no.2, art.2). For this purpose, are not considered: inventories in preparatory stage without available content; web sites with exclusively touristic information or denominative lists in which do not appear, at least, a description or transcription of the cultural expressions included in the inventory.
The results of the project are organised as a national inventory and published on www.memoriamedia.net, where they are freely available for consultation and sharing.
MEMORIAMEDIA began in 2006, in the midst of a broad national and international discussion regarding the issues of intangible cultural heritage. This book crosses such theoretical, methodological and technical questions with the characterisation of MEMORIAMEDIA.
Filomena Sousa is a Postdoctoral researcher in Anthropology (FCSH/UNL) and holds a PhD in Sociology (ISCTE-IUL). She is a member of the FCSH/UNL "Institute for the Study of Literature and Tradition - heritage, arts and cultures" (IELT - Portugal) and an adviser of the Memória Imaterial – the non-governmental organization that created and manages the MEMORIAMEDIA project. She develops research projects in the context of policies and instruments for identifying, documenting and safeguarding intangible cultural heritage and has directed several documentaries about cultural expressions.
Books by Filomena Sousa
O MEMORIAMEDIA iniciou em 2006, em pleno debate nacional e internacional das questões do património cultural imaterial. Este livro cruza essas discussões teóricas, metodológicas e técnicas com a caracterização do MEMORIAMEDIA.
Os resultados do projeto, organizados num inventário nacional, estão publicados no site www.memoriamedia.net, onde se encontram disponíveis para consulta e partilha.
Confronting the theory with the practices, the author concluded that the participation of communities, groups and individuals (CGIs) is still residual. In the scope of ICH safeguard projects, Filomena Sousa identifies five aspects that make this difficult to achieve: 1) excessive centrality of the States in the heritagization process; 2) diversity of interpretations of the concepts; 3) deficit of information among the CGIs; 4) deficit of experience in the improvement of teams composed of different actors and 5) deficit of methods and professionals to operationalise the participation.
After describing each of these obstacles, the author presents a methodological suggestion that can be adapted to different moments of the safeguarding process, which should be understood as flexible and adaptable according to the cultural contexts.
Do confronto da teoria com as práticas conclui-se que, sendo a participação das comunidades, grupos e indivíduos (CGIs) enfatizada nos discursos, na realidade, esse envolvimento ainda é residual. A autora identifica cinco aspetos que dificultam essa concretização: 1) a excessiva centralidade dos Estados nos processos de patrimonialização; 2) a diversidade das interpretações dos conceitos; 3) a falta de informação entre os CGIs; 4) a falta de experiência na dinamização de equipas compostas por diferentes atores e 5) a falta de método e de profissionais para operacionalizar a participação.
Filomena Sousa apresenta ainda uma sugestão metodológica que poderá adequar-se às diferentes fases do processo de salvaguarda e que deve ser entendida como modal e adaptável conforme os contextos culturais.
Sendo conhecida apenas como “Cantar dos Reis” ou “Cantar dos Reses” a manifestação celebrada no concelho de Alenquer implica a participação quer dos cantores-reiseiros quer dos pintores-reiseiros. O ritual começa pela constituição dos grupos que anualmente, na noite de 5 para 6 de janeiro, se reúnem para Pintar e Cantar os Reis nas suas localidades. Sem ensaios ou combinações elaboradas o grupo junta-se espontaneamente e parte pelas ruas da povoação. Os membros que vão pintar seguem à frente e, em silêncio, munidos das tintas, pincéis e lanternas pintam as fachadas, os muros e as entradas das casas com os tradicionais desenhos dos Reis. Mais atrás seguem, em maior número, os cantores – o coro liderado pelo apontador.
Nesta publicação descrevem-se as atuais características desta expressão cultural. Apresentam-se, em retrospetiva histórica, informações que contextualizam os diferentes momentos da manifestação (a pintura, os cantares, a festa e os rituais). Descrevem-se as particularidades e sentidos atribuídos por cada grupo a esta tradição rica na diversidade dos pormenores, cheia de elementos e significados.
Talks by Filomena Sousa
Dr Natsuko Akagawa, Lecturer, The University of Queensland, Australia
Prof Francesco Francioni, Professor of International Law and Human Rights and Director of the Law Academy, European University Institute, Italy
Dr Filomena Sousa, Researcher, MI/Portuguese Foundation for Science and Technology, IELT-FCSH/NOVA University of Lisbon, Portugal
Moderation: Prof Máiréad Nic Craith, Professor of European Culture and Heritage, Heriot-Watt University, United Kingdom
Background: Within the framework of cultural heritage, intangible goods and knowledge often goes unmentioned, or is undermined in the light of dominant discourses and treatment of commonly acknowledged material cultural goods. In that sense, entire peoples with their indigenous knowledge and minority issues are not afforded equal treatment, which prevents intergenerational transmission and the adequate protection of practices, rituals and oral traditions. Overall , this highlights a form of fragility and vulnerability that, in a broader sense, also jeopardises intercultural dialogue and mutual respect for other ways of life. Interdisciplinary problem-solving mechanisms are thus required to find legislative and political ways of helping to ensure that cultural diversity is not only respected but also maintained and protected.
The definition of “ICH e-inventory” adopted by the project includes: online published inventories with free access, of or about expressions of one or more domains of the intangible cultural heritage – "oral traditions and expressions, including language as a vehicle of the intangible cultural heritage; performing arts; social practices, rituals and festive events; knowledge and practices concerning nature and the universe; traditional craftsmanship" (UNESCO, 2003, no.2, art.2). For this purpose, are not considered: inventories in preparatory stage without available content; web sites with exclusively touristic information or denominative lists in which do not appear, at least, a description or transcription of the cultural expressions included in the inventory.
The results of the project are organised as a national inventory and published on www.memoriamedia.net, where they are freely available for consultation and sharing.
MEMORIAMEDIA began in 2006, in the midst of a broad national and international discussion regarding the issues of intangible cultural heritage. This book crosses such theoretical, methodological and technical questions with the characterisation of MEMORIAMEDIA.
Filomena Sousa is a Postdoctoral researcher in Anthropology (FCSH/UNL) and holds a PhD in Sociology (ISCTE-IUL). She is a member of the FCSH/UNL "Institute for the Study of Literature and Tradition - heritage, arts and cultures" (IELT - Portugal) and an adviser of the Memória Imaterial – the non-governmental organization that created and manages the MEMORIAMEDIA project. She develops research projects in the context of policies and instruments for identifying, documenting and safeguarding intangible cultural heritage and has directed several documentaries about cultural expressions.
O MEMORIAMEDIA iniciou em 2006, em pleno debate nacional e internacional das questões do património cultural imaterial. Este livro cruza essas discussões teóricas, metodológicas e técnicas com a caracterização do MEMORIAMEDIA.
Os resultados do projeto, organizados num inventário nacional, estão publicados no site www.memoriamedia.net, onde se encontram disponíveis para consulta e partilha.
Confronting the theory with the practices, the author concluded that the participation of communities, groups and individuals (CGIs) is still residual. In the scope of ICH safeguard projects, Filomena Sousa identifies five aspects that make this difficult to achieve: 1) excessive centrality of the States in the heritagization process; 2) diversity of interpretations of the concepts; 3) deficit of information among the CGIs; 4) deficit of experience in the improvement of teams composed of different actors and 5) deficit of methods and professionals to operationalise the participation.
After describing each of these obstacles, the author presents a methodological suggestion that can be adapted to different moments of the safeguarding process, which should be understood as flexible and adaptable according to the cultural contexts.
Do confronto da teoria com as práticas conclui-se que, sendo a participação das comunidades, grupos e indivíduos (CGIs) enfatizada nos discursos, na realidade, esse envolvimento ainda é residual. A autora identifica cinco aspetos que dificultam essa concretização: 1) a excessiva centralidade dos Estados nos processos de patrimonialização; 2) a diversidade das interpretações dos conceitos; 3) a falta de informação entre os CGIs; 4) a falta de experiência na dinamização de equipas compostas por diferentes atores e 5) a falta de método e de profissionais para operacionalizar a participação.
Filomena Sousa apresenta ainda uma sugestão metodológica que poderá adequar-se às diferentes fases do processo de salvaguarda e que deve ser entendida como modal e adaptável conforme os contextos culturais.
Sendo conhecida apenas como “Cantar dos Reis” ou “Cantar dos Reses” a manifestação celebrada no concelho de Alenquer implica a participação quer dos cantores-reiseiros quer dos pintores-reiseiros. O ritual começa pela constituição dos grupos que anualmente, na noite de 5 para 6 de janeiro, se reúnem para Pintar e Cantar os Reis nas suas localidades. Sem ensaios ou combinações elaboradas o grupo junta-se espontaneamente e parte pelas ruas da povoação. Os membros que vão pintar seguem à frente e, em silêncio, munidos das tintas, pincéis e lanternas pintam as fachadas, os muros e as entradas das casas com os tradicionais desenhos dos Reis. Mais atrás seguem, em maior número, os cantores – o coro liderado pelo apontador.
Nesta publicação descrevem-se as atuais características desta expressão cultural. Apresentam-se, em retrospetiva histórica, informações que contextualizam os diferentes momentos da manifestação (a pintura, os cantares, a festa e os rituais). Descrevem-se as particularidades e sentidos atribuídos por cada grupo a esta tradição rica na diversidade dos pormenores, cheia de elementos e significados.
Dr Natsuko Akagawa, Lecturer, The University of Queensland, Australia
Prof Francesco Francioni, Professor of International Law and Human Rights and Director of the Law Academy, European University Institute, Italy
Dr Filomena Sousa, Researcher, MI/Portuguese Foundation for Science and Technology, IELT-FCSH/NOVA University of Lisbon, Portugal
Moderation: Prof Máiréad Nic Craith, Professor of European Culture and Heritage, Heriot-Watt University, United Kingdom
Background: Within the framework of cultural heritage, intangible goods and knowledge often goes unmentioned, or is undermined in the light of dominant discourses and treatment of commonly acknowledged material cultural goods. In that sense, entire peoples with their indigenous knowledge and minority issues are not afforded equal treatment, which prevents intergenerational transmission and the adequate protection of practices, rituals and oral traditions. Overall , this highlights a form of fragility and vulnerability that, in a broader sense, also jeopardises intercultural dialogue and mutual respect for other ways of life. Interdisciplinary problem-solving mechanisms are thus required to find legislative and political ways of helping to ensure that cultural diversity is not only respected but also maintained and protected.