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segunda-feira, 24 de agosto de 2015

MUSEO LOCAL: SE NECESITAN SOCIOS -- · en CELEBRACIÓN, CULTURA,GESTIÓN, MUSEO, OPINIÓN. ·

Puede que suene un tanto ingenuo teniendo en cuenta como están las cosas sobre todo en Europa, pero los museos locales – los museos pobres – deben establecer lo que pudiéramos denominar relaciones de complicidad sobre todo con la comunidad a la que pertenecen. Lo de la ingenuidad tiene relación, sobre todo, pensando que la comunidad va a tener el tiempo y el ánimo como para desarrollar su propio espíritu colaborativo con los museos. La complicidad externa es fundamental para la supervivencia de los museos.


Si el museo loca desarrolla programas que incluya a grupos de visitantes multiétnicos y multiculturales que, en muchos de los casos, no participan en los circuitos culturales habituales, necesitaremos también la implicación de socios que nos permitan acceder a estas comunidades y llegar a formar parte de ellas. En estos casos, nosotros siempre pensamos en ONGs locales, centros culturales, congregaciones religiosas de diversas creencias, que todos estén comprometidas con la cultura y la educación. El museo debe establecer relaciones con grupos comprometidos con la acogida y la inserción y que son conocedores de las dinámicas propias de esos colectivos a los que nos vamos a aproximar. No todo va a ser pedir o buscar dinero, sino centrarse en generar alianzas estratégicas. Cuando tenemos visitantes en el museo, existirá interés de patrocinio. La captación de visitantes se convierte entonces en prioridad.


Existen modelos de acercamiento que funcionan y seguirán funcionando como son “la noche de los museos”, que no dejan de ser estrategias de mediación que nos permitan incorporar a estos colectivos de una forma activa. Las jornadas gratuitas son muy importantes si nuestro museo cobra entrada, si no convirtiéndolas en gratis total si hacer muy buenos descuentos. El apoyo de los programas de fidelización para asentar audiencias son muy importantes también. Todas las conmemoraciones que se puedan celebrar dentro del museo siempre ayudarán a crear vínculos, y si no hay motivos para hacerlas nos las inventamos – “El cumpleaños de Tintín” -. Y por supuesto, la programación de talleres, actividades, excursiones, cuentacuentos, gastronomía, todo lo relacionado con la educación no formal a través de programas familiares evitando la exclusión social.


Un buen ejemplo de este tipo de iniciativas que os estamos contando las propone en Francia la asociación Cultures du Coeur, que solicita a las instituciones culturales – entre las cuales se encuentran los museos, como debe ser – y deportivas abrir sus puertas a los desfavorecidos poniendo a su disposición algunas invitaciones gratuitas y proponiendo visitas, talleres específicos y acceso a actividades de todo tipo. El museo de los niños “El Trompo Mágico” de Guadalajara (Jalisco), es otro claro ejemplo de institución muy activa para la integración social y familiar, favoreciendo a las familias para que se incorporen juntas al ocio didáctico de forma muy divertida, haciéndolo dentro y fuera del museo.


El Museo de Lérida (Lleida, España) también es otro buen ejemplo de lo que estamos comentando, concretamente con su actividad “El secreto de los moriscos”. Se trata de visitas guiadas dinamitadas y teatralizadas a cargo de una ONG local. Esta ONG se dedica a la inserción social de grupos sociales muy desfavorecidos, fundamentalmente inmigrantes. El grupo estaba compuesto íntegramente por mujeres y hombres magrebíes y de sus aportaciones. A lo largo de la visita nació la idea de realizar una experiencia que evocara la herencia cultural del Islam en la ciudad, consiguiendo que este colectivo de personas se implicaran en una actividad abierta en el museo, y dirigido totalmente a visitantes de ese grupo étnico, solos o con sus familias. Nuestra enhorabuena a todos los museos que se implican en este tipo de actividades y que desarrollan siempre con entusiasmo para beneficio de toda la sociedad.



fonte: @edisonmariotti #edisonmariotti Espacio Visual Europa (EVE)

Bursa Museums

The first museum in Bursa was built in 1904 at a section of Bursa Boy's Lycee, with the efforts of Mr. Azmi, the Director of the National Education Office, as a branch of Müze-i Humayun. The monuments collected and exhibited here were carried to Yeşil Madrasa in 1930. The archaeology section of the museum was moved to the modern building built in Kültürpark as "Archaeology Museum" in 1972. And Yeşil Madrasa was opened to visit in 1975 as "Turkish Islamic Monuments Museum" after being restored. 


There are six museums in Bursa working as an affiliate of Museum Directorate.

ARCHAEOLOGY MUSEUM 


The archaeological monuments collected in Bursa Boy's Lycee and Yeşil Madrasa between the years 1904 - 1972 were carried to Archaeological Museum built in Kültürpark and opened to visit in 1972 after its modern restoration. The museum still serves in the same building. The monuments being exhibited in the museum are the ones found in Bithynia and Mysia regions between the period BC 3 thousand and the end of Byzantine Period. 

Hall I: The monuments in this hall are: grave findings that belong to the culture of BC 3 thousand; cutting stone and bronze axes that belong to BC 2 thousand; cooked soil vessels of Urartu region; miniature temple sample of Phrig Period in BC 1 thousand; bronze vessels and a mosaic of fibulas history. The figurines and the grave findings such as vessels and ornaments in various forms found in rescuing digs of the museum in Antandros necropolis are all important monuments. One of the important monuments in the hall is Greco - Persian grave stele found in Şükraniye Village of Karacabey. This monument that belong to Persian Period, which occupied Anatolia in BC 546, is one of the three samples in the world, of which two are in İstanbul Archaeology Museum. 

Hall II: In this hall where stone works of Rome Period exist, there are portrait heads belong to AC 2nd century; pictures of Zeus, the god of the gods; picture of Herakles, the representative of force, describing his position in rest with the fur-skin around his arm after he suffocated the Nemea lion; statues of Kybele, the oldest fecundity goddess of Anatolia and altars vowed to Asklepios, the health goddess. Among the most important monuments of the hall, there is a bust of Athena, "the Goddess of War and Intelligence" and Apollon, "the God of Sun". 

Hall III: The monuments of the period between BC 8th century and the end of Byzantine Period are being exhibited in this hall. The ceramic vessels in various forms belonging to a period between the Geometric Ages and Rome Period are being exhibited in this hall according to a chronological order. Among these monuments, there are cooked soil figurines of Archaic and Rome Period; bronze and glass vessels and ornaments of Rome Period; cooked soil oil-lamps; silver, bronze and cooked soil works of Byzantine Period. There are also golden ornaments of Rome Period in this hall.

In mezzanine floor of the same hall, golden, silver and bronze coins of Archaic, Classic, Hellenistic, Rome and Byzantine Period are being exhibited. 
Hall IV: Among the monuments being exhibited in this hall, there is a tumulus similar to the one in Üçpınar Village of Balıkesir at 1/1 dimensions and the findings of a carriage that belong to Akhaemenid Period and the sample of this carriage made according to these findings. 
Open Exhibition: There are important stone monuments in the garden of the archaeology museum. The rich stele collection, which is considered important within Turkish museums, is being exhibited in this hall. It is also worth seeing the samples of tomb graves found in Bursa and its environs, and various architectural parts. 


ATATÜRK MUSEUM


It is supposed that the building located in Çekirge Street was built at the end of 19th century. The pavilion is duplex, except the basement and the attic. At Atatürk's second visit to Bursa (20-24 January 1923), the Municipality of Bursa bought this building from the Colonel Mehmet and gave it to Atatürk as a gift. Then, at each his visit to Bursa, Atatürk stayed in this house. After 1938, the Municipality of Bursa sold the house to Turkish Republic Pension Fund and the Pension Fund transferred the use of the pavilion to the General Directorate of Monuments and Museums on February 6th, 1968. The pavilion was changed to a museum and opened to visit at 50th year of the Republic, on October 29th, 1973. 
1st Floor: It consists of reception hall at right side of the entrance, dining room at left side and a resting room opening to the dining room. 
2nd Floor: There is bedroom at right side, a working room at left side and one can reach to the greenhouse passing from the right side of the working room. The basement was used as kitchen and service. Almost all of the furniture in the pavilion is the original ones Atatürk used. 


THE MUSEUM OF MUDANYA ARMISTICE HOUSE

Mudanya Armistice, which is the indication of the first success of Turkish Grand National Assembly at political field, was signed in this house. The house, which is located at the centrum of Mudanya District, has a history based on 19th century. 
The house, which belonged to Alexander Ganyanof from Russia, was bought and restored by a businessman, Mr. Hayri İpar from Mudanya, and was changed to a museum of Mudanya Municipality in 1937. The museum was transferred to the General Directorate of Old Monuments and Museums in 1959. 
The wooden house is duplex, except the basement and the attic. The hall in which the armistice was signed and the working room of İsmet Pasha are on the first floor. There are bedrooms of İsmet Pasha and his aide-de-camps. 
The photographs and documents of armistice period are all being exhibited in this house where the goods of this period are being protected. 


MUDANYA TAHİR PASHA MANSION

The building is duplex. Its plan was changed many times and lost its older form. 
The main room in the second floor is ornamented with chisel. The bottom and upper windows at two front of the room have coloured glasses. The surfaces of the walls are covered with malacari plaster ornaments. The inside of the panels is ornamented with flower motifs. The closet covering a wall of the room is ornamented with chisel. The date 1138H./1725 M. is written on the outer door of the room. 


THE MUSEUM OF TURKISH - ISLAMIC MONUMENTS (YEŞİL MADRASA)

Yeşil Madrasa (Muslim theological school), which is one of the first schools of Ottoman period, is named as Sultaniye Madrasa. It was established in Yeşil complex by the architect Hacı İvaz with the order of 1st Mehmet Çelebi between the years 1414 - 1424.

It is a continuation of Anatolian Seljuk's schools having open courtyard (vaulted recess) in terms of plan. Rubble, stone and brick are used as construction material. From the vaulted recess at the entrance covered with star vault, you may enter a sharp arched door and colonnaded courtyard. The colonnades surrounding the courtyard at three sides are sharp arched; and the subsequent mutual ones are covered with barrel - vault, the ones in front of the lateral vaulted recess are covered with cross - vault, and the others are covered with domed vault. Some of the columns and column heads at colonnades belong to Byzantine Period. At the back of the colonnades, there are 13 schoolrooms, two lateral vaulted recesses, toilet and stairwells. It is supposed that the building has a second floor, but this assertion could not be proved yet. There is one furnace at each room of the building, covered with mirrored vault. Two lateral vaulted recesses on the level of the rooms are stripped arched. Two-sided stair is used to climb to the classroom at the opposite side of the entrance, having a rectangle shape. Pendants with stalactite ensure passage from the rectangular area to the drum of the cupola. The cupola is mounted on a drum covered with octagonal and prismatic Turkish triangles. A small window was opened to the middle of each side of the drum. 

The eaves are in hedgehog shape. The wooden eaves on the vaulted recess at the entrance are not original; they belong to the other restoration periods. 
Porcelain ornaments in the school is very few when compared to the other buildings of the complex. Mosaic porcelain and colored glazing techniques are used on porcelain ornaments. And there is a central porcelain ornament in the middle of the ceiling, ornamented with geometric motifs formed by a star with twenty angles. The other porcelain ornaments of the school are the small turquoise porcelains with triangular, rectangular and other shapes covering the mirrors of sharp arches located in the outer front. 

The school was restored in various periods; and Bursa Museum, which was opened on August 19th, 1902 in Boy's Lycee, was transferred to the school on April 8th, 1930. It was closed to visit in 1955 due to restoration works; and re-opened on October 1st, 1972 with new exhibition and arrangements. The school, which was taken into restoration until March of 1972, was opened to visit on November 22nd, 1975 as the Museum of Turkish - Islamic Monuments. 
Various monuments are being exhibited in the school, which carry the characteristics of Turkish - Islamic art between the dates 12th century and 19th century. 

Western Lateral Vaulted Recess 

The ceramics exhibited in two lateral vaulted recesses are placed to the display cabinets according to chronological order. The unglazed ceramics of 12th - 13th centuries Seljuk period, glazed Rakka ceramics of Seljuk period and a vase with two handles made with rare minai technique belonging to 12th century are good samples of this group. 

In this section where all groups of Ottoman ceramics exist, the following are being exhibited: Red pasted ceramics of 14th century made in İznik and named as Milet work; the most beautiful samples of blue - white ceramics of 15th century;15th century ceramics ornamented with little flowers and thin spiral twists called Haliç work; a 16th century coloured glass and plate named as Şam group;16th and 17th century plates, water - bottles and metal pots with coral red colour from the Rodos group ceramics. 

1st Room 

The shadow - theatre figures which are the works of Hayali Küçük Ali and Hayali Osman Sözen, the experts of shadow - theatre art, are being exhibited in this room. Humour capacity of Turkish people was staged with shadow - theatre art, and the subjects were taken from the daily public life. 

Bags made by knitting needle and needle and which are named as "money, seal, clock, tobacco" bags according to the material to be put in are being exhibited in the same room. In addition, there are bags made of tissues such as satin and velvet and ornamented with silver, pearl and beads. 

There are materials such as mouthpiece, narghile, and tobacco box in one of the display cabinets of bags; and there are silver watch chains and clock samples in the other display cabinet. 

2nd Room

The art of engraving motifs on wood and inlaying ivory, mother-of-pearl and turtle-shell parts in it was practiced since Middle Ages and developed especially in Ottomans and lost its importance after 18th century. Various boxes and tripods that belong to this art are being exhibited in this room.
Doorknockers, which are exhibited in this room, were being used on wooden doors. The doorknockers made of iron and brass take shape according to the place they are used, such as circle, pendulous, handle, snake, bird, etc. The circle doorknockers were generally being used at houses; the ones with snake shape were being used at castles; and the ones written "Ya Hafız, Ya Fettah" were being used at mosques. 
The peaks of minarets, which are exhibited in another display cabinet, were made of copper, copper - zinc alloy and brass. They generally have stylized palmed, drop and circle shapes, and some has moon motif on them. They have various writings and plant motifs as well. Various keys and lock are also being exhibited in this room.

Classroom 

Various monuments are being exhibited in the classroom, which is the biggest hall of the building. There are samples of hand - painting works (colored cotton kerchiefs, Bursa work large handkerchiefs ornamented with silver, bundles) and painting moulds among these monuments. "Hand-painting" means drawing the tissue with hand or using wooden moulds. 

Hand painting developed in our country as a public art and gave its most beautiful samples with İstanbul hand-paintings in 16th, 17th, 18th centuries. Bedclothes, wraps, belts, large handkerchiefs and napkins, which are exhibited in the cabinets, carry all techniques of Turkish hand painting art. Hand painting, which first arose in Central Asia, passed to west by means of Turks. The most beautiful samples of Turkish hand painting was seen in 16th century; hand paintings called "Gold/silver thread embroidery" took the place of these hand paintings which lasted until 18th century. 
Among the ornaments which is a branch of metal art, there are golden and silver belts, belt clasps, bracelets, rings, earrings, ornamental knobs and mirror with wooden backs. 

12th- 13th century bronze Seljuk candlesticks picturing human figures and constellations, ornamented with silver; a Memlük candlestick with inscription; sherbet cauldron and chandelier are all being exhibited in the same hall. 

The weapons, which is one of the most developed branch of Turkish metal art, are ornamented with golden, silver and ivory inlays, and ornamenting the weapons gained importance especially in Ottoman Period. Among the weapon being exhibited in this hall, there are cutting weapons such as two 18th century swords with curved base and made of moire metal; 17th and 19th centuries heavy curved knives used by janissaries; Caucuses and Ottoman daggers; striker weapons such as maces; and fire-arms such as ivory inlaid guns of 17th century, 18th and 19th centuries flint - lock guns inlaid with silver and ornamented with gold and wooden powder flasks. 

17th century Iran weapons are being exhibited in another display cabinet. These are very rich in ornaments; and are ornamented with human, animal figures and plant motifs made as inlays. Golden ornaments were also used on these weapons. Such ornaments can also be seen on shields, helmet, swords and daggers in our museum. 
Rose – waters and incense - burners made of various metals are also being exhibited in other display cabinets. 

3rd Room 

In this room, there are various cup holders, porcelain and pipe cups, coffeepots and mills and wooden coffee coolers made of silver and filigree work. 
Salep and sherbet pots, which are some samples of Turkish metal art, and various bronze mortars and a wooden mortar inlaid by mother-of-pearl, are being exhibited in the same room.

4th Room 
Metal Turkish kitchen materials, which is a combination of Turkish metal art and Turkish kitchen richness, are very rich in terms of variety and ornaments. In this room where kitchen materials are being exhibited, there are various food vessels, metal trays, coffee - pots; spoons made of wood, bone, mother-of-pearl and turtle - shell; and a grooved vessel with dragon handle that belongs to Timurlu Period. 
Eastern Lateral Vaulted Recess 

Various glass materials and tissues are being exhibited in this vaulted recess, beside 18th and 19th centuries Kütahya ceramics. 
Among the glass materials, there are flower bowls, sugar bowls, glasses, plates and coffeepots and a Syria work water bottle with an inscription on it. Beykoz wok opal candlestick of 19th century, the coffeepot and three glassware sticks with colored decoration, which are exhibited in the other display cabinet, are among the most popular monuments of the museum. Bursa work velvet tissues and the door curtains of Yeşil tomb are also being exhibited in the same room. Bursa velvets, which have a different place among Turkish tissues, gave its best samples in 16th century, had been in a stagnation period in 17th century and lost its importance at the end of 18th century as the other art branches. 

5th Room 

Dervish convent materials are being exhibited in this room. The dervish convents were built at a separate place from the mosques, and they included various sections in them. Dervish convents and dervish lodges are dervish order houses. These dervish orders are based on mysticism and have specific ceremonies, worships, beliefs, philosophies, materials and ranks.
In this room where some samples of dervish materials are being exhibited, there are candlesticks, rosaries, musical devices, healing vessels and headgears of various dervishes. 

6th Room 
Script on figures had a specific development in Islam. It is stated in the sources that there are script styles more than twenty. The most popular script styles are commonest form Arabic scripts with cufic script and large lettered Arabic script. 

Beside script, ornamenting the books had also a specific development in Turkish - Islamic art. It is called gilding to ornament the book pages with gild and coloured motifs. 

The museum is very rich in script books and plates. The Koran, which was given to 1st Beyazıd by the Sultan of Memlük, is among the most important monuments of the museum. It consists of 356 pages, is written with large lettered Arabic script and is very rich in gilt. The outer ornamentation of the books is as important as the inner ornamentation. Bookbinding art was very common in Ottomans and gave its most important samples in 16th century. In the display cabinet where binding samples are being exhibited, there are faldstools and silver Koran envelopes as well. 

There are script sets, pencil sharpeners and scissors in a display cabinet; and various brass candlesticks and lanterns in another. 

7th Room 

Baths have an important place in Turkish life. There are various bath habits and entertainment. Baths and bath materials carry great importance in Bursa, the city of thermal springs. Towel weaving has also been an important art of his city for a long time. 
Beside an old towel weaving machinery, there are various towel sets ornamented with silver and silk, clogs ornamented with silver and mother-of-pearl, bath bowls, material boxes and ivory combs. 

Eastern Room

An eastern room is prepared in the museum. The room does not a carry the characteristics of a specific period, but shows what a Turkish room looks like and what kind of materials it includes. 

The ceiling was covered with wood, separated with mouldings; and ceiling boss, one of the monuments of the museum, was put in the middle of it. 
Among the monuments being exhibited in the courtyard of the museum, there are Çanakkale ceramics of 19th and 20th centuries; two big candlesticks; a chest ornamented with colored chisel and having the portrait of 3rd Selim on it given by French collector Joseph Soustiel who provided many monuments to our museum before; an Edirnekari which have the monogram of 2nd Mahmud; and a wooden cradle painted with gilt. 

Coin Section

Coin means metal money. There is a rich Islamic coin collection of the Museum of Turkish - Islamic Monuments. Among this collection including golden, silver and copper coins, there are the coins of all Ottoman Sultans, and the coins of governments, Seljuk, İlhanlı, Memlük, Abbasi, Emevi, Sasani and other Islamic states. The golden coin of 2nd Beyazıd, which has such a script on it :"Sultan el-Berreyn and Hakan el-Bahreyn el-Sultan bin sultan" and which exists only in Darphane and our museum, is one of rare Ottoman coins.


THE MUSEUM OF YENİŞEHİR ŞEMAKİ HOUSE

It is located in the centrum of Yenişehir District 55 km away of Bursa. The building was built in 18th century, by Şemaki family who came from Şemah district of Iran and settled to Anatolia. There is a paved courtyard at the ground floor of the duplex house. The kitchen and the pantry are at the right of the house, and there are two winter rooms at left. The wooden stairs adjacent to the kitchen wall is used to climb second floor. The forefront looking towards the garden opens to outside with colonnaded arched sections. There is a main room at left side opening to the vaulted hall and there are two rooms at right side, one of which is small and the other is big. The chisels ornamenting the house with plant motifs and landscape belong to 19th century. 
The bath, which is supposed to be in he garden, does not exist today. 


THE MUSEUM OF 17TH CENTURY OTTOMAN HOUSE 

It is supposed that at the place of the house which is located in Muradiye District, at the opposite side of Murad Complex, there was a pavilion of Sultan Murad II. The house carries the characteristics of 17th century in terms of plan and ornaments, and it is one of the oldest and most beautiful houses of Bursa, which still remains standing. Two floors plans of the duplex building established in the garden are same. The house consists of a vaulted hall opening to the garden and one room both at right and left side opening to the vaulted recess. The rooms at the ground floor are winter rooms with low ceilings. The beautiful wooden wardrobe ornamented with chisel plant and flower motifs, geometric ornamented wooden ceiling and hexagonal central ornamentation of the ceiling in the main room of the upper floor show the characteristics of 17th century ornaments.

fonte: @edisonmariotti #edisonmariotti http://www.kultur.gov.tr/EN,39535/bursa-museums.html
colaboração 

Zeynep Usta


A obra literária de Jorge Amado conheceu inúmeras adaptações para cinema, teatro e televisão, além de ter sido tema de escolas de samba em várias partes do Brasil. Seus livros foram traduzidos para 49 idiomas, existindo também exemplares em braile e em formato de audiolivro. -- The literary work of Jorge Amado met numerous film adaptations, theater and television, and has been the subject of samba schools in various parts of Brazil. His books have been translated into 49 languages and there are also copies in braille and audiobook format.

A Fundação Casa de Jorge Amado é uma organização não-governamental e sem fins lucrativos cujo objetivo é preservar, pesquisar e divulgar os acervos bibliográficos e artísticos de Jorge Amado, além de incentivar e apoiar estudos e pesquisas sobre a vida do escritor e sobre a arte e literatura baianas. A Casa de Jorge Amado tem também como missão a criação de um fórum permanente de debates sobre cultura baiana – especialmente sobre a luta pela superação das discriminações raciais e sócio-econômicas. Para manter viva a memória do escritor – que já teve seus livros publicados em 60 países – desde que foi inaugurada, a Casa de Jorge Amado conta com uma exposição permanente de documentos, fotografias, livros, suas apropriações populares, adaptações e objetos relacionados. Também estão expostos prêmios recebidos por Jorge e fotos tomadas por Zélia Gattai, documentando o dia-a-dia do autor. Atualmente, a Fundação Casa de Jorge Amado já é considerada um ponto de referência na geografia cultural de Salvador, Bahia, Brasil.



Institucional

Em 1982, Jorge Amado comemorou 70 anos de idade e 50 anos de literatura. Naquela época, algumas instituições, no Brasil e no exterior, faziam pressão para que o autor doasse seu acervo literário, a fim de que este pudesse ser melhor preservado e estudado. Mas sua mulher, a também escritora Zélia Gattai, se opunha à idéia, afirmando que o acervo pertencia aos baianos e, portanto, deveria ficar na Bahia.


Dois anos mais tarde, a escritora Myriam Fraga – até hoje à frente da instituição – trouxe à tona, novamente, a questão da necessidade de se fundar uma casa que guardasse o acervo de Jorge. A Universidade Federal da Bahia, através do seu então reitor Germano Tabacof, propôs iniciar a tarefa de organizar os documentos, que até este momento estavam guardados na casa do escritor, no Rio Vermelho. Em 1986, foi criada a Fundação Casa de Jorge Amado, que seria inaugurada no dia 07 de março do ano seguinte, contando com a colaboração fundamental da escritora Zélia Gattai. Jorge e Zélia puderam, em vida, freqüentar a instituição estabelecida em sua homenagem.

--

LIVRO
Tieta do Agreste, Jorge Amado, O livro é a recriação da vida cotidiana numa pequena cidade do litoral norte da Bahia, Brasil.



Na década de 1970, Sant´Ana do Agreste, pequena vila do interior da Bahia, viveu dias de grande expectativa enquanto se prepara para receber Tieta, filha que retornou depois de 26 anos de ausência.

Aos 17 anos, Tieta vivera aventuras amorosas que escandalizaram a população. Denunciada pela irmã mais velha, Perpétua, Tieta foi expulsa de casa. Desde a sua partida, o único contato de Tieta com a família era através de cartas que tinham como remetente uma caixa postal em São Paulo.

Além da correspondência, controlada por Carmô, funcionária dos Correios e a solteirona mais alegre da cidade, Tieta também enviava ajuda financeira para a família.

O retorno de Tieta abalou a rotina da pacata cidade. 

Tieta retorna rica e poderosa, viúva de um industrial paulista. Ela chega acompanhada de Leonora, moça bela e triste, que apresenta como sua enteada.

Tieta é recebida com toda a pompa pela família, habitantes e políticos da cidade perdida no mapa e no tempo. Ascânio, o jovem e progressista secretário da Prefeitura, tem como maior ambição fazer a luz elétrica chegar à cidade ainda iluminada por luz de gerador.

A presença de Tieta e Leonora transforma a vida do pacato vilarejo e de seus tipos folclóricos: o prefeito enlouquecido Mauritônio Dantas, o poeta de plantão Barbosinha, o comandante Dário de preocupações ecológicas, o trio de amigos que controla a cidadeda mesa de sinusa, entre outros.

Leonora e Ascânio se envolvem em um casto romance, enquanto Tieta tem uma tórrida relação com Cardo, o sobrinho seminarista filho da austera Perpétua, que depois também se envolve com Imaculada.

Por sua generosidade Tieta se transforma na grande benfeitora de Sant Ana do Agreste. A tranquilidade do vilarejo sofre mais um baque com a chegada de representantes da Embratânio S.A., disposta a implantar uma fábrica de dióxido de titânio,altamente poluidora, na cidade.

Entre tumultos pessoais e políticos, o segredo da vida de Tieta é revelado - ela obrigada a partir mais uma vez, em circunstâncias totalmente inesperadas. Mas Sant Ana do Agreste e seus habitantes nunca mais serão os mesmos, e nunca se esquecerão dela.

Tieta do Agreste é um romance do escritor baiano Jorge Amado, publicado em 17 de agosto de 1977. Foi transformado em novela de grande sucesso, com Betty Faria como Tieta, e depois em filme, com Sônia Braga como a protagonista.

Autor brasileiro mais traduzido no exterior, Jorge Amado teve várias obras adaptadas para cinema, televisão e teatro, incluindo Tieta do Agreste.

Em 1989 a TV Globo apresentou a telenovela Tieta, com Betty Faria no papel-título.

Em 1996 foi realizado o filme Tieta do Agreste, baseado no romance, dirigido por Cacá Diegues e com Sônia Braga no papel de Tieta.

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Jorge Amado nasceu a 10 de agosto de 1912, na fazenda Auricídia, no distrito de Ferradas, município de Itabuna, sul do Estado da Bahia, Brasil. Filho do fazendeiro de cacau João Amado de Faria e de Eulália Leal Amado.

Jorge Amado

Com um ano de idade, foi para Ilhéus, onde passou a infância. Fez os estudos secundários no Colégio Antônio Vieira e no Ginásio Ipiranga, em Salvador. Neste período, começou a trabalhar em jornais e a participar da vida literária, sendo um dos fundadores da Academia dos Rebeldes.

Publicou seu primeiro romance, O país do carnaval, em 1931. Casou-se em 1933, com Matilde Garcia Rosa, com quem teve uma filha, Lila. Nesse ano publicou seu segundo romance, Cacau.

Formou-se pela Faculdade Nacional de Direito, no Rio de Janeiro, em 1935. Militante comunista, foi obrigado a exilar-se na Argentina e no Uruguai entre 1941 e 1942, período em que fez longa viagem pela América Latina. Ao voltar, em 1944, separou-se de Matilde Garcia Rosa.

Em 1945, foi eleito membro da Assembléia Nacional Constituinte, na legenda do Partido Comunista Brasileiro (PCB), tendo sido o deputado federal mais votado do Estado de São Paulo. Jorge Amado foi o autor da lei, ainda hoje em vigor, que assegura o direito à liberdade de culto religioso. Nesse mesmo ano, casou-se com Zélia Gattai.

Em 1947, ano do nascimento de João Jorge, primeiro filho do casal, o PCB foi declarado ilegal e seus membros perseguidos e presos. Jorge Amado teve que se exilar com a família na França, onde ficou até 1950, quando foi expulso. Em 1949, morreu no Rio de Janeiro sua filha Lila. Entre 1950 e 1952, viveu em Praga, onde nasceu sua filha Paloma.

De volta ao Brasil, Jorge Amado afastou-se, em 1955, da militância política, sem, no entanto, deixar os quadros do Partido Comunista. 

Dedicou-se, a partir de então, inteiramente à literatura. Foi eleito, em 6 de abril de 1961, para a cadeira de número 23, da Academia Brasileira de Letras, que tem por patrono José de Alencar e por primeiro ocupante Machado de Assis.



Jorge Amado morreu em Salvador, no dia 6 de agosto de 2001. Foi cremado conforme seu desejo, e suas cinzas foram enterradas no jardim de sua residência na Rua Alagoinhas, no dia em que completaria 89 anos.

A obra de Jorge Amado mereceu diversos prêmios nacionais e internacionais, entre os quais destacam-se: Stalin da Paz (União Soviética, 1951), Latinidade (França, 1971), Nonino (Itália, 1982), Dimitrov (Bulgária, 1989), Pablo Neruda (Rússia, 1989), Etruria de Literatura (Itália, 1989), Cino Del Duca (França, 1990), Mediterrâneo (Itália, 1990), Vitaliano Brancatti (Itália, 1995), Luis de Camões (Brasil, Portugal, 1995), Jabuti (Brasil, 1959, 1995) e Ministério da Cultura (Brasil, 1997).

Recebeu títulos de Comendador e de Grande Oficial, nas ordens da Venezuela, França, Espanha, Portugal, Chile e Argentina; além de ter sido feito Doutor Honoris Causa em 10 universidades, no Brasil, na Itália, na França, em Portugal e em Israel. O título de Doutor pela Sorbonne, na França, foi o último que recebeu pessoalmente, em 1998, em sua última viagem a Paris, quando já estava doente.

Jorge Amado orgulhava-se do título de Obá, posto civil que exercia no Ilê Axé Opô Afonjá, na Bahia.

fonte: @edisonmariotti #edisonmariotti http://www.jorgeamado.org.br/


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The Foundation House of Jorge Amado is a nongovernmental, nonprofit organization whose goal is to preserve, research and disseminate bibliographic and artistic collections of Jorge Amado, as well as encourage and support studies and research on the writer's life and the art Bahia and literature. The House of Jorge Amado is also intended to create a permanent forum for discussions about Bahian culture - especially on the struggle to overcome racial and socioeconomic discrimination. To keep alive the memory of the writer - who has had his books published in 60 countries - since it was inaugurated, the Jorge Amado House has a permanent exhibition of documents, photographs, books, its popular appropriations, adaptations and related objects. Also exposed awards received by Jorge and photos taken by Zelia Gattai, documenting the day-to-day life of the author. Currently, the Jorge Amado House Foundation is already considered a landmark in the cultural geography of Salvador, Bahia, Brazil.

Institutional

In 1982, Amado celebrated 70 years of age and 50 years of the literature. At that time, some institutions in Brazil and abroad, were pressing for the author to donate his literary collection, so that it could be better preserved and studied. But his wife, also a writer Zelia Gattai, opposed the idea, claiming that the collection belonged to Bahia and therefore should stay in Bahia.

Two years later, Myriam Fraga writer - so far ahead of the institution - brought up again the issue of the need to found a house that kept Jorge acquis. The Federal University of Bahia, through its then rector Germano Tabacof proposed start the task of organizing the documents, which until now were stored in the writer's home on the Red River. In 1986 it was created the Casa de Jorge Amado Foundation, which would be inaugurated on 07 March next year, with the essential collaboration of Zelia Gattai writer. Jorge and Zelia might, in life, attending institution established in his honor.

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BOOK
Tieta do Agreste, Jorge Amado, the book is the recreation of everyday life in a small town on the north coast of Bahia, Brazil.

In the 1970s, Anne of Agreste, small village of the interior of Bahia, lived days of great expectation as he prepares to receive Tieta daughter who returned after 26 years of absence.

At 17, Tieta had lived love affairs that scandalized the population. Denounced by her older sister, Perpetua, Tieta was expelled from home. Since his departure, the only contact with family Tieta was through letters that had the sender a mailbox in Sao Paulo.

In addition to the correspondence, controlled by Carmo, an official of the Post and the most cheerful maid in town, Tieta also sent financial help to the family.

The return Tieta shook the routine of the quiet town.

Tieta returns rich and powerful widow of a São Paulo industrial. She arrives accompanied by Leonora, beautiful and sad young woman, presenting as his stepdaughter.

Tieta is received with all the pomp of family, residents and politicians lost city map and time. Ascanio, the young and progressive county clerk, has the greatest ambition to make electricity reach the city still illuminated by light generator.

The presence of Tieta and Leonora transforms the life of sleepy village and its folk types: the mayor mad Mauritônio Dantas, the duty poet Barbosinha, Dario commander of ecological concerns, the trio of friends who controls the cidadeda sinusa table between others.

Leonora and Ascanio engage in a chaste romance while Tieta has a torrid relationship with Cardo, the seminarian son nephew of Perpetual austere, which then also becomes involved with Immaculate.

For his Tieta generosity becomes the great benefactor of Sant Ana do Agreste. The tranquility of the village suffered another blow with the arrival of representatives of Embratânio SA, willing to implant a titanium dioxide factory, highly polluting in the city.

Between personal and political turmoil, the secret Tieta's life is revealed - it required from again, in totally unexpected circumstances. But Sant Ana do Agreste and its inhabitants will never be the same, and will never forget it.

Tieta do Agreste is a novel of the Bahian writer Jorge Amado, published on 17 August 1977. It was turned into blockbuster novel, with Betty Faria as Tieta, and then on film, with Sonia Braga as the protagonist.

Most translated Brazilian author abroad, Jorge Amado had several works adapted for film, television and theater, including Tieta do Agreste.

In 1989, TV Globo soap opera Tieta presented with Betty Faria in the title role.

In 1996 it performed the movie Tieta do Agreste, based on the novel, directed by Carlos Diegues and Sonia Braga in the role of Tieta.

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Jorge Amado was born on August 10, 1912, in Auricídia farm in Ferradas district in the city of Itabuna, southern state of Bahia, Brazil. Cocoa farmer's son João Amado de Faria and Eulália Leal Amado.

Jorge Amado

With one year of age, he went to Ilheus, where he spent his childhood. He attended secondary school at the Colegio Antonio Vieira and Ipiranga Gym in Salvador. During this period, he began working in newspapers and to participate in the literary life, being one of the founders of the Academy of Rebels.

He published his first novel, The country carnival in 1931. He married in 1933 with Matilde Garcia Rosa, with whom he had a daughter, Lila. In that year he published his second novel, Cacau.

He graduated from the National Law School in Rio de Janeiro in 1935. Communist militant, was forced into exile in Argentina and Uruguay between 1941 and 1942, period in which he long trip through Latin America. Returning in 1944, he separated from Matilde Garcia Rosa.

In 1945, he was elected member of the National Constituent Assembly, in the legend of the Brazilian Communist Party (PCB) and was the most voted congressman in the state of São Paulo. Jorge Amado was the author of the law, still in force today, which guarantees the right to freedom of religious worship. That same year, he married Zélia Gattai.

In 1947, year of the birth of John George, their first child, the PCB was banned and its members persecuted and imprisoned. Jorge Amado had to go into exile with his family in France, where he stayed until 1950, when he was expelled. In 1949, he died in Rio de Janeiro her daughter Lila. Between 1950 and 1952 he lived in Prague, where he was born his daughter Paloma.

Back in Brazil, Jorge Amado moved away in 1955, the political militancy, without, however, leave the frames of the Communist Party.

He devoted himself thereafter entirely to literature. Was elected in April 6, 1961, to chair number 23, the Brazilian Academy of Letters, whose patron José de Alencar and first occupant Machado de Assis.

Jorge Amado died in Salvador on August 6, 2001. He was cremated as per your wish, and his ashes were buried in the garden of his home on Alagoinhas Street on the day in which he reaches 89 years.

The Jorge Amado's work earned several national and international awards, among which are: Stalin Peace (Soviet Union, 1951), Latinidade (France, 1971), Nonino (Italy, 1982), Dimitrov (Bulgaria, 1989) Pablo Neruda (Russia, 1989), Etruria Literature (Italy, 1989), Cino Del Duca (France, 1990), the Mediterranean (Italy, 1990), Vitaliano Brancatti (Italy, 1995), Luis de Camões (Brazil, Portugal, 1995 ), Tortoise (Brazil, 1959, 1995) and Ministry of Culture (Brazil, 1997).

He received titles of Commander and Grand Officer, on orders from Venezuela, France, Spain, Portugal, Chile and Argentina; Besides being made Doctor Honoris Causa in 10 universities in Brazil, Italy, France, Portugal and Israel. The title of Doctor of the Sorbonne, in France, was the last person who received, in 1998, on his last trip to Paris, when he was sick.


Jorge Amado was proud of the title of Oba, since civil exercised in Ile Axe Opo Afonjá, Bahia, Brasil.

Museu de História e Arte de Chapecó, Santa Catarina, Brasil

O MHAC foi pensado com o intuito de preservar a memória da história e da arte de Chapecó, além de fomentar o estudo e a pesquisa sobre o assunto no município e na região. O museu abriga dois acervos distintos, um de obras de arte e outro de cunho histórico, incluindo documentos e fontes primárias indispensáveis ao desenvolvimento de estudos e projetos de pesquisa.



Além da visitação, o museu vai organizar monitorias e dispor de espaços de educação patrimonial, sala de atividades lúdicas e temáticas e programas especiais de atendimento ao visitante. Segundo a Diretora-Presidente da Fundação Cultural, Roselaine Vinhas, O MHAC terá o compromisso de manter o legado histórico do Juiz de Direito Antônio Selistre de Campos, já que abrigará objetos e documentos etnográficos e arqueológicos reunidos e deixados por ele. “Também será um importante ponto de visitação turística da nossa comunidade e de pessoas que vem até Chapecó para nos conhecer e visitar???, salienta.

De acordo com o Gerente de Patrimônio Histórico e Memória da FCC, Jovani Santos, poucas cidades possuem um acervo eclético como o de Chapecó. No entanto, o município ainda não dispunha de um ambiente adequado para expor e conservar as obras, objetos, documentos e fotografias que marcam e regatam a história e a cultura da cidade. “Depois de várias consultas constatamos que o antigo prédio da Prefeitura, recentemente tombado como patrimônio histórico, mostrou ser o local adequado, tanto em termos de acessibilidade, como para abrigar as obras???, destacou. 

O museu é aberto à visitação das 8h às 11h45min e das 13h30min às 17h. As escolas interessadas podem agendar horário na Fundação Cultural pelo telefone 3319-1010.

fonte: @edisonmariotti #edisonmariotti http://www.chapeco.sc.gov.br/

The National History Museum of Latvia, the largest repository of Latvian material culture, was founded in 1869 as the Museum of the Science Committee of the Riga Latvian Society.

To enable a better understanding of its foundation and aims, it is necessary to become acquainted with the social setting of Riga more than a century ago.



Introduction

Right up until the 1860s, Riga was a fortified bastion, with its infrastructural and economic development determined by military strategy. It was only following change in strategic considerations, and after dismantling the fortifications, that this ancient trading town developed into an industrial centre with a multi-national population. According to the census of 1867, of the 102 590 citizens 42.9 % were German, 25.1 % Russian and 23.6 % Latvian. Contemporary author Matīss Kaudzīte characterized his own national segment of the population as follows: “Until the middle of the last century Latvians did not recognise themselves as such, but referred to themselves as none other as farmer, for this is how they were called by those who seemed to be, or were, the above them. And indeed, by occupation and status they were nought else. Even if the appellation “Latvian” was employed, this was understood to mean farmer, because none imagined that farmer and Latvian were two separate concepts.”


The Latvians who had gained prosperity in Riga learned the German language and often denied their ethnic roots. It was not easy to identify their compatriots in the city. 

Conditions changed during the latter half of the 19th century following the repeal of discriminatory legislation against farmers. Increasing numbers of Latvians came to Riga and their lifestyles underwent profound changes. The development of a Latvian identity and a growth in its intelligentsia led to an enhanced level of national self-esteem, and Latvians found a need for a social organization to enable purposeful gathering and a venue for cultural recreation, exchange of information and furthering of knowledge.

Foundation of the Museum in 1869 and its activities until the First World War


The year 1868 gave an opportunity for the foundation of the Riga Latvian Society (hitherto referred to as RLS). Under its auspices functioned a number of cultural committees, including a Science Committee. This body began gathering materials to enable the establishment of a Latvian museum as opposed to the existing with their Germanic orientation. Initially within the first decades the new museum accepted all that was offered. Next to archaeological, ethnographic and numismatic collections, grew those of geological, zoological and botanical nature. Although the Museum was devoid of permanent venues for either exhibition or storage, these collections continued to grow. The first short lived ethnographic exhibition was mounted in RLS quarters in 1890. Due to the lack of space, the collected items were kept in boxes and lockers. In 1983 the Science Committee resolved that ” the Museum shall collect items which are related to ethnography and history of the Baltic nations, including those of the Lithuanians”.

The RLS decided to organise an exhibition of Latvian ethnography to coincide with the Tenth Pan-Russian Archaeological Congress in Riga in 1896. In order to prepare for this, the Science Committee organised ten scientific expeditions for the collection of museum items from several localities in Latvia. As a result, some 6000 ethnographic items were collected, thus heightening the Latvian society’ s interest in their history. The exhibition, which reflected traditional lifestyles and occupations, was highly successful: during the period of 1 August to 15 September 1896, there were some 45 000 visitors. Museum was made available for public viewing in 1895. This presented new avenues for educating the people and strengthening national awareness.

In 1903, the RLS purchased a new building in Pauluči Street (today Merķeļā Street), and provided rooms therein for the Museum. In 1914 public donations enabled the beginnings of dedicated museum building construction, but this was interrupted by the First World War and the project was never completed.
The Museum from 1918 until 1940

Following the national declaration of independence in 1918, the RLS transferred the Latvian museum collection to the Government. In 1920 the Museum was provided with rooms within Riga Castle. In 1924 the Museum was granted a national status and a new name—The State Historical Museum. The statutes of the State Historical Museum stated that its function was to “collect, preserve, exhibit and popularise the ancient and modern cultural heritage which is of significance to the history of Latvia”. Regulations issued by the 1932 government defined a place for and the importance of the Museum in national cultural policy: “The State Historical Museum is the central repository for the nation’ s ancient artefacts, whose role is to collect, preserve, exhibit and popularise those Latvian cultural items and monuments which possess archaeological, ethnographic, historical or artistic significance, and that are in the Latvian national interests to preserve and study”.

The period from 1920 until 1940 was a prosperous one for the Museum. The collections were enriched, the number of museum workers increased. The Museum gained guardianship of items from the expeditions and archaeological excavations of the Monuments Board, as well as recently found hoards. Exhibitions of archaeology, ethnography, numismatics and religious art were developed. Staff of the Museum became actively involved in research—they conducted archaeological excavations, organized collecting expeditions, contributed scientific articles to the Monuments Board publications, journals and various compilations. In 1930, Riga hosted the Second Congress of Baltic Archaeologists, during which the Museum in collaboration with the museums of Berlin, Konigsburg, Stockholm, Helsinki, Tartu and Warsaw mounted a major exhibition on the prehistory of the Baltic peoples. Exhibitions were mounted in Paris in 1930 and 1936. The Museum opened branches in other Latvian cities. In 1939 the Museum’ s collection contained 150 000 items.
The Museum 1940–1944

The occupation and incorporation of the Republic of Latvia by the Soviet Union in 1940, and the subsequent occupation by Germany in 1941, while hindering, failed to halt work at the Museum. When retreating from Riga in 1944 the Germans appropriated the most valuable items from the Museum. Thanks to the selfless dedication of Mary Greenberg from the Ethnography Department, who accompanied the collection to Germany, it was possible to reclaim almost all of the items.
The Museum 1944–1991

Following the Second World War, collection, documentation, storage and exhibition work were transformed to comply with the policies of the Soviet Union. The name of the Museum was changed several times: the Latvian SSR Central State History Museum (1944), the Latvian SSR History Museum (1956), the History Museum of Latvia (1989). Irrespective of ideological restrictions, the Museum continued to carry out its prime functions – the collection, conservation, research and popularisation of Latvian historical evidence.

The Museum had lost almost all of its workers as a result of war, emigration and repressions. However, the Museum managed to re-form a professional core of workers in a fairly short space of time.

Irrespective of the fact that some collections were given to other museums as a result of repeated reorganization, the Museum collection continued to grow. In 1989 it comprised 571 000 items. Serious attention was turned to the conservation of museum collection items, developing the potential for conservation and restoration work.

Museum workers conducted archaeological digs, carried out surveys of monuments and conducted ethnographic and historical collecting field trips. Their work is attested to by collections of writings in “Archaeology” (1962), “Ethnography” (1964) and “Numismatics” (1968), the monographs “Sarnāte Swamp Settlement” (Lūcija Vankina, 1970), The Earliest Hoards in Latvia” (Vladislavs Urtāns, 1977) etc. The Museum developed the permanent exposition of Latvian history which encompassed the period from the 9000 BC until 1940, which saw several subsequent revisions and updating. The Museum became active in developing temporary exhibitions, which were dominated by the themes of Latvian spirituality and material culture. The more notable exhibitions include “Latvian National Costumes” (1948, 1958, 1964), “Knitting” (1956, 1966), “Ceramics” (1957), “Latvian Folk Art” (1950, 1956, 1967, 1968), “Latvian Jewellery” (1957, 1971), “Archaeological Excavations in Latvia 1940 –1975” (1975), “Ornaments of Our Ancestors” (1990) and others.

The Museum was actively involved in the events of the Third Latvian Awakening. Huge popularity was enjoyed by the exhibition “Latvia Between Two World Wars” (1988). This was viewed by 300 000 visitors. Notable also are the exhibitions “Victims of Stalinist Repression in Latvia” (1989), “The Cavaliers of the Order of Lāčplēsis” (1989), “The Year1940 in Latvia” (1990) and others.
The Museum’s Activities since 1991

Following the renewal of independence in 1991, the Museum as a whole has seen a successful transition to the new working conditions. It was accredited in 2000 and again in 2004 as complying to State level museum standards. Since 1 September 2005, the Museum operated as a State Agency and officially titled the State Agency National History Museum of Latvia. The status State Agency it retains until 8 January 2013.

The Museum has a professional staff, who work at both national and international levels. The Museum collection, comprising around 1 million items, gives a unique and comprehensive overview of the material and intangible heritage of Latvia and her people. Museum staff actively participate in the conservation, research and popularisation of the collection.

The Museum has established a new permanent exposition to cover the period from 8 000 BC until 1941. The new exposition unites the “open collection” principle with the portrayal of the most important periods in Latvian history. The Museum holds a number of temporary exhibitions each year, which are based on the collections of the Museum. Very popular exhibitions have included: “The Woman’s World” (1992), “Journey to Castle Hill” (1993), “Man Was, Is and… “ (1994), “I come from childhood” (1995) and “Oh, Soviet Sun!” (1994) and others. Often exhibitions are developed as part of a series of exhibitions. One example are the temporary exhibitions of the project “Latvian Roots”: “The Couronians: Sea pirates, traders, farmers” (1996), “Latgallians” (2000), “Livs” (2001) un “Semigallians” (2003), “Selonians” (2005). A number of significant exhibitions were also mounted in foreign countries: “The Latvian Saga” (Sweden 1991), “The 75th Anniversary of the Republic of Latvia” (Estonia 1993), “The Latvian National Costume and Jewellery Over Time” (Denmark 1995), “The Latvian National Costume” (Taiwan 1999), “Latgallians – – neighbours of Krivici” (Russia 1999), “Latvian History, Art, Traditions” (France 2001), “The Historical Portrait in Latvia” (Byelorussia (2003), Lithuania (2004)), “Semigallians” (Lithuania, 2005), “Latvia: Land, State, People” (Croatia 2006), “Money in Latvia” (Wienne, Tallin, 2007; Berlin, 2008), “Latvian Treasure” (Warsaw, Biscupin, 2007), “Latvian money: from amber to euro” (Greece, 2014).

The Museum is constantly improving its public offerings. Thus, in 2005 the permanent exposition of the Museum includes a special stand for the visually impaired. A special education programme has been developed for school students. The most popular are: “Knights”, “How the Youngest Went to School”, “Visiting the Farmer and the Lord of the Manor” and others.

The Museum has contributed to many projects and the organization of exhibitions on both the national and international levels. An interesting joint project with Sweden was “Three Stars – Three Crowns” (Riga 2001, Stockholm 2002).

The Museum organizes seminars and conferences, and its scientific lectures have become traditional. International undertakings of interest have included conferences on Political and Economic Centres on the Baltic Coast 9th–12th centuries, the Valdemārs Ģinters Memorial Conference (1999), Semigallians (2003) and others.
Museum workers have presented papers at conferences and seminars within Latvia, but also internationally—in Lithuania, Estonia, Russia, Poland, Germany, Sweden, the Netherlands, France, the United States of America, Taiwan and elsewhere.

The Museum has a successful publications arm. It publishes exhibition catalogues, guides, monographs, research papers, etc. Two more serial publications must be mentioned—Papers of the National History Museum of Latvia and Latvian Cultural Heritage Held in Foreign Repositories.

On the March, 2008 Museum Park of Āraiši joined to the National History Museum of Latvia. The museum is the Lake Castle, which consists of reconstructions of buildings of Stone and Bronze Age where settlement of Latgalians in 9th – 11th century was. There are also ruins of medieval castle dated back to Livonian time.

January 2010 Latvian Culture Museum Dauderi joined to the National History Museum of Latvia. Museum’s building was built in 1897 as “Waldschlössen” (at present – “Aldaris”), family mansion of the owner Adolf von Bingner. It is surrounded with the park created in the beginning of 20th century by Georgs F. F. Kūfalts.

From the May 15, 2014 the permanent exposition and exhibitions are located at Brīvības boulevard 32.

January 2015 the Popular Front Museum joined to the National History Museum of Latvia. It is one of the repositories of the Latvian contemporary history’s testimonies. In the museum’s collection there are unique evidences (objects, documents), which tell about the Latvian people’s struggle for freedom, about the Third Awakening.

fonte: @edisonmariotti #edisonmariotti http://lnvm.lv/en/?page_id=21