Year of creation: 2002
Domain(s):

- traditional craftsmanship

Safeguarding measures:

- promotion, enhancement
- transmission, (non-)formal education
- revitalization

Objectives:
ArteSol started its works in 1998 and became a Civil Society Organization of Public Interest in 2002. Its institutional mission is to contribute to the safeguarding of traditional craftwork and to improve the living standards and self-esteem of their practitioners in areas of Brazil with low human development indices. The decision to prioritise families whose income often falls below the poverty line implies that ArteSol has contributed to safeguard several craftwork expressions at risk of disappearing.

Activities:
With the support of several partners, sponsors, volunteers and donors, ArteSol has developed 114 projects supporting traditional producers of pottery, weaving, lace and embroidery work, wooden and clay sculptures, musical instruments and toys, among other artefacts made primarily by women. These projects have benefited approximately 5,000 people, considering artisans and their family members, in 96 localities of various regions of the country, distributed as follows: two in the North, 61 in the Northeast, 1 in the South, 29 in the Southeast and 3 in the Midwest.
The actions developed by ArteSol set out from the principle that intangible cultural heritage in general, and traditional craftwork in particular, are resources of special significance in terms of the history, worldviews and ways of life of their practitioners. These resources are potentially available to most, if not all, members of cultural communities, allowing for differences in gender, age and other forms of social differentiation. They are often an important component of family income. For such economic and socio-psychological reasons, their safeguarding and development, when sustainable, can contribute decisively to improve their living conditions, boost their self-esteem and promote access to citizenship rights.
The social technology developed by ArteSol includes the identification of groups of traditional craft-workers living in poverty; the understanding of their activity as an integral part of social life, worldview and family budget; interpretation of the values attributed to their work and products by the wider public; elaboration of specific safeguarding plans, implementation and continuous evaluation of the project performance.
One of the first priorities of action plans are to contribute to the formation of associations; to understand consumer needs and tastes; to redesign products where necessary, respecting traditional taste and techniques; to help in price formation and in establishing as direct as possible relations with the market. A key objective has been to strengthen the autonomy of the artisans in the sale of their products and advise them on how to market in line with fair trade principles.
ArteSol has effectively contributed to safeguarding expressions of intangible cultural heritage at risk in Brazil. Examples of good practices are the support to lacemaking in Divina Pastora (Sergipe State), to the construction of viola de cocho guitars in Corumbá and Ladário (Mato Grosso do Sul State) and the making of earthenware cooking dishes in Goiabeiras (Espirito Santo State). IPHAN – Institute of National Historic and Artistic Heritage has registered these three cultural elements as Brazil’s Intangible Cultural Heritage
.
In addition, this approach contributes significantly to projects of regional sustainable development like those taking place in Polo Veredas < http://www.artesol.org.br/site/english/cases/ > (Minas Gerais State), for example.
Individuals and institutional partners have contributed a variety of financial, intellectual, technical and political resources, at various levels, to the continuity and development of the projects and actions developed by ArteSol.

Cooperation:
ArteSol still implements this approach with communities included more recently its programs. However, its main goal since 2012 has been to build the ArteSol Network, focusing mainly on the communities that have participated in activities developed by ArteSol since 1998.
This network’s objective is to develop a specific website allowing direct contact with associations, cooperatives, masters, artisans and their commercial partners: i.e. agents belonging to the productive chain of traditional craftwork in Brazil.

Traditional craftwork supported by ArteSol registered as Brazilian Intangible Cultural Heritage (IPHAN):
Goiabeiras earthenware cooking dishes (Espirito Santo State), in 2002.
Viola de cocho guitar of Corumbá and Ladário (Mato Grosso do Sul State), in 2005.
Divina Pastora Irish Style Lacemaking, in 2008. It also received Indication of Origin by the National Institute of Industrial Property, under the geographic name of ‘Divina Pastora’ in 2012.
Eleven craftwork associations supported by ArteSol received the SEBRAE Top 100 award in 2009.
Mamulengo Project, World Bank’s Award for Innovative Social Enterprises in 2002
Esperança, the Agreste Doll Project, Banco do Brasil Foundation’s Social Technology Award in 2005.
In the near future, the Network aims to include gradually stores, support institutions and government support programs through a communication plan that provides ready access to information and contacts. Rede ArteSol is not a sales site. Its objectives is build relationships and become an effective networking tool for the development of traditional craftwork in Brazil.
This initiative has produced already very positive results, encouraging us to continue to work in this direction.

Year of creation: 1990
Domain(s):

- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship

Safeguarding measures:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Objectives:
The Association of Friends of Brazilian Folk Art represents the Casa do Pontal Museum, the largest and most important museum of folk art in Brazil. The museum has a collection of more than 8000 works of artists from throughout Brazil. The mission of the museum is to preserve the memory and to recognize and appreciate Brazilian Folk Art through its research, education and conservation activities, and by showing its collection as widely as possible.

The understanding of folk art in Brazil has taken us to a vast number of areas: from the music of the song books to talent shows and performances; from cheap pamphlets to handicrafts; from local festivals to folklore; from theater to street games, from art to artisans. Works that reveal important features of the culture in which they emerge.

The goal of the research work at the Casa do Pontal Museum is to add to the knowledge of folk art and to recognize and appreciate its historical and cultural importance by dedicating its efforts to research about the collection, the artists, about rural and urban cultural themes in Brazil and economic characteristics represented in the field of Brazilian Folk Art. Research starts with the works in the collection and moves to the symbolic universe in which this production is contained, and, at the same time, to which it takes us. It is equally concerned with the communities in which the artistic production takes place in the context of a tradition of knowledge and practical experience, and with the artists who are known for the uniqueness of their work. The research sector is also dedicated to the understanding of the projects of recollection and social function of the activities represented in the collection. In addition, it carries out activities to help understand the social-historical context in which folk artists arises.

This research forms the basis for the work of bringing folk art to public attention, through educational activities (educational tours of the collection, seminars and workshops for the continuing education of teachers and social workers) as well as through cultural activities (publications and exhibits).
Activities:
Identification, documentation and research
Currently, but the principle research project of the institution is called “Pathways of Folk Art” supported by FINEP, an agency of the Ministry of Science and Technology, BR, that deals with the process of the spread of artistic skills in traditional communities in the states of Inas Gerais, Pernambuco and Ceará. The results of the research projects include the safekeeping, encouragement and diffusion of the cultural and artistic heritage of these communities through publications and exhibits. The Museum maintains a site “Brazilian Folk Art” on the Internet (www.popular.art.br) with priorities and references for artists, themes and locations related to partisanship and folk art. In 2002, we published “The World of Brazilian Folk Art”, which has become a reference work in the field.

Preservation, Protection
The care and preservation of the collection is one of the missions of the Casa do Pontal Museum. With a collection containing more than 8000 works, made from various kinds of materials, the works – most of which were produced more than four decades ago -- are thoroughly cleaned, treated for pests, meticulously restored. This painstaking work is necessary because most of these works were made with poor quality organic materials that deteriorate quickly. This has required the institution to develop techniques in this area. Our expertise has been recognized by UNESCO which requested the institution to publish “Notes on the Conservation and Restoration Of Brazilian Folk Art”, (2008), available at:
http://www.brasilia.unesco.org/areas/cultura/institucional/
publicacoes/livros/cadernoartepopular

Promotion, Enhancement
Despite its cultural and tourism potential, Brazilian Folk Art is not widely known. There are artists in every state that testify to the vitality of folk art production – marked by tradition and constant renewal - recognized as an expression of Brazilian culture. The Museum is dedicated to exhibiting Brazilian folk art throughout the world and has already held 40 exhibits in 14 countries.

Transmission, Formal or Non-Formal Education
In the Educational and Social Program has been developing, since 1996, with the goals of disseminating information about folk art and providing access to the collection. The Program consists of: (i) animated tours of the permanent exhibit at the Museum, for students and participants in social programs; (ii) workshops on popular manifestations, presented by artists and researchers in the area. Since its inception, more than 200,000 visitors have participated. In 2008, it was awarded Honorable Mention of the We Are the Heritage Award, (Andrés Bello International Agreement), and Honorable Mention for the Darcy Ribeiro Award for Educational Activities In Museums (IPHAN).

Members of the Organization

Angela Mascelani (Museum Director Cassa do Pontal Museum, 2004-to date) – PhD Cultural Anthropology, IFCS, 2000, Masters in Visual Anthropology EBA (1996) both from the Federal University of Rio De Janeiro. From 1996-2004 contributed to the creation and implementation of a new model for institutional management. Participated in and directed various research projects in cultural heritage with financing from CAPES, UNESCO, FINEP, FAPERJ and others: the Commerce in Artisanship in MG (FINEP, 2004-2008). Curator of the Brazil exhibits in France, Belgium, Argentina, India. Author of "O mundo da Arte Popular Brasileira" (2002), and "Caminhos da Arte Popular: o Vale do Jequitinhonha" (2009). Member of the ABA (Brazilian Anthropology Association), and the Heritage Education Laboratory and the NUPEC – Nucleus For Research And Studies of Cultural History/UFF.

Lucas Van de Breque, (Head of projects for institutional development) – Masters in Production Engineering from COPPE UFRJ, research in the area of Museum management. Undergraduate degree in economics, from the Economics Institute/UFRJ,, research in “Economics of Culture”, with focus on Museums. Participated in the Management of, and Photographer for, Caminhos da Arte Popular: o Vale do Jequitinhonha ( 2004 --2009), activities for the appreciation and social inclusion of communities that produce Artisanship and Brazilian Folk Art of the Vale do Jequitinhonha, MG, and participated in a publication of the book Caminhos da Arte Popular: o Vale do Jequitinhonha (2009).

Joana Corrêa (Head of projects for institutional development)—specialist in Cultural Management, research in National Program for Cultural Heritage. Co-author of Museu Vivo do Fandango (2006) and organizer of the Book-CD “Na Ponta do Verso: Poesia de improviso no Brazil”(2008). Coordinated courses on the preparation and management of cultural projects for traditional communities participating in the Plan for Safeguarding The Jongo Of the Southeast with links to the Fandango Caiçara on the Coast of the South and Southeast. The Museu Vivo do Fandango project, which she coordinated, involving research and encouragement of manifestations of the Caiçaras on the South and Southeast Coast of Brazil, was indicated by the Consulting Counsel Of Cultural Heritage Of Brazil to UNESCO in 2009 as an example of relevant experience in safeguarding cultural heritage.

Flora Moana Van de Breque (researcher) – Masters degree in Sociology and Anthropology from UFRJ. Research in the area of cultural heritage (Cazumba in Maranhão). Undergraduate degree in social sciences from UFRJ (2007). Participated in the research project Caminhos da Arte Popular: o Vale do Jequitinhonha.
Cooperation:
To register and spread practices related to the creation of folk art and traditional artisanship, contributing to the appreciation of its multigenerational heritage. The project uses an anthropological and participatory approach, emphasizing two perspectives: the appreciation of what is being done and the recognition of those who do it. The Educational, Social and Research Program connects with the artisans and artists at one end of the process and transmits and creates a new audience at the other. It provides benefits to public schools, social programs for low-income communities through educational activities, where many of the participants enter into contact with Brazilian folk art for the first time. They began to see the artists and artisans as cultural producers, individuals with their own unique characteristics, whose production should be respected and supported. It promotes the appreciation of artistic and cultural production for groups as well as individuals, as they embody a heritage of generations. This involves a deep and thorough research effort, with a strong anthropological bias, and emphasizes and respects the activities of local authors, an appreciation of excluded groups and cultural values that are passed on orally and of interest to the participants. The emphasis is on participation, and brings into play those who have the knowledge passed on by their ancestors. Because it is based on the content and thematic scope of the collection that is on exhibit, that covers the production of sculptures and three-dimensional objects made by lower income populations, connections and correlations with history, art, folklore and Brazilian culture are established.

The training of educators and socio-cultural managers is included in this process and is an instrument to assist in the appreciation of producing communities. This takes place through workshops and seminars, and includes all the seminars held with the presence of artists and/or artisans who contribute actively to the permanent work of dissemination performed by the institution. The methodology used is participatory in nature, and the participants are essential interlocutors in the process of a collective construction of the knowledge that is reproduced.

Year of creation: 1979
Domain(s):

- oral traditions and expressions
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Practices and knowledge concerning territorial and territorial rights

Safeguarding measures:

- identification, documentation, research (including inventory-making)
- preservation, protection
- promotion, enhancement
- transmission, (non-)formal education

Main countries where active:

Brazil

Objectives:
Our aim is to work alongside with indigenous groups so that they can assume effective
control over all interventions that occur in their territories, informing them about the
Brasilian State's role in the protection and guarantee of the indigenous peoples'
constitutional rights. The Centro de Trabalho lndigenista has as its mission and identity
trait the direct support that we offer to the indigenous groups with which we work,
assisting them with the resources and technical support that they need to accomplish
greater political and economic autonomy, always respecting the sociocultural universe
pertaining to each indigenous community. In other words, the projects developed by the
Centro de Trabalho lndigenistas are projects in which the indigenous peoples involved
are coauthors and collaborators and in which their traditional knowledge and practices
are respected and affirmed.
Our main objectives are:
- The promotion and circulation of community-organized projects in the areas of
agriculture, education, health and culture;
- Development of actions which contribute with the legal recognition of lands
traditionally occupied by indigenous people;
- Preservation and protection of the natural environment of the indigenous lands;
- Development of actions that promote and enhance the transmission of the indigenous
peoples' traditional knowledge and practices;
- Production of audio-visual material with the indigenous groups so that they may
circulate and preserve their traditional knowledge and practices;
- Promotion of occasions in which the indigenous groups may exchange experiences
and information with other communities, research centers and organizations;.
Activities:
The Centro de Trabalho Indigenista works with the promotion and protection of
indigenous peoples' rights. These include territory, health, education and cultural rights.
We understand that these domains are not segregated, eventhough the Brazilian State
frequently separates them in different policies and agencies. Therefore, in working with
the indigenous for the recognition of their land and the preservation of its natural
resources, we are better able to work towards the promotion, transmission and
protection of their cultural heritage. We have aquired experience in the domain of
intangible cultural heritage, working with various indigenous groups over the last thirty
years. Currently, we are working with the Guarani people in a large project of register
and safe-guard of their intangible heritage. The project is developled in cooperation with
the Brazilian official agency responsible for intangible state policies (Insituto do
Patrimonio Hist6rico e Artistico Nacional) and the Spanish International Cooperation
Agency (AECI). We are researching vast documentation concerning the Guarani in all
public archives in the south and southeast regions of Brazil, aiming at producing the
most complete reference material available, so that the indigenous people, researchers,
government workers and policy makers and other people interested in learning more
about the Guarani and their culture or in promoting actions in colaboration with the
Guarani can have access to this information. This reference material includes, books,
reports, academic research, maps, fotographs, and audio visual registers from the
nineteenth century to present day. We are also working with the Guarani to identify the
aspects of their intangible heritage which they endeavor to preserve, protect and
transmit to future generations and are creating the means for this to be accomplished in
a long-term plan. This endeavor to affirm Guarani culture also includes the awareness of
the non-indigenous people who surround their communities and non-indigenous society
in general. Through the production of materials which contribute with this awareness, we
are hoping to promote better relations and understanding among these groups.
Cooperation:
The Centro de Trabalho Indigensita has worked with indigenous communities for the last
thirty years. We have worked in collaboration with the members of various indigenous
groups, so that the indigenous may assume greater control over interventions that affect
their communities and gain greater political and economic autonomy. We recognize that
for this to be accomplished it is necessary that the indigenous have a good understanding of their rights and the means by which they can guarantee respect for
these rights. On the other hand, it is of fundamental importance that we acknowledge
each indigenous group's specific forms of political, social and cultural organization and
help governmental and non-governmental agents to better understand these forms and
respect them. In recognizing these aspects, we are able to develop more effective
actions, in which the indigenous people are protagonists.