Institutions, organisations, contacts

Institutions nationales

Délégation permanente du Portugal auprès de l’UNESCO
Maison de l’UNESCO
Bureaux M2.25
1, rue Miollis
75732 PARIS Cédex 15

Commission nationale portugaise pour l’UNESCO
Ministry of Foreign Affairs
Largo das Necessidades
1350-215 Lisboa

Autorité désignée pour l’utilisation de l’emblème :

Commission nationale (voir les contact ci-dessus)

En savoir plus sur l’utilisation de l’emblème

Contacts UNESCO

Siège de l’UNESCO (section du PCI)
Responsable régional :
Nakata, Keiichi Julien (

ONG accréditées situées dans ce pays

Nom, adresse et sourceActivités relatives au PCI
Centro em Rede Investigaçao em Antropologia
Centre for Research in Anthropology - CRIA [en]
Av. Forças Armadas s/n - Ed. ISCTE
Sala 2N7 / Cacifo 237
1649-026 Lisboa
Tel.: 351 21 7903917

Demande d’accréditation n° 90164 : anglais
Réunion décisionnaire : 4.GA - 2012

Date de création: 2008

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

Mesure de sauvegarde:

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

Pays principaux d’activité:

Angola, Brésil, Canada, Chili, Espagne, États-Unis d'Amérique, France, Inde, Maroc, Mauritanie, Mozambique, Portugal, Sénégal, Timor-Leste

The primary objective of CRIA is to promote the advancement of Portuguese anthropology and its internationalization through the development of theoretical and applied research projects, the promotion of events encouraging scientific debate and the diffusion of research (congresses, seminars and conferences), the edition of scientific publications (promoting the national and international diffusion of research project results), the organization of courses and connected activities of postgraduate teaching level, the encouragement of international network-based collaboration in research projects or groups, as well as in other international collaborations that promote scientific diffusion, the establishment and reinforcement of cooperative relationships with similar institutions, both national and international, the reception of undergraduate students, graduate students and PhDs, helping with their integration in the scientific community.
CRIA’s general objectives are framed by four main thematic research lines: 1.“Social Identities and Differentiation”; 2.“Culture: Practices, Politics, Displays“; 3.“Migrations, Ethnicity, Citizenship”; 4.“Power, Knowledges, Mediations”.
Although safeguarding intangible cultural heritage is not CRIA's primary objective, a majority of its researchers (working mostly, but not only, within two thematic lines: "Culture: Practices, Politics, Displays" and "Power, Knowledge, Mediations") deal directly or indirectly with this issue. They explore it from a theoretical and analytical standpoint, and they resort to it as a framework for applied research and for intervention on the field. Constantly tackling such concepts as “culture”, “knowledge”, “identities”, “ethnicity” or “differentiation”, CRIA’s members study very diverse social and cultural contexts. Their ethnographic activity provides the empirical basis and the cultural knowledge that are necessary for an objective assessment of the relevance, interest, urgency, viability and sustainability of safeguarding initiatives.

Additional information:
CRIA contributes in direct and indirect ways to safeguard Intangible Cultural Heritage (lCH) through the activities of its researchers, namely through:

Theoretical and reflexive examinations of the notion of ICH, thus contributing to its conceptual understanding and elucidation. This is especially the case in activities Iinked to CRIA's main research lines: Culture: Practices, Polities, Displays" and "Power, Knowiedge, Mediations".

The organization of conferences and public lectures which allow for the diffusion of this knowledge to society in general and particularly to cultural agents and mediators. Some examples: Maria Cardeira da Silva, 2008: Cultura fora - Conversa sobre a candidatura do FADO a património da Humanidade. With Pedro Félix (INET-FCSH) Jean-Yves Durand, 2003: conference "Ethnographic Heritage, museums and development", CEAS (CRIA)/NEA, Vila Verde Township, Universidade do Minho.

Consuiting activities requested by organizations and institutions dedicated to the survey, study and promotion of ICH. Some examples: Cláudia Sousa contribution to GRASP, Great Apes Survival Partnership, project of the United Nations Environment Programme (UNEP) and the United Nations Educational, Scientific and Cultural Organization (UNESCO) to lift the threat of imminent extinction faced by gorillas (Gorilla beringei, Gorilla gorilla), chimpanzees (Pan troglodytes), bonobos (Pan paniscus) and orangutans (Pongo abelii, Pongo pygmaeus) across their ranges in equatorial Africa and south-east Asia; Joäo Pedro Galhano, participation at "Projet de sauvegarde de la chasse à I'arc traditionnelle des Gourmantché." ONG BAIL (Niamey), Ministère de l'Environnement (Niger) et, possiblement, UNESCO.

The establishment of co-operation protocols and the joint organization of initiatives with the nationallnstitute for Museums and Preservation (IMC): Clara Saraiva, Museu da Luz, May 2008, joint conference with IMC, "Museus e Património Imaterial, agentes, fronteiras, identidades. Memória, Identidade, Projecto"; Maria Cardeira da Silva, 2008: Portuguese Fields: What do Anthropologists do? Museums and Intangible Heritage (Conference), CRIAlIMC/Ministério da Cultura.

The direct involvement of researchers and academies with local, national and international institutions developing projects aiming at the safeguard of Portuguese ICH, both in national territory and in different parts of the world: Clara Saraiva, 2008: Conference IDEMEC-CRIA "Rituels d'hiver avec masques. Réinvention culturelIe et performance: un cas portugais", IDEMEC, Maison Méditerranéenne des Sciences de I'Homme, Université d'Aix-en-Provence.
The competence and expertise of CRIA researchers in the field of intangible cultural heritage come from their academic background as anthropologists and from the intense ethnographic activity that is inherent to their research. The scope of their research encompasses rural and urban settings. As a result of their lengthy presence in the field, they come to gain a deep cultural intimacy with the communities and groups they study and whose life they share. They are therefore often seen by these as valid contributors and partners in actions aimed at the safeguarding of local cultural heritage.
In order to be a full member of CRIA, an investigator must hold a PhD. Students can be associate members. The members listed below have recently worked on themes that are relevant for the promotion and protection of intangible cultural heritage:
-- Conceptions of, and interaction with “nature”: Amélia Frazão, Cláudia Sousa, João Galhano.
-- Craftmanship: João Leal, Jean-Yves Durand, Vera Alves, Denise Esteves, Clara Saraiva.
-- Cognition, scientific/lay knowledge: Amélia Frazão, Jean-Yves Durand, Maria Manuel Quintela, Manuela Ivone Cunha.
-- Culinary practices and traditional gastronomy: João Alpuim, Amélia Frazão.
-- Ethnobotany: Jean-Yves Durand, Amélia Frazão.
-- Ethnomusicology: Miguel Moniz (in migration contexts).
-- Festive events: João Leal, Miguel Vale de Almeida, Paulo Raposo, Luís Silva.
-- Life histories, social memory: Ana Lavado, Elsa Lechner (mostly among migrants), Humberto Martins, Luís Cunha, Antónia Lima, Emília Marques, Francisco Oneto Nunes, Inês Fonseca, Filipe Reis, Brian O’Neill.
-- Literature and oral literature: Margarida Fernandes, Filipe Reis.
-- Ludic activities, traditional games: Ana Lavado.
-- Maritime cultures: Francisco Oneto Nunes, Christine Escallier, João Alpuim.
-- Museum projects, ethnographic exhibitions: Jean-Yves Durand, Clara Saraiva, Nuno Porto, João Alpuim, Anthony Shelton.
-- Performing arts (popular theater, dance, audio-visual media, historical re-enactments): Luís Silva, Maria José Fazenda, Teresa Fradique, Paulo Raposo, Sófia Sampaio.
-- Popular art: João Alpuim, Vera Alves, Sónia Vespeira de Almeida.
-- Rituals: João Leal, Clara Saraiva, Miguel Vale de Almeida, Paulo Raposo.
-- Rural/urban popular culture: Paulo Raposo, Sónia Vespeira de Almeida, Teresa Fradique, Vera Alves, António Medeiros.
-- Social uses of Space and landscape: Sandra Xavier, Jean-Yves Durand, Luís Cunha, Rosa Maria Perez, Filomena Silvano.
-- Therapeutic practices, healing: Clara Saraiva, Jean-Yves Durand, Maria Manuel Qunitela.
-- Traditional costume: João Alpuim, António Medeiros.
-- Traditional techniques, social uses of technology: Christine Escallier, Jean-Yves Durand, Emília Marques, Francisco Oneto Nunes, Jorge de Freitas Branco.
-- Vernacular architecture: Jean-Yves Durand, João Alpuim, Clara Saraiva.
Many CRIA researchers conceive of their research as visual anthropology (among whom chiefly Catarina Alves Costa, an internationally renowned documentary film-maker).
CRIA members also necessarily carry out an epistemological and methodological reflection in such fields as museum studies, tourism, conservation, heritage: Maria Cardeira da Silva, Anthony Shelton, Nuno

Additional information:

The competence and expertise of CRIA's researchers in the field of ICH come from their academie background as anthropologists and from the intense ethnographic activity inherent to their research, carried out both in rural and urban settings, in Portugal and abroad.

As a result of their lengthy presence in the field, anthropologists come to gain a deep cultural intimacy with the communities and groups they study and whose Iife they share. Therefore, they are often seen by the latter as valid contributors and partners in actions aimed at the safeguard of local cultural heritage.

Our researchers have worked on themes that are relevant for the promotion and protection of ICH and their work stimulated processes that contributed to actions regarding the safeguard and revitalization of cultural heritage by the communities involved. Some examples:

Amélia Frazäo-Moreira worked c10sely with the Polytechnic Institute in Bragança, Fragua Association and "Ecomuseu de Picote-Miranda do Douro" on the joint development of dissemination and training activities in the management and conservation of local plants genetic resources, particularly for the collection and retention of knowledge and specimens in the area of Parque Natural do Douro Internacional.

Paulo Raposo conducted a funded research project on the processes of folk culture objectification in Portugal which has led to a privileged relationship with local communities and cultural organizations in Northern Portugal, resulting in his being
requested to provide information and support to the conception and establishment of an on-site local museum in Podence.

Jean-Yves Durand is involved in an international network (France, Italy, Spain, Canada, Mexico) dedicated to the investigation and promotion of handierafts and was recently appointed Director of the Museu da Terra de Miranda (Portugal), where he has launched a study of homing-pigeons races, a controversial local tradition.

Joäo Leal led a funded comparative research on the processes of transnationalization of Azorean cultural elements in Brazil and the USA. As a result of this project, the anthropologist was invited to work as a consultant (2001-2005) for the Mapping of Azorean-Based Culture, promoted by a research center in Santa Catarina, Brazil, an initiative involving thousands of activists representing the communities of Azorean-based culture in that state. Leal is currently (sinee 2005) a member of the Scientific Board of the Azorean Communities Portal, which aims at spreading the Azorean culture along the
diaspora. He is also a member (sinee 2008) of the network of activists and academies who have been organizing the International Congresses on the Holy Spirit (2008, 3rd edition).

Emllia Margarida Marques has worked for the township of Marinha Grande (Portugal) creating an archive and documentation database (1996-1997) now available at the local public historical archive - also created in part as a result of the project. Work included the inventory and organization of local archive documentation (in parish councils, associations, and schools); providing support to schools and teachers on matters of local history; talks/lectures on the local history by invitation of the local institutions (municipality, schools) and organizations (social clubs, glass workers' union). The
anthropologist was further invited by the municipality to conduct two studies on the local glass industry, published during the commemorations of its 250th anniversary.

Cláudia Sousa and Amélia Frazäo Moreira have been studying the chimpanzee distribution and relation with local human communities in the coastal area of GuineaBissau. This project is intended to provide a better understanding of the relationship between a) local human populations, b) other animais, namely chimpanzees, c) the forests surrounding these African villages. It contributes to the development of a national strategy for the preservation of the species, taking into account the needs of the local human population. Studies about the cultural perceptions of animals in general and chimpanzees in particular were undertaken by the researchers. The results have been incorporated in the discourse of tourism guidebooks, thus encouraging its conservation. Claudia Sousa collaborated in the training of rangers of IBAP (Institute for Biodiversity and Protected Areas, Guinea-Bissau) and eco-guides (tour guides in a project of the NGO AD - Action for Development), on issues related to the behavior and ecology of primate species in the country, the techniques used for monitoring these species and special care that people should have when they move into the forest.
Conceived and funded (generally by Fundação para a Ciência e a Tecnologia), as academic research, many projects and events promoted by CRIA (or the research centers that preceded it) meet the needs and expectations of local groups and grassroots organizations.
Research: (title; coordinator; funding; date)
-- Portuguese Castles aboard II. Heritage, Tourism and Portuguese cultural cooperation in African contexts; Maria Cardeira da Silva; FCT; 2006.
--“Lenços de namorados”: study and certification of traditional embroideries from Northern Portugal; Jean-Yves Durand; CCDRN; 2005-2006.
-- Ethnobotany of Northeastern Portugal: local knowledge, plants and uses; Amélia Frazão; FCT; 2004.
-- Aldeia da Luz: ethnography and museography of a drowned village; Clara Saraiva; EDIA; 2005.
-- Modernization and change in Portuguese hydrotherapy; Cristiana Bastos; FCT; 2002.
-- Colonial Logics. Space and Society in Goa; Rosa Maria Perez; FCT; 2001.
-- (Re) Encountering the Past: An Anthropological Study of the East Timorese
Community; Brian O’Neill; FCT; 2001.
-- USA and Brazil: Processes of Transnationalization of "Açorianidade"; João Leal; FCT; 1999/2000.
-- Objectification Processes of Popular Culture: two complementary approaches; João Leal; FCT; 1998.
Scientific Meetings/events
-- CRIA was official partner of the ONG Memoria Media for the International Day of Life Histories,
-- D. Afonso®: contemporary appropriations of a national hero (ethnographic and iconographic exhibition); Jean-Yves Durand; Guimarães City Council.
-- Portuguese Fields: What do Anthropologists do? Museums and Intangible Heritage (Conferences), CRIA/IMC/Ministério da Cultura.
-- Cultura fora – Talking about Laws, Institutions and Intangible Heritage, CRIA & IMC.
-- Rituels d'hiver avec masques. Réinvention culturelle et performance: un cas portugais, CRIA/IDEMEC, Aix-en-Provence.
-- 7th Séminaire d'Ethnobotanique Européenne, CRIA/Musée Ethnologique de Salagon.
-- Animal Fights: History and Ethnography of a “tradition”, anthropology of the constitution of the “intolerable”, CRIA/Ecomuseu do Barroso.
-- Life Histories: New theoretical and methodological challenges, CEAS.
-- The Politics of Folk Culture: Reflections from the Lusophone World; CEAS/UMass Dartmouth (USA); proceedings: Etnográfica (9)1:
-- Anthropology, Art and Museums; CIA/University of British Columbia, U.Lisbon/Fundação
Calouste Gulbenkian.
-- Ethnographic Heritage, museums and development; CEAS/NEA, Vila Verde Township, Universidade do Minho.

Additional information:

CRIA's anthropologists partake in projects always implying close and intense relationships with communities and groups based on mutual respect: deontology of ethnography-making requires in all cases the researchers' respect for the individuals,
groups and institutions they work with. Examples of co-operation contributing to ICH's safeguard:

Jean-Yves Durand led a multidisciplinary research on lenços de namorados (a form of embroidery) involving different townships, organizations of embroiderers, national agencies for the promotion of crafts. Results were published and allowed for the definition of norms of certification, as forgeries of this product had started to be imported, jeopardizing the income of hundreds of women who had gained social autonomy thanks to their work. Risks of fossilization and reification of the product were avoided by introducing a specific certification category for "Innovations".

Durand also co-organized, with alocal ecomuseum, an international conference on "Animal fights". The controversial tradition of bull-baiting (and, on alesser scale, of cockfighting) is strong in a small region of Northern Portugal. lts practitioners now reformulate it as "Iocal heritage" and clash with animal rights activists. Observing the dynamics of this controversy, the anthropologist can act as a go-between. Appointed Director of a local museum, Durand launched a study on homing-pigeons races which raise similar issues.

Clara Saraiva coordinated a multidisciplinary team working in Aldeia da Luz, a rural community in Portugal forced to abandon their old village to relocate when a government-sponsored dam was built which would leave their homes underwater. Fieldwork with the population was done to create an ethnographic record of the community before relocation and to document their resettiement not far away. Results were used to form the local museum, generating a living memory of the village and its recreation.

Joäo Leal studies cultural and festive practices of Azorean migrants in North America, participating personally in transnational networks of cultural and intellectual agents. Leal's observation and reflection about the transformation undergone by these cultural practices when they shift from the original context to migratory ones, and the impact of
that transformation back on the Islands, is relevant to the documentation and registry of this process.
Fundaçao INATEL
Fondation INATEL
INATEL Foundation [en]
Calçada de Sant' Ana, 180
1169-062 LISBOA
Tel.: + 351 21 0027000

Demande d’accréditation n° 90157 : français
Réunion décisionnaire : 3.GA - 2010

Date de création: 1935

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

Mesure de sauvegarde:

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

La Fondation INATEL est gouvernée par ses Statuts et en accord avec son article 5 :
« La Fondation a comme buts essentiels la promotion des meilleurs conditions pour
l'occupation du temps libre et du loisir des travailleurs, en activité de service et retraités,
en développant et en valorisant le tourisme social, la création et la jouissance culturelle,
l'activité physique et sportive, l'inclusion et la solidarité sociale ».
Et d'après le Decret-Loi nO 106/2008, du 25 Juin qui a institué la Fondation INATEL :
« Tout en préservant sa nature originelle, la Fondation INATEL développe son activité
dans tout le territoire nacional, elle est chargée de l'administration d'un important
patrimoine, constitué essenciellment par des équipements hôteliers, culturels et sportifs,
consacrés à la prestation d'un vaste leque de services dans les domaines de l'hôtellerie
et du tourisme social, du termalisme social, et senior. La Fondation appuie également la
promotion de la culture traditionnelle (groupes folkloriques, sociétés philharmoniques,
orphéons, groupes chorales et de théatre amateur), le développement du sport amateur
et ses mouvements associatifs, la concrétisation du droit au repos et loisir des
travailleurs et la promotion de programmes et initiatives d'inclusion et de solidarité
sociale qui concernent surtout les jeunes et les plus âgés »
Dans le domaine de la culture nous allons enumérer les activités qui traduisent la
politique culturelle de la Fondation INATEL et démontrent ce qui est fait dans le domaine
de la sauvegarde du patrimoine culturel immatériel. Ces activités sont annuellement
inscrites dans le Plan d'Activités, Budget et Investissement.
La politique de la culture, dont la Fondation INATEL est chargée, se développe em 6
aires thématiques:
1. Formation d'Associés et membres de CCD (Centres de Culture et Sport) ;
2. Concours de Créativité;
3. Plans Nacionaux d'Appui aux CCD ;
4. Editions de Livres;
5. Grands Événements;
6. Relations Internationales.
1. Dans le domaine de la Formation, des actions de formation sont développées, dans
les aires comme l'Etnographie et Folklore, la Musique et Théatre.
En ce qui concerne l'Etnographie, un Cours d'Instruments Populaires a lieu. Nous avons
également des actions de Formation Regionale d'Etnographie et Folklore.
En ce qui concerne la musique nous avons plusieurs cours:
Le Cours National de Direction Chorale et Technique Vocale; Des Masterclasses
d'Instruments Régionaux de Flute, Clarinette et Saxophone, sont aussi développés; Un
Cours Regional de Réparation et Maintien d'Instruments.
Dans le domaine du théatre, des actions de formation qui sont indispensables à la
valorisation des groupes de théatre amateur sont développés.
2) Dans le domaine des Concours de Créativité, nous avons de nombreux concours, qui
sont les suivants:
Le Concours de Vidéo; Le Concours Nacional d'Etnographie ; Le Concours de
Composition; Le Concours de la Fondation INATEL! Théatre - Nouveaux Textes.
3) La Fondation INATEL développe reguliérement et depuis plusieurs années un Plan
Structuré d'Appui qui englobe l'Etnographie, les Editions, la Musique et le Théatre
amateur et autres évenements culturels comme par exemple le folklore. Ce Plan National d'Appui constitu un élement essentiel dans la relation directe avec les Centres
de Culture et Sport (CCD's), qui sont actuellement environ 1.300 dans l'aire de la
culture, et englobent les syndicats, les associations de travailleurs, les personnes
morales de droit publique, les maisons du peuple, les associations humanitaires, et ce
Plan, dirigé exclusivement à ces derniers, leur permet l'obtention de moyens essentiels
à leurs activités culturelles, comme appuis financiers pour l'acquisition de costumes et
chaussures, instruments musicaux ou équipement nécessaire pour la production de
piéces théatrales. Ces relations startégiques de la Fondation 1NATEL avec les CCD
permet, non seulement le développement régional, mais aussi le développement
d'activités traditionnelles, dans le domaine de la culture populaire et de la préservation
de traditions.
Nous avons par exemple, plusieurs projets de niveau national qui visent appuyer les
groupes etnographiques en ce qui concerne les costumes, les chaussures et
instruments musicaux.
4) En ce qui concerne les Editions de livres, la Fondation INATEL a des editions
historiques dans le domaine de l 'Etnographie que nous allons enumérer :
- "Traditions Populaires 1 et Il''
-«Colloque sur la Musique Populaire Portugaise»
-«Étude sur le Chant de la Région de Alentejo»
-«Le Costume Regional au Portugal »- Auteur : Tomaz Ribas (edition Difel)
- «L'Art du filet de pêche» - Paradigme Ecologiquel Travaill Techniques de Navigation 1
Jet -par Professeur Universitaire Manuel Fidalgo
- «La culture Traditionnelle de 1 État Nouveau»- Auteur: Professeur Universitaire Joao
Lopes Filho
-"Chansonnier de la Région de Cova da Beira"- volumel et IV- Auteur: Ma da Ascençao
Gonçalves Carvalho Rodrigues).
5) La Fondation INATEL réalise également les Grands Évenements qui sont, par
exemple, les suivants:
- Les Promenades Culturelles; Les Rencontres et Expositions Etnographiques.
Il y aussi des representations de Traditions Populaires, comme par exemple, les «
Cantares de Janeiras e de Reis» (Pour célébrer le nouvel an) ; les Fêtes de Carnaval.
6) Dans le domaine des Relations Internationales, la Fondation INATEL, integre le
Conseil International des Organisations de Festivals de Folklore et d'Arts Traditionnels
(CIOFF) comme Organisation Non Gouvernementale auprés de l'UNESCO.
Dans le cadre de la musique, la Fondation INATEL, intègre la Confédération
Internationale des Sociétés Musicales et la Union européenne des Musiciens
Dans le domaine du théatre, la Fondation INATEL posséde le Théatre de la Trindade qui constitu depuis 45 ans, l'offerte culturelle permanente de la grande Lisbonne, dans les
domaines, non seulement du Théatre, de l'Opéra, de l'Opérette, de la Zarzuela, du
Cinema, du Chant, de la Danse, du Fado, des Spectacles Populaires, de l'Etnographie,
du Folklore. Lie théatre est actuellement le siége de la Compagnie Portugaise d'Opéra.
La préservation du patrimoine culturel immatériel et l'encouragement de nouvelles
habitudes de satisfaction des biens culturels constituent les objectifs de la Fondation
Si, d'une part, la Fondation INATEL assume la responsabilité sociale de promotrice
d'une tradition culturelle centrée en deux vecteurs fondamentaux - formation et appuis
structurés aux Centres de Culture et Sport (CCD's) - d'autre part, elle s'assume aussi
comme agent dynamisant de nouvelles pratiques, qui accompagne une société de plus
en plus exigente et médiatique.
Dans cette perspective, la Fondation INATEL, prétend continuer sa politique culturelle
de préservation et constante adaptation à une société en changement, et qui exige
diversité et multiplicité en ce qui est de plus en plus important dans la formation de la
personne humaine - l'immatériel, qui nous donne de la joie, nous amuse et transmet
des connaissances, et nous aide à donner un sens à notre existence.
Dans ce sens la coopération, dans un esprit de respect mutuel avec les communautés,
les groupes, les individus, qui atravers leurs actions ont une pratique de défence de la
culture immatérielle, est une constante, d'où ressortent les CCD- Centres de Culture et
Sport- qui dans le cadre de la Fondation INATEL font un recueil et des représentations
etnographiques, des enregistrements des traditions populaires et des rituels, et dans
l'époque technologique dont nous traversons, la préservation de traditions orales
Memória Imaterial Cooperativa Cultural CRL
Intangible Memory - Cultural Cooperative CRL [en]
Rua da Colectividade, n  4
Pereiro de Palhacana
2580-258 Alenquer
Tel.: +351 962619496; +351 918107756

Demande d’accréditation n° 90307 : anglais
Réunion décisionnaire : 5.GA - 2014

Date de création: 2008

- oral traditions and expressions
- performing arts
- social practices, rituals and festive events
- knowledge and practices concerning nature and the universe
- traditional craftsmanship
- other
- Life stories

Mesure de sauvegarde:

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

Pays principaux d’activité:


The social objectives of the Memoria Imaterial CRL's activity are:
1) To study, identity, register, preserve and promote rural, maritime-fluvial and vernacular architecture heritages, along with the ancient know-how of handcrafting, popular art, traditional medicine, and oral literature in its ethnographic and anthropological dimensions, as well as to map out traditional terms and expressions, both collective and individual, by creating a bibliographic, phonographic and video collection of records;
2) To edit and publish bibliographic, phonographic and video records through hypermedia, multimedia and written media, namely in website, web-video, DVD, CD, CD-ROMs, book format and future platforms for multimedia contents;
3) To organize, create and produce public and private events to promote Portuguese and international intangible cultural heritage, such as performances, art-work installation, symposiums, conferences and seminars;
4) To organize and produce comprehensive workshops and training seminars on the aforementioned subjects (item 1);
Since 2008, Intangible Memory CRL has been collecting and promoting traditional/oral/popular culture through its Memoriamedia Project.
Memorimedia is grounded on the urge to identify, register, preserve and promote folktales, legends, proverbs and other forms of traditional and oral culture: the skills and knowledge of ancient artisans and the uses and rites prevailing in day-to-day professional, social and family circles.Produced material is uploaded on the website
This operation uses the new media for the transmission of culture heritage which enables registration and distribution of significant moments of oral culture on line at a global scale in order to assure that it will be perpetuated through appropriation and transformation by a large public.
In 2012, Intangible Memory CRL was recognised as a Public Interest Entity as per presidential decree, due to the "pursuit of significant cultural activities, namely recording, registering and publicizing the Portuguese intangible cultural heritage".
Amongst our 2012 activities and projects, we highlight
Identification and ethnographic recordings of Know-How:
Regional Gastronomy- Alenquer, Arruda and Sobral de Monte Agravo
Windmill of Sobral de Monte Agravo
Identification and ethnographic recordings of oral terms, expressions and traditions - Folktales,
Legends, Balladry and Traditional Songs of:
Beja, Cascais, Cabeceiras de Basto, Estremoz, Lisboa, Mertoia, Montemor-o-Novo and Vila Real.
The Windmill/ the workings and procedures of windmills;
Campo Maior I the life and poetry of Rosa Dias, folk poet;
Montemor-o-Novo I the poetry and life stories of various folk poets;
Encontro Nacional de D. Roberto 2012/ performances and academic intervention of D. Roberto puppets, the traditional Portuguese form of Punch Judy puppetry;
Barrocal do Douro, mem6rias dos que ficam I enclave of modern architecture in the 1950's at
Fome e fartura na tradivao oral/ produced in the framework of the Project "Feast and Famine in traditional folktales and daily living";
Cultura visual urbana e express6es de arte popular I interventions produced on the congress organized by the Centre for lntercultural Studies (Visual urban cultural and the expressions of
Popular Art);
Falas do mare do rio I interventions produced on the interdisciplinary congress "Parlance of the river and the sea".
Joint projects:
The Cante Alentejano- Traditional Singing from The Alentejo, Portugalinventory- making: design and implementation of a structural database for the research and promotion of the Cante Alentejano -Traditional singing from the Alentejo, Portugal.
Catalogue of Fables in Portuguese Literature w/ FCSH/FCT: a structural literary database for the research and promotion of fables found in Portuguese literature.
Adivinhario (Dictionary of Riddles) w/ FCSH and The Portuguese Music Museum: a structural literary database for the research and promotion of the Michel Giacometti's archive of collected riddles in Portugal.
Intangible Memory CRL seeks to promote its produced knowledge among the academic community, but mostly within the civil society with whom it works. The cooperative goes out from what the groups and communities select as their intangible cultural heritage, does fieldwork and research on that given reality and draws up promotion and dissemination plans directed to different audiences, making sure that the results can be enjoyed by each social segment.
Aiming to create synergies and promote cross-cutting cultural heritages, Intangible Memory CRL has been establishing cooperation protocols throughout the country with numerous institutions, namely government associations and councils, local authorities, schools, museums, foundations, libraries, cultural groups, local development agents, and other non-governmental organizations.
Equally important is the promotion of open debate activities and the return of the developments and results to all populations studied. We highlight the work and methodology transversally applied to the MEMORIAMEDIA Project.