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Sumário
Pelo Som da Arte do Fogo
Marisa Pereira Santos
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AbstractNowadays the notion of Cultural Heritage is defined by the critical selection of the various elements of culture. In fact, culture is a universal phenomenon, which can arise in any place and time as long as there is human presence. The definition of Cultural Heritage makes us reflect on cultural practices that go beyond the built and artistic heritage. In recent years we have seen a valuation and safeguard of traditional practices of know-how. These have been perpetuated from generation to generation through knowledge sharing. Pyrotechnic production has been governed by this assumption for centuries. The processes of production of rockets, of one, of two or three shots or even of the firework was transmitted from generation to generation. We understand that pyrotechnic production contains a traditional practices of know-how, a character of social and a apotropaic affirmation. The sound inherent in these spectacles leads us to reflect on the portuguese sound landscape, so often punctuated by the sound of the explosions in the moments of real and religious festivities. It is an element of social and religious affirmation, depending on the content of the celebrations. In this article we reflect on Pyrotechnics from the immaterial point of view, orienting ourselves to the definitions affirmed in the Convention of Cultural and Intangible Heritage2. We understand that this is a legacy we must preserve and transmit, which brings together the artisanal stamp in its production and the meanings it has acquired over the centuries in the civil festivities or religious. We protect and value what we know. It is up to us, heritage professionals, to reflect and transmit knowledge, so that the community understands, values and preserves the practices and modes of know-how related to the rockets and the pyrotechnic spectacle.
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Data da última atualização: 2021-02-24
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