museu urbano de salvador

M U S A

The Museum of Urbanism of Salvador

Privileged, Proprietary and Confidential Information

TTTTTaaaaabbbbble ofle ofle ofle ofle of Contents Contents Contents Contents Contents

1. Executive Summary ......................................................................................................................... 3

2. About Salvador ................................................................................................................................. 4

3. About MUSA .................................................................................................................................... 4

4. Pilot CD ROM .................................................................................................................................. 6

5. Freestanding Exhibit ......................................................................................................................... 6

6. Experience MUSA ............................................................................................................................ 8

7. Key Personnel & Executive Board ................................................................................................... 9

8. Technology Request ........................................................................................................................ 10

9. Budget: Pilot CD ROM Production/Distribution/Support .............................................................. 10

10. Acknowledgements ....................................................................................................................... 11

11. Letters of support .......................................................................................................................... 11

MUSA

1. Ex Ex Ex Ex Executivecutivecutivecutivecutive Summarye Summarye Summarye Summarye Summary

We are honored to invite IBM to participate in the

birth of a new, digital, total immersion concept designed

to explore the relationship between history, culture and

the evolution of cities. The city that inspired this project is

Salvador, Bahia; a legendary seaport, former wealthy

lynchpin of the Portuguese maritime empire, the origin of

Afro-Brazilian culture and perpetual font of one of the

most vital musical traditions in the world. The museum

being built around this concept is called MUSA; the

Museu Urbano de Salvador.

MUSA will be realized in the following phases:

I. Planning, Pilot CD ROM, Support-Building (par-

tially complete)

II. Free Standing Exhibit “Salvador in the 19th Century:

from Independence to Republic.” for installation in

Salvador and replicated traveling exhibits. (to open

December 2003)

III. Develop and construct MUSA’s exhibits and

permanent facility (to open June 2005)

These phases are described in the following sections of

this proposal.

MUSA is asking IBM to fund production and distribu-

tion of a pilot CD ROM; a four month long task with a

budget of $53,000.00. In return for IBM’s full funding of

this initial request, MUSA will provide recognition in

forms including, but not restricted to:

• IBM’s logo and sponsorship acknowledgment

displayed at all presentations and on all printed

publications

• Links to IBM on research station opening screens and

MUSA web homepage

• IBM’s logo and other graphics as desired on eventual

kiosk displays

• A statement of thanks to IBM at the opening and

closing of the presentation on CD ROM, and on its

face and packaging

• IBM’s right to use the CD ROM product or its

content for any developmental or promotional use not

injurious to MUSA

We would like to establish a continuous, creative

relationship with IBM for co-development of user

interfaces, hardware and software products, product

contributions and partial funding for the subsequent steps

towards realization of MUSA. Recognition for these

efforts will include naming of display halls or other areas,

sponsorship acknowledgment in all MUSA marketing and

publicity, sponsorship acknowledgment in traveling

exhibits, IBM’s shared right (terms to be negotiated) to

use all products developed for MUSA, and other forms of

market exposure.

This executive proposal focuses on the CD ROM and

gives a brief outline of the rest of the project. A previous,

detailed institutional proposal for MUSA is available at:

http://pelourinho.com/musa (English).

MUSA

2. About Salvador

MUSA, the Urban Museum of Salvador, is dedicated

to presenting the dramatic history and culture of São

Salvador da Bahia de Todos os Santos. Salvador was

founded 1549 on the northeastern coast of Brazil. It

remained the capital of Brazil for two hundred fourteen

years and it is the cradle of the unique blend of European,

African and indigenous influences which forms Brazilian

culture.

This blending of peoples and cultures into one makes

Salvador’s story of urgent interest to the world today.

Salvador had a key role in the development the new

world. It’s global domination of Atlantic shipping and

sugar exportation in the 16th through 18th centuries was

inextricably linked to its darker role as the slave trading

capital of the Americas. With one of the largest concentra-

tions of people of African descent outside of Africa today,

Salvador preserves unique religious and cultural tradi-

tions of the Yoruba, Nago, and other African ethnic

groups. It is a critical location for study of the African

Diaspora. Known world wide for its extraordinary music,

Salvador has produced great riches in fine art, architec-

ture, literature, film and a complex and unique cuisine.

Contemporary Salvador, with a youthful population of

approximately three million, is the capital of the state of

Bahia. It’s historic center, Pelourinho, was named a world

cultural patrimony site by UNESCO in 1985. Recently,

the state of Bahia spearheaded a large and successful

restoration of Pelourinho, resulting in a stunning and

lively culture and entertainment center. Visitors from all

over Brazil, Latin America, Europe, and increasingly, the

U.S come to Salvador to explore these riches, to enjoy its

popular festivals, especially Carnival, and its stunning

beaches.

State and city governments recognize tourism as one

of the most important sectors of Bahia’s economy.

According state data, 1,723,800 people visited Salvador in

1999.

3. About MUSA

In spite of Salvador’s architectural wealth and cultural

treasures, it is difficult for citizens and visitors alike to

learn about the history of the city. Few books on local

history are available. Existing materials are scattered in

difficult to access libraries, private collections and

specialized institutes within the city, the country and

around the world. MUSA is a passionate response to this

need. Inside of MUSA these resources will finally be

gathered together in a revolutionary museum of the

twenty-first century.

MUSA will be an unprecedented cultural institution

for two reasons; the nature of its content and its

groundbreaking use of multimedia computer technology

to create an immersive, narrative driven presentation.

This presentation package is referred to as infoMuseu. It

was inspired by the creative culture of Salvador to

dynamically integrate music, spoken word, still images,

film and video into a new museum experience utilizing

multimedia and intranet technologies. The InfoMuseu

system will pull information from a huge database server

archive for use in fixed and interactive displays. This

presentation system will allow the material developed by

MUSA

• Galleries for exhibition of traveling and/or permanent

collections of paintings, photographs, maps, objects

from daily life and popular festivals

• Educational programs in conjunction with the

Federal University of Bahia and other universities, in

the fields of history, architecture, computer simula-

tion, restoration technology, etc.

• Educational programs in conjunction with the local

board of education targeted at elementary, secondary

and adult-education audiences.

• An auditorium for lectures, conferences and other

public events

• Museum bookstore to market publications produced

in Salvador and/or by MUSA, including books,

periodicals, CD-ROM’s, DVD’s, videos and cassettes.

• Traveling exhibits that will bring Bahia to a wide

Brazilian and international audience.

The full program of MUSA requires approximately

36,000 square feet. MUSA will occupy a historic building

or a group of buildings close to the historical center of

Salvador. The exterior will be carefully restored and

preserved. The interior will be adapted for the installation

of the museum and its sophisticated technical systems.

Three potential locations have been proposed by the State

Secretary of Culture and Tourism.

MUSA will bring positive effects to the local economy

in three ways:

1. It will increase cultural tourism in Salvador and in

the State of Bahia.

2. MUSA will help local education; an urgent priority

for local government, by serving as an adjunct facility

to the school system and by pursuing active outreach

programs.

3. The content of MUSA will be produced locally by

young professionals and graduate students. This will

generate a nucleus of advanced, highly trained

specialists in the computer science area, capable of

meeting extraordinary creative challenges. The

Cultural Virtual Reality Lab of UCLA will train a

group to lead the three-dimensional modeling work.

Introducing a radically new, technology-powered

museum in Bahia will dramatically draw interna-

tional attention and investment to the capabilities of

its nascent, high-tech sector.

This daring project will be created with combined

donations of financing, equipment and services from

corporations, Brazilian and international foundations, and

some government participation.

MUSA to be easily replicated for traveling exhibitions,

CD-ROM/DVDs and videos. It will make it possible to

bring information on this inspiring city to the rest of the

world. It will also permit continual updating of content to

modify, expand and renew exhibits.

MUSA will use the urban evolution of Salvador as a

framework to organize the historical factors that formed

the city; the mixture of peoples, maritime commerce,

armed struggles for liberty, the economic cycles of sugar,

tobacco, cotton and cocoa economic cycles, European

power struggles, etc. and the rich, enduring culture that

grew here. A cinematic quality, virtual model of the city

will be constructed, allowing visitors to explore and

witness change over time. Multimedia servers will deliver

an ongoing digital collage of music, films, video, litera-

ture, journalism and poetry , based on era and specific city

locations. The result will be an exciting, full immersion

experience of the history of Salvador.

The exhibition will be presented in a series of chrono-

logically divided halls.

• Indigenous inhabitants and ecology; to be presented

in a courtyard or other open air space

• 1549 - 1624 The fortress city is built; Portuguese

conquest and defense against invaders, contributions

of captive African and indigenous peoples.

• 1625 - 1763 Empire of sugar, the conquest of

Reconcavo, Bahia grows rich, great urban projects

• 1763 - 1823 The loss of the capital, the war of the

independence

• 1823 - 1889 Independence, slave revolts and cultural

resistance, economic change, abolition, declaration of

the Republic

• 1889 - 2000 The Modern Era

Each hall will feature two large video screen environ-

ments displaying the main program for the era. These

will feature virtual explorations of the city streets as they

were at the time, integrated with the major historic events

and principal forms of cultural expression of the era.

These programs will illustrate the causal relationship

between the forces of history, economy, urbanism and

culture. The visitor will then move to one of the many

interactive discovery stations scattered about the hall for

a self-directed journey into the past. In each hall, evoca-

tive scenic design, paintings, photographs, and artifacts

will augment the sensory experience of the historic

period. The music of Bahia, as it developed over time,

will be used everywhere.

Besides the principal exhibition halls featuring the

infoMuseu© system, MUSA will provide:

• A well equipped research hall with individual

workstations, offering full access to the display

archives plus multimedia and conventional libraries

for research and study

MUSA

4. Pilot CD ROM

MUSA will create a pilot CD ROM to demonstrate the

unique combination of content and presentation technol-

ogy that the museum will feature. This CD ROM will be

used:

• As a venue for developing our software, user interface

and other technical concepts, content and presenta-

tion style

• As a fund-raising tool for presentations to

• As the centerpiece of presentations to commercial

sponsors, foundations and local government agencies,

UNESCO in Brasilia and the World Bank

• As the feature presentation on MUSA’s website, with

links to and from IBM’s home page

• After initial funding has been secured, a refined

version of this material can be installed at kiosk

locations in Salvador, other Brazilian cities and in

international travel locations to promote IBM and

MUSA

• To create anticipation and interest in the 19th century

exhibit and the future museum

This presentation will present samples of each of the

key elements in the infoMuseu system:

• The recreation of a portion of the city as it existed in

the 19th century through a three-dimensional digital

model. Cultural Virtual Reality Laboratory at UCLA

proposed to produce the model using Creator softwear

by Multigen and render it with the Lightscape and/or

Totality Engine/Sky Engine, by Elixer Studios. An

MPEG video will simulate the real time walkthrough

journeys projected for the museum system.

• A narrative script developed by eminent historians

and writers, featuring the relationship between

history, culture and the changing face of the city in a

selected period of the 19th century

• Presentations on dynamic, historical personalities

using short mpeg videos and collages of still images

w/ dramatic readings, etc.

• Media collages illustrating the dance, theater and

Carnival of the period

• Painting, photography, maps and other artifacts of the

period

• Music and poetry of the period

5. Freestanding Exhibit

MUSA will be introduced to the public through a

debut exhibit; “Salvador in the 19th Century: from

Independence to Republic.” This freestanding exhibit will

later be expanded in content and updated to form the 19th

century component of the completed museum. The exhibit

will be produced in two versions: semi-permanent and

traveling, using identical server content:

Semi-permanent exhibit

• Approx 6000 sq. ft including 2 video environments &

artifact collection on loan

• 6 discovery stations

• Presented in Portuguese for all age and education

levels. Other languages (Spanish, English) added

according to visitor needs and budget.

• Research room w/access to display files in server plus

selected digitized texts, 8 workstations.

• Exhibition period - until 3 months prior to opening of

museum.

Traveling exhibit

• Approx 3000 ft

• 2 video environments & small artifact collection

MUSA

• 4 discovery stations

• Translated into English, Spanish, other languages to

follow

• Informal research area w/access to display files in

server plus selected digitized texts, 4 workstations

The nineteenth century has been selected for the

freestanding exhibit because it was critical for the

formation of the Brazilian national identity, and in

particular, the identity of Bahia. During the 19th century,

Bahia achieved autonomy from Portugal in one of the

most difficult regional struggles for Brazilian indepen-

dence. It saw the rise of multiracial professional and

working classes. It was a critical port for the war in

Paraguay and fomented the Republican and abolitionist

movements. During this period, Bahia’s economic base

shifted from sugar to coco and tobacco, and eventually to

textile manufacture. Following the transfer of the colonial

capital from Bahia to Rio, Rail and shipping lines were

established linking Salvador with the other cities and

agricultural production areas of the state. The port grew

in size and luxury, and the city’s population exploded,

creating extensive popular suburbs, while its center

became ever more sophisticated and cosmopolitan. The

arts flourished, especially literature. The aesthetic

language of the city transformed from baroque to roman-

tic. This century produced the work of Castro Alves, poet

laureate of the city and great rhetoricians of the Republi-

can and Abolitionist movements.

The Afro-Brazilian identity of Bahia was forged in this

century. From the founding of the Candomblé temple

Casa Branca and the Sisterhood of Our Lady of the Good

Death, the foment of the Revolt of the Males, to the huge

political, scientific and cultural contributions of the small

but vigorous, non-white, educated class, Brazilians of

African descent were key in the transition of Bahia from a

European colony to a unique state in an independent

nation.

The nineteenth century offers exceptional opportuni-

ties to demonstrate the power of the Infomuseu system to

transport the visitor into the past. There is a rich body of

images which can be digitalized to depict this era. There

are extensive photographs from the 1850’s on by Marc

Ferrez, Benjamin Mullock and others. In the nineteenth

century, Brazilian art began to address secular topics;

social and domestic life. Paintings from the first half of

the century, formal and official in character, depict

political events, the aristocracy, and the landscape. There

is a wonderful body of work by European visitors depict-

ing what they found in Bahia. The lush and seductive art

of the second half of the century, influenced by the

European Romantic Movement, truly reflects the intense

debate about Bahia’s identity and future that raged

throughout this tumultuous century. There are many

antique maps to help tell the story.

The appearance of the city changed drastically in the

19th century. New public buildings appeared in the center

and tall commercial structures the port. Many nineteenth

century buildings still exist today, their facades disguised

by renovations, marquees and signage. These architectural

clusters can be photographed, digitalized and revised to

reveal their late 19th century appearance; producing a

faithful, 3-d digital model of these areas. Extremely

significant buildings in the19th century landscape were

subsequently lost, such as the St. John Theater and the

original cathedral of the city. Most of the splendid 19th

century mansions along the Victoria Corridor were

supplanted by residential towers in the late 20th. All these

will be recreated from photographs, paintings and plans to

be reintroduced into the digital cityscape.

This is an era of unique, audacious personalities that

speak to us across time; Luisa Mahin, the mysterious

African beauty who was the communications heart of the

Revolt of the Malês, her son, abolitionist lawyer and poet

Luis Gama, Maria Quitéria, who fought in the war of

Independence disguised as a man, ambitious social and

economic reformers like the Count of Cairu and Luiz

Tarquinio. Their stories will be featured in the exhibit, as

drawn from literature and journalism of thier time. Daily

life and traditional celebrations will also be addressed,

especially the evolution of the Portuguese “Entrudo” into

“Carnival”

In addition to the Infomuseum exhibits, a collection of

artifacts such as nineteenth century photographs, paint-

ings, maps, tools and clothing will be displayed for a

more tactile experience of history.

IBM is invited to participate in developing the

hardware and software systems for this exhibit, which will

be the prototypes for the Museum itself. Servers, worksta-

tions for content development and presentation stations

and screens will be required; please see the technical

specifications section that follows. There is no budget

written for this phase as of yet, but MUSA will need to

pay professional staff in Brazil and the US to prepare the

electronic exhibits, and we would be pleased to have

IBM’s assistance with that cost as well.

MUSA

6. Experience MUSA

You enter a hall dedicated to the second half of the

nineteenth century; an era bringing the ending of slavery

and the creation of the Brazilian Republic. Near the entry

of the space shimmers a hologram model of the city at

mid-century. The exhibit environment recreates features

of local fin de secle architecture. Objects of everyday life

from the period are mixed with works of art; all exhibits

include explanations of the objects’ uses and origins.

There are interactive opportunities to try out tools and

touch or smell materials. There is an area for young

people to try on hats and clothing of the time. You are

drawn to a three sided video environment, where

Salvador’s evolution envelopes you in film clips, music,

photographs, paintings, news articles, dramatic speeches,

poems and readings from personal diaries.

Main Program

The main program begins with a three-dimensional

overview of the city in the early 19th century, and zooms

into the Lower City. You walk through the bustling

waterfront zone, the Comércio, as the last and finest

commercial buildings are constructed. Based on old

photographs, drawings and maps, a computer generated

simulation of vanished buildings from the past is merged

with retouched video footage of the area today to create a

digital, three dimensional model of this area at its zenith.

You explore streets, the wharf area and the interior of the

stately Commercial Association Hall.

The walk-through pauses for historical narratives told

using audio-visual resources. Prosperity falters as compe-

tition from Caribbean sugar trade hits Bahia’s economy.

Thousands of slaves are sold off to the coffee-growing

Paraíba Valley, traveling south by foot like a great human

river. Others, liberated by impoverished owners, seek

work and a new life in the streets and suburbs of the city.

Emperor Dom Pedro II visits the city. Benjamin

Mullock photographs the building of the Bahia and São

Francisco Railroad. Suburbs spring up to house newly

freed slaves fleeing the countryside. The largely black and

mulatto troops amass for the Paraguayan War; sailing

from the quays of the Lower City in a fleet of English

ships. On the screen, events are related in a fast-moving

collage of paintings, photos, songs and newspaper stories

At the war’s end, talk of creating a Republic and of

the abolition of slavery buzzes from street corner to salon.

“The Revolution of Minas” by Salvador’s poet laureate

and hero, Castro Alve’s, debuts at the Teatro São João.

You enter the theater, which burned to the ground in

1923; via another meticulously researched, three-dimen-

sional, digital simulation. In a front-page newspaper

story, a photo shows a crowd of fans and patriots bearing

the triumphant playwright on their shoulders across the

plaza. Cheers, scenes from the play and popular music of

the 1860’s accompany the images.

The 3-d map reappears periodically to orient you.

Locations of events are illuminated, new urban monu-

ments and suburbs blossom across the landscape. When

the program ends, you continue your own tour of the city

at one of the “discovery stations ” scattered throughout the

hall.

Discovery stations

A map of the city in the late 19th century fills the

monitor before you. You choose a topic of interest or a

specific date from a pull-down menu. You choose “The-

ater” and touch a spot on the PraVa (Plaza) do Teatro;

today’s Praça Castro Alves. A dynamic photo collage and

narrative about the Theatro Sao João bursts across a

second, larger screen above you. On the monitor, along-

side the city map, a new menu lists the categories of

MUSA

material about the theater stored in MUSA’s data base:

photos, paintings, costume sketches, theater reviews,

video excerpts of plays produced there, songs popular at

the time, etc.

In the same location, you return to the general menu

and select the inquiry topic “Faith”; the Barroquinha

church appears. You discover that the Sisterhood of Nossa

Senhora da Boa Morte (Our Lady of the Good Death) was

formed here in the 1820’s. Beyond it’s religious mission,

this association of older black women played a key, yet

secretive, role in organizing the black community to buy

individual slaves out of captivity and help others to

escape. Members were equally committed to Catholic and

African spiritual traditions. A link informs you that you

can experience the feast days of the Sisterhood every

August in the nearby town of Cachoeira, where they

moved during the tobacco boom.

Another visitor takes a turn at the controls and leads

you down the Rua de Sodré to the house where Castro

Alves spent his last months. You decide to explore

MUSA’s archive of Castro Alves’ writings in the Research

Hall.

7. Key Personnel &

Executive Board

MUSA’S founders, Susan Di Giulio and Jorge

Vismara, are dedicated to the dissemination of Bahian

culture. Susan Di Giulio is an architect who has built

institutional, commercial and residential projects in the

US and Italy. She holds a master’s degree from UCLA and

contributes to professional journals. She actively promotes

Brazilian culture in Los Angeles. Jorge Vismara is a

System Analyst, graduated from the Brazilian Institute of

Computer Science Research of Rio de Janeiro. He has also

studied restoration of antiques in France and film-making

in Germany. He has developed computer systems for

Odebrecht S.A., KLM, Salgema Industrias Químicas and

Carbocloro Industrias Químicas, among other companies.

Mr. Vismara has created and maintain the

Pelourinho.com website; a guide to Brazilian activities in

Los Angeles and around the world.

MUSA enjoys the support of the Bahia office of

UNESCO, Secretary of Culture and Tourism of the State

of Bahia, Paulo Gaudenzi, the international recording

artist Gilberto Gil, and other scholars and community

leaders.

Research Hall

The Research Hall is a quiet, airy, well lit space where

you find students from the Federal University at computer

workstations researching their theses, and a high school

teacher preparing a lesson on the Dutch invasion of 1623.

Almost every existing written work about Salvador is

available from the research server, as well as related

material about the state of Bahia, Europe, and Africa.

There is also a climate-controlled cabinet where rare

books are kept.

Your query on Castro Alves comes back with his

complete works, biographies, criticism, even a 1928

recording of “The Gondolier of Love”.

When you walk out again into the bright Bahian

afternoon, your new understanding of the city makes its

streets seem even more beautiful, fascinating and mysteri-

ous than before. Thanks to MUSA, you can now see the

hidden layers of the past in the city of the present.

The Executive Board includes:

• Susan Di Giulio; co-founder (president)

• Jorge Vismara, co-founder (treasurer)

• Romeu Temporal; author, economist and entrepreneur

(vice-president)

• Eneida Leal Cunha; Professor of Literature at the

Federal University of Bahia (secretary)

• João Sá; President of the Commercial Association of

Bahia and one of the Directors of multinational

construction giant Odebrecht S.A.

• Claudius Portugal; author and director of the Jorge

Amado Foundation

• Waldette Santos; President of the Salvador Chapter of

the Los Angeles/Salvador Sister Cities Association

MUSA is proud to have the promise of participation by

esteemed UFBA professor of history and former President

of the Gregorio de Mattos Foundation, Cid Teixeira.

Professor Teixeira’s lively commentaries will enrich

MUSA’s presentations.

MUSA

8. Technology Request

I. Pilot CD ROM

A. Loan of a presentation notebook (Think Pad with

large screen and fast processor)

B. Loan of a light weight projector for presentations

C. Use of a drum scanner in Salvador and Los Angeles.

Use of a drum scanner in Rio de Janeiro and Recife,

Brazil (where some key archives are housed) could

prove useful.

II. Exhibit:

“Salvador in the 19th Century: from Independence to

Republic.”

A. Content Development

• Workstation(s) for 3-D development and image

processing

• Computer(s) for content (text, video and graphics)

input

• Multimedia server w/DBMS (probably a multi box

server farm, depending on implementation and

dimensions to be defined)

9. Budget: Pilot CD ROM

Production/Distribution/Support

Amounts are in dollars. Expenses generated in Brazil

may vary with fluctuations in the exchange rate. Budget

details are available on request.

Items This Grant Item Totals

I Personnel & Contractors

A Personnel Compensation

B Contractors/Consultants

Personnel & Contractors Subtotal

II Non-Personnel

C Operating Expenses

D. Traveling (acquire materials,

supervise work, present project)

E Misc. Production Expenses

Non-Personnel Subtotal

Total Program

• Web server linked to the Multimedia server

• Video walls for simulation of presentation (simula-

tion lab)

• Drum scanners and flatbed scanners.

• Network and backup infrastructure (switches, routers,

hubs, firewalls, NIC’s. etc.)

B. Semi-permanent Exhibition

• 2 three panel Video Walls

• 6 LCD screens for Discovery Stations + touch pad

screens for user’s input

• 8 computers for Research Stations

C. Traveling Exhibit

• 2 three panel Video Walls

• 4 LCD screens for Discovery Stations + touch pad

screens for user’s input

• 6 computers for Research Stations

• Multimedia server w/DBMS

• Web server linked to the Multimedia server

MUSA

10. AcknowledgementsAdriana Almeida Couto de Castro

Antonio Imbassahy

Bernard Frisher

Carlos Antonio Daltro

César Augusto Isabello Borges

Charles Merewether

Cid Teixeira

Constance Cornell

David McKenna

Fernando Silva

Francizs Toledo

Francisco Soares Senna

Gilberto Gil

Howard Dratch

Jandira Orico

Julian Zugazagoitia

Luis Augusto Rocha

Luis Carlos Sampaio Azevedo

Luis Carlos de Vilas Boas

Marcia Argolo

Mário de Rosário

Mauricio Chagas

Paulo Renato Dantas Gaudenzi

Pedro Godinho

Raul Lody

Romeu de Figueiredo Temporal

Salvatore La Spada

Solange Carybé

Susan Clare Parker

Vivian Lene de Correia Lima e Costa

Waldette Mario dos Santos

Yara de Alencar

11. Letters of support(see attachments)

1. Paulo Gaudenzi, Secretary of Culture and Tourism,

State of Bahia

2. Djalma Ferreira, Coordinator, Bahia Regional Office

of UNESCO

3. Prof. Francisco Senna, President, Gregório de Mattos

Foundation, City of Salvador and Professor of

Architecture, UFBA

4. Gilberto Gil, internationally renowned composer and

musician, former member of the City Council of

Salvador, founder of Onda Azul, an environmental

NGO based in Salvador

5. Prof. Cid Teixeira, Professor of History, UFBA,

author and Secretary of the Academy of Letters of

Bahia

6. Dr. Charles Merewether, Collections Curator, Getty

Research Institute, Los Angles, CA

museu urbano de salvador

Government & Nonprofit