After nine years closed, the Ipiranga Museum will reopen to the public next Thursday (8) and brings a series of new features, including technological resources that will help visitors understand historical moments and figures in our country.
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This is the case of the statues of the bandeirantes Raposo Tavares and Fernão Dias – present in the museum's entrance hall – which will feature multimedia resources to address some of the controversies that have arisen around the characters.
“Today these figures (bandeirantes) have been extremely contested by various sectors of our society”, says historian Paulo Garcez Marins, researcher at USP and one of the current curators. according to the historian, there was concern in organizing the museum for the opening, with special care taken when portraying some of the works.
“We transformed this entire space into an exhibition area so that we could discuss with the public this decoration that was commissioned for the Centenary.”, he explained.
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In the city of São Paulo, the statue of Borba Gato was set on fire as a form of protest against a past of death and slavery, explains historian Paulo Garcez Marins, researcher at the University of São Paulo (USP) and one of the museum's curators.
In Europe and the United States, this wave of protests against statues of historical figures linked to slavery gained more strength.
Other changes
The exhibition with historical figures passes through the building's entrance hall and the staircase of honor, where statues of bandeirantes such as Borba Gato are on display, and ends in the Noble Hall, where there are several works.
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“Indigenous populations and black populations are always represented in subordinate, submissive ways. And we know that the history of Brazil is made up of clashes, clashes, struggles and disputes”, explains historian Paulo Garcez Mari.
“The set of images always portrays pacified bodies, there is no fighting here. In history museums in Europe, or even in America, in Argentina, Mexico and the United States, it is common to have scenes of battles, wars, bodies and deaths, which show the construction of this national territory based on disputes. Here, there is no such narrative.”
In this sense, the historian defines some of the images present in the Ipiranga Museum as “very complicated”, which would have motivated contextualization.
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“We deal with these images in the multimedia centers that are in this hall, in the sense of historically approaching the construction of these figures, these characters and understanding that this is a history of Brazil. It is very important that the public no longer comes here understanding that this is the narrative of Brazilian history, which was (portrayed in a way) very exclusionary and very hierarchical. But it is a way that we debate today”, he explains.
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