Uma prática, um bem cultural : uma história sobre o bordado na cidade de Passira-PE (1985-2008)

• Ano de defesa: 2016
• Autor(a) principal: VASCONCELOS, Isabella Karim Morais Ferreira de
• Orientador(a): LUNA, Suely Cristina Albuquerque de
• Banca de defesa: GRILLO, Maria Ângela de Faria, BRITO, Thaís Fernanda Salves de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal Rural de Pernambuco
• Programa de Pós-Graduação: Programa de Pós-Graduação em História
• Departamento: Departamento de História
• País: Brasil
• Palavras-chave em Português: Narrativa histórica; Bordado manual; Tradição cultural; Patrimônio cultural; Passira (PE)
• Palavras-chave em Inglês: Historical narrative; Embroidery manual; Cultural tradition; Cultural heritage
• Área do conhecimento CNPq: CIENCIAS HUMANAS::HISTORIA
• Link de acesso: http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/5201

This research is presented as a history narrative of manual embroidery practice in Passira, a city locaded in rural zone from Pernambuco. A tradition, an art, a heritage, an economic product, a knowing / doing that, from the 1980s was widespread as identity symbol, making this city be recognized - and recognize - as the "Land Embroidery Manual". First the reader is located on the city's history, from the time when it was a village, through his fame as the "land of corn," to be known strong production manual embroidery. The main objective is to examine events that caused the manual embroidery were to be cultural heritage Passira. From then on, the tone becomes embroidery, their meanings and some of its approaches. There is talk about the Fair Embroidery Passira Manual, annual event that takes place for more than 20 years, a place of marketing and dissemination of this embroidery. There is talk about the women said space and the performance of those women who are artisans, but they are also entrepreneurs, and the performance of some cooperatives and associations to score together these embroiderers. Finally, the issue of manual embroidery as cultural heritage is again discussed, this time from the perspective of the absence of a formal heritage education. The final considerations concludes what we could discuss during the narrative and ensures that there is still a lot to learn about this practice and its historical background.