Flávia Sutelo,
member of the Deliberative Council of Instituto Sarasá and Creative Director, Cultural Projects and Zeladoria at Estúdio Sarasá
The Institute is a voice that echoes, reverberating the collective of cultural heritage, and weaving networks through its valorization. Thus, within human diversity and the plurality of heritage, participation, involvement, and love are foundational to the actions that we call the Zeladoria do Patrimônio Cultural Sarasá.
The Zeladoria Sarasá is a methodology, a way of acting, of seeing cultures and heritage. t is the lifeblood that unites beings and that flows through the conservation, restoration, and maintaining processes of care (zelo) and of meaning.
The Instituto Sarasá draws nourishment from the Estúdio and proposes practices of Zeladoria Cultural in gatherings, projects, workshops, exhibitions, and productions of sociocultural, environmental, political, and pedagogical nature.
The Institute is a voice that echoes, reverberating the collective of cultural heritage, and weaving networks for its valorization. Thus, in human diversity and the plurality of heritage, participation, involvement, and love are foundational to the actions we name as the Zeladoria do Patrimônio Cultural Sarasá.
The Zeladoria Sarasá is a methodology, a way of acting, of seeing cultures and heritage. Zeladoria Sarasá is a methodology, a way of acting, of looking at cultures and heritage. It is the sap that unites beings and that flows through conservation, restoration, and maintaining processes of care (zelo) and significance.
The Instituto Sarasá is nourished by the Estúdio and proposes practices of Zeladoria Cultural, in meetings, projects, workshops, exhibitions and productions with sociocultural, environmental, political, and pedagogical purposes.
The Zeladoria seeks the restoration of the human dimension within the field of cultural and historic heritage, with the sensitivity to perceive the built environment and to act alongside it, with the intention of perpetuating it.
We work from a living perspective, in search of traditional solutions, minimizing and even nullifying the agents that degrade the environment, the collections, the memory.
Originally, when the Zeladoria do Patrimônio Cultural was conceived, at the opening of the 2000s, its method of work was founded on three pillars – knowledge, belonging, and empowerment. This practice, already widespread within preservation policies throughout the country, with emphasis on civil society participation, is presently moving toward refinements.
Among our themes related to cultural heritage are society; the cultures that compose it; territories and territorialities; the preservation of natural heritage with protection of the environment and ecological relations; traditional knowledge and crafts; arts and trades; and the ways of living that worship or erase memories.
