Amplifying the Voices of Quilombola Communities

Amplifying the Voices of Quilombola Communities Through Community-Based Tourism and Cultural Preservation in

Alcântara, Brazil

July 2025

Authored by:

Cat Diggs, Fabricio Martins, Russell Lin, and Dr. Ana Paula Pimentel Walker

AMPLIFYING THE VOICES OF QUILOMBOLA COMMUNITIES THROUGH

SUSTAINABLE TOURISM AND CULTURAL PRESERVATION

Capstone Studio Winter 2024

The University of Michigan Taubman College of Architecture and Urban Planning in collaboration with project partners, The Association of the Alcântara Ethnic Territory (ATEQUILA), The People Affected by the Alcântara Space Base Movement (MABE), The Alcântara Union of Rural Workers (STTR), The Alcântara Rural Women Workers Movement (MOMTRA)

Alcântara, Brazil & Ann Arbor, Michigan

Members of the 2024 Capstone Studio Team include:

Catherine “Cat” Diggs

Russell Lin sara faraj

The team was advised by Dr. Ana Paula Pimentel Walker, Ph.D., MURP, MA, J.D., and Urban and Regional Planning Ph.D Candidate Fabricio Martins For details about this project, please contact appiment@umich.edu

This report was placed into InDesign and edited by Anuska Singh, Russell Lin, and Cat Diggs

ACKNOWLEDGMENTS

The 2024 Capstone Studio would like to thank our project partners - The Association of the Alcântara Ethnic Territory (ATEQUILA), The People Affected by the Alcântara Space Base Movement (MABE), The Alcântara Union of Rural Workers (STTR), and The Alcântara Rural Women Workers Movement (MOMTRA) – we could not have done this work without them. We are very grateful to the Quilombola community members and leaders who welcomed us during our visit to Alcântara in February and March of 2024.

A special thank you to Dorinete Serejo Morais, Danilo da Conceição Serejo Lopes, Davi Pereira Júnior, and Valdirene Ferreira Mendonça, for trusting us with this vital work and of the time, efforts, and collaboration they invested in making this project a reality.. We sincerely appreciate you and all of the Quilombola community members for your warm welcome during our fieldwork visit; for hosting us; cooking for us; for helping us coordinate site visits, photography workshops, oral history interviews; for sharing your insights about the diversity of the Quilombola experiences in Alcântara; and for being the most wonderful tour guides.

There is no doubt in our mind that this capstone experience will have contributed to making us into more well-rounded and equipped urban planning practitioners and advocates for a decolonial and just approach to planning our communities. We sincerely admire and stand in solidarity with the Quilombola leaders and community members we have had the honor to meet and work with. Their courage, determination, and commitment to your freedom as a people in the face of continued global and state violence are deeply inspiring. We are humbled to have been able to support the territorial struggles underway of the Quilombola peoples of Alcântara.

We also want to express our gratitude to Taubman College for providing us with an opportunity to participate in this incredible project. To our external advisors and reviewers on this project, Dr. Mieko Yoshihama, Ishan Pal Singh, Dr. Lesli Hoey, Dr. Scott Campbell, and Dr. María Arquero de Alarcón, who helped provide critical perspectives that propelled our project forward. A special thank you to our Graduate Student Instructor, Fabricio

Martins, for building needed capacity in our team of three students, especially as it relates to translating a portion of our deliverables into Brazilian Portuguese.

Last but not least, to our faculty advisor on this project, Professor Ana Paula Pimentel Walker, we want to say thank you. Thank you for creating an opportunity for us to partake in such a transformational experience. We would not have been able to complete this project without your expertise, collaboration, tireless interpretation efforts on the field, and most importantly, your dedication to making the world and the planning practice, which helps to shape it, more just. So again, we want to extend our sincerest thanks to you!

GLOSSARY

Organizations

Client-Partner

• ATEQUILA: The Association of the Ethnic Territory of Alcântara (Associação do Território Étnico de Alcântara) – was founded in 2007 and legally established in 2018. It also gets referred to as the Association of Maroon Communities’ Territories of Alcântara or the Association of the Alcântara Ethnic Territory. It represents 156 Quilombola communities in Alcântara.

• MABE: The organization of the People Affected by the Alcântara Space Base Movement (Movimento dos Atingidos pela Base Espacial de Alcântara) – was founded in 1999. It also gets referred to as the Movement of the Affected People by the Alcântara Space Center. It represents those Quilombola communities that have been displaced and those under the threat of displacement by the Brazilian Air Force due to the Space Center.

Other Collaborators

• Alcântara STTR: The Alcântara Rural Workers and Family Farmers Union (The Sindicato dos Trabalhadores Rurais e Agricultores e Agricultoras Familiares de Alcântara) – was founded in 1971 to defend Quilombola communities against displacement and human rights violations which ignited a social movement in the region.

• MOMTRA: The Alcântara Women Workers Movement (Movimento das Mulheres Trabalhadoras Rurais e Urbanas de Alcântara) – was founded in 1994. It also gets referred to as the Alcântara Working Women’s Movement. It works to center gender equality and women’s health in the struggle for territorial rights and identity in rural, and most recently, urban communities in Alcântara.

Local and International Institutions

• The Ministry of Aeronautics in Brazil (Ministério da Aeronáutica: MaEr): It was established in 1942 to oversee aviation activities. Until 1999, the three commands (navy, airforce, and the military) were housed in independent ministries. Currently, they are an integral part of the Ministry of Defense.

• GICLA: Installation Group for the Alcântara Launch Center (Grupo de Implantação do Centro de Lançamento de Alcântara)

• UNDP: United Nations Development Program

• INFRAERO: The Brazilian Airport Infrastructure Company (Empresa Brasileira de Infraestrutura Aeroportuária)

• CPT/MA: Pastoral Land Commission of Maranhão state (Comissão Pastoral da Terra). It is an organ of the National Conference of Bishops of Brazil (CNBB) and born in 1975 to support rural workers.

• ITERMA: The Maranhão Institute for Colonization and Land (Instituto de Colonização e Terras do Maranhão)

• Palmares Cultural Foundation (Fundação Cultural Palmares) - It is housed within the Federal Ministry of Culture and issues the certificate of recognition based on the self-definition and self-identification presented by the Quilombola group along with the community’s general assembly minutes, the community’s historical account, and the certification application form.

• INCRA: The National Institute of Colonization and Land Reform (Instituto Nacional de Colonização e Reforma Agrária) has many responsibilities, including the titling of Quilombo lands. ATEQUILA still awaits for the titling of its lands in Alcântara.

• ILO: International Labour Organization

• National Commission for the Sustainable Development of Traditional Communities: Included groups such as Indigenous Peoples, coconut breakers, Quilombolas, Fundo

de Pasto, Ribeirinhos, Benzedeiras, and others.

• IBAMA: Brazilian Institute for the Environment and Renewable Natural Resources (Instituto Brasileiro do Meio Ambiente e dos Recusos Naturais Renováveis)

• GSI: International Security Office

• OAS: Organization of American States

• CIDH: Inter-American Commission on Human Rights (CIDH). In 2001, Quilombola communities and allies pursued international human rights court within OAS to achieve legal protection and support in their case against the Brazilian government for violating their land rights. An assigned rapporteur from the OAS human rights commission identified 14 violations that occurred during the implementation of the Alcântara Launch Center in the 1980s.

• COHRE: Center for Housing Rights and Evictions

Locations

• Alcântara: Brazilian municipality in the state of Maranhão

• Maranhão: A state in the country of Brazil; located in the northeast region

• CLA: The Alcântara Launch Center (Centro de Lançamento de Alcântara)

• CLBI: The existing Barreira do Inferno Launch Center (Centro de Lançamento Barreira do Inferno)

• Alcântara contains three large Quilombola territories, including:

◦ ATEQUILA: The Ethnic Territory of Alcântara, which is affected by the Alcântara Space Launch Center and represents about 156 Quilombos

◦ Island of Cajual: An island that is located in São Marcos Bay near Alcântara. The island is an important Brazilian paleontological site, where fossils of animal species such as the Spinosaurus and the Sigilmassasaurus genus have been found, as well as plants such as conifers and ferns. Palmares Cultural Foundation certified it as a Quilombo in 2006. INCRA has published Relatório Técnico de Identificação e Delimitação (RTID), or Technical Identification and Delimitation Report. It awaits the collective title.

◦ Lands of Santa Teresa/Itamatatiua: The Lands of Santa Teresa are located in the lowlands of Maranhão state, mostly in the municipality of Alcântara, but also in the cities of in the municipalities of Bequimão and Peri Mirim. The lands also known as the Quilombo Territory of Itamatatiua, which are home to 40 Quilombola communities, belonged to Carmelite order since 1740. It was certified as a Quilombo by Palmares Cultural Foundation in 2006. INCRA has published Relatório Técnico de Identificação e Delimitação (RTID), or Technical Identification and Delimitation Report.

Prog rams

• PEB: The Brazilian Space Program (Programa Espacial Brasileiro)

• Bolsa Família: “A conditional cash transfer federal program “that contributes to the fight against poverty and inequality.”1

Legislation & Policy

• TSA: Technology Safeguards Agreement, which refers to an agreement signed in 2019 by President Jair Bolsonaro and Donald Trump to authorize the Alcântara Launch Center (CLA).

• PNAE: The National Program of Space Activities (Programa Nacional de Atividades Espaciais)

• ATS: Agreement on Technology Safeguards

• ILO International Labor Organization Convention No. 169 on Indigenous and Tribal Peoples (C169): According to the ILO, C169 “represents a consensus reached by ILO tripartite constituents on the rights of indigenous and tribal peoples within the nation-states where they live and the responsibilities of governments to protect these rights.” 2 It was used to successfully secure an injunction against the Alcântara Launch Center (CLA) in 2006 that was preventing Quilombola communities from accessing land for food cultivation.3

• Transitional Constitutional Provisions Act of the 1988 Federal Constitution of Brazil: This section of the Brazilian Constitution

details measures to facilitate the country’s transition from a military dictatorship to a democracy.

• The Sarney Land Law: It was adopted in 1969 and addresses the use of state public lands in Maranhão state, which led to the privatization of land and to displaced families. Through this law, ethnic territories were deemed “vacant land” and therefore placed on the market for sale.

• PNPCT: National Policy for the Sustainable Development of Traditional Peoples and Communities, which was instituted by Decree 6040 in 2007.

Movements

• Unified Black Movement (Movimento Negro Unficado): The Movimento Negro Unificado (MNU, or Unified Black Movement), widely considered the most influential black organization in Brazil in the second half of the twentieth century, was founded in São Paulo in 1978 as the Movimento Unificado Contra Discriminacao Racial (United Movement Against Racial Discrimination, or MUCDR).4

Terms

• Quilombo(s); also quilombola communities

• Agrovila: The military-built communities that dozens of Quilombola communities were displaced to through the construction of the Alcântara Space Launch Center

• Babassu: A palm tree with edible palm fruits. Quilombola families produce

vegetable oil from the seeds of babassu palm, the middle laye mesocarp turns into flour production, and the husk produces charcoal. Other parts of the palm tree are also used in roofs and construction. Grown in Amazonian and other forests, it is a key commodity in the livelihood of many Quilombola communities.

• Women Babassu Coconut Breakers (Quebradeiras de Coco Babaçu): Women of the forest who usually gather and “break” coconut collectively. According to them: “We, the women of the Interstate Movement of Babassu Coconut Breakers (MIQCB), came together in 1990 to fight for our autonomy and quality of life and to protect the babassu forests where we live and work. We represent women Babassu Coconut Breakers from Pará, Maranhão, Tocantins and Piauí, and we seek to strengthen our identity as a traditional people and demand our right to land, territory and free access to the babassu plantations”.5

• Cassava flour: In Quilombola communities of Alcântara, making cassava flour is a traditional activity involving the processing of cassava roots into flour. This staple food item is prepared through a series of steps including peeling, soaking, chopping, grating, pressing, straining, sifting, oven-toasting, and fermenting, contributing to the community’s cultural and culinary heritage.

• Juçara: Juçara, commonly known as açaí, is a palm tree fruit native to the Amazon rainforest. In Quilombola communities, collecting juçara berries is a traditional activity, providing both sustenance

and economic opportunities. The berries are rich in nutrients and antioxidants, and their collection supports the local economy through sales and trade.

• Buriti weaving: A number of Quilombos in Alcântara, notably the Quilombo of Santa Maria, are known for handicraft work, specifically the ancient tradition

ENDNOTES

1. Rasella, D., Aquino, R., Santos, C. A., PaesSousa, R., & Barreto, M. L. (2013). Effect of a conditional cash transfer programme on childhood mortality: a nationwide analysis of Brazilian municipalities. The lancet, 382(9886), 57-64.

2. International Labour Office (2013), “Understanding the Indigenous and Tribal People Convention, 1989 (No. 169) : handbook for ILO Tripartite Constituents” ISBN: 978-92-2-126243-5 Available at: https://www.ilo.org/publications/ understanding-indigenous-and-tribalpeoples-convention

3. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality.

4. “Movimento Negro Unificado .” Encyclopedia of African-American Culture and History. Retrieved from Encyclopedia.com: https://www.encyclopedia.com/history/ encyclopedias-almanacs-transcripts-andmaps/movimento-negro-unificado

5. Movimento Interstadual das Quebradeiras de Coco Babaçu. Available at https://www. miqcb.org/ Translated by the capstone team.

PREFACE

In 2022, Dr. Ana Paula Pimentel Walker, an associate professor at the University of Michigan, and Dr. Davi Pereira Júnior, a prominent leader within the quilombola movement and a professor at the Universidade Estadual do Maranhão (UEMA), met. We extend our sincere gratitude to Professor Bjorn Sletto from the University of Texas at Austin for facilitating this introduction.

During our conversations, we explored the potential for establishing a cultural exchange and engaged teaching initiative between the quilombola movements and organizations located in Alcântara, Maranhão, and a master’s program in urban and regional planning at the University of Michigan. The principal objective of this collaborative endeavor was to develop an international service-learning capstone studio. This initiative aims to equip University of Michigan students to exchange knowledge and provide meaningful service to grassroots organizations and labor unions in Alcântara, specifically the Association of the Alcântara Ethnic Territory (ATEQUILA) and the People Affected by the Alcântara Space Base Movement (MABE).

Professors Pimentel Walker and Pereira Júnior orchestrated both virtual and in-person meetings with various stakeholders from Alcântara to delineate the scope of the proposed coursework and the expected deliverables from the urban planning students. Key quilombola leaders and intellectuals—namely Dorinete Serejo Morais, Danilo da Conceição Serejo Lopes, and Valdirene Ferreira Mendonça—played an instrumental role in shaping the capstone project and informing the fieldwork methodology in accordance with the priorities identified by their organizations. Through field visits and extensive dialogue, we successfully established a mutually beneficial agreement regarding the project framework. This groundwork was pivotal for interested students to participate in the capstone project. Further details can be found in the subsequent pages.

We celebrate the enduring friendships that have developed throughout our journey toward racial justice. We express a heartfelt thank you to students Cat Diggs, Russell Lin, and sara faraj, along with the inspiring quilombola leaders, for their unwavering dedication and impactful contributions.

Sincerely,

Dr. Ana Paula Pimentel Walker and Dr. Davi Pereira Júnior

Ann Arbor, May 8, 2024

For centuries, the Quilombola communities in Alcântara have endured hardships from global and state violence and oppression –to which they have resisted and cultivated rich cultures and a shared sense of identity through collective ways of living. However, in the past few decades, the Brazilian state and international allies, such as the United States, have pursued renewed efforts to extract, displace, and exploit the Quilombola communities who call Alcântara home for the race to space. In the past few years, harmful patterns of the past have continued to materialize for the Quilombos in Alcântara through efforts to advance capitalist and international interests by expanding the Alcântara Launch Center (CLA)1,2,3.The CLA expansion, currently being mandated by the Brazilian government, would uproot 800 additional families, compounding the cultural

genocide and experienced by the Quilombos in Alcântara. On that occasion, the Brazilian state displaced 312 families. Notably, state recognition of Quilombola land rights started only after the fact in 1988, when Quilombo remnant communities received Constitutional recognition.4 Despite these hardships, the common threads and diverse mosaics that define Quilombola communities of Alcântara have persisted and been sustained through age-old subsistence practices, vibrant cultural festivals, collective territorial identities, and the common goal to protect and preserve the social and physical landscapes that make up the abundant Brazilian Amazon Forest that many Indigenous, Quilombola, and traditional communities have called home for centuries.5

U-M Capstone Team in Itamatatiua from left to right: Cat Diggs, Ana Paula Pimentel Walker, Davi Pereira Júnior, Russell Lin, sara faraj. Photo Credit: Genilce de Jesus of Itamatatiua.

Aerial photo of beach in the region of Alcântara.

Photo Credit: Davi Pereira Júnior.

To support the Quilombola struggle and bolster awareness of this struggle, the University of Michigan Taubman College of Architecture and Urban Planning Capstone Studio team (U-M Team), made up of students Catherine “Cat” Diggs, Russell Lin, and sara faraj, led by Dr. Ana Paula Pimentel Walker, embarked on an interactive and collaborative experience to co-develop a project with Quilombola clients, community partners, and community members. Our interactive capstone studio and coursework took place primarily during the Winter 2024 semester, with fieldwork in Brazil during February and March of 2024. This project would come to be called “Amplifying the Voices of Quilombola Communities through Community-Based Tourism and Cultural Preservation in Alcântara, Brazil”.

Our partners in this project — the Association of the Alcântara Ethnic Territory (ATEQUILA), the People Affected by the Alcântara Space Base Movement (MABE), the Alcântara Union of Rural Workers (STTR), and the Alcântara Rural Women Workers Movement (MOMTRA) — are essential actors in the Quilombos of Alcântara’s vital struggle for collectiveland title. Without their collaboration, our project would not have been possible.

Our goal and mission for this project was to develop diverse and sustainable deliverables that could serve as living documents and work to support our clients in their fight for self-determination and perpetual tenure security on their ethnic territories. The audience for this work is not only our client and partners – it is the international community that also supports the fight for sovereignty and a reparative path forward for social and environmental landscapes across the world.

With this work, we aim to shed light on the issues faced by Quilombola social movements in the Brazilian Amazon Forest and beyond to garner greater support for them. To do this work, we analyzed institutional and governance challenges of Quilombola peoples in Alcântara by prioritizing Quilombola scholarship to understand their historical and current struggles. Our efforts also included understanding the culture, norms, and history of our partners and the forces of urban planning that often shaped the challenging conditions in which they live to this day.

We specifically centered our project approach on decolonial planning methods that center equity, justice, and the voices of impacted communities, as opposed to Western,

paternalistic and top-down planning strategies. We also planned fieldwork engagements in Alcântara, Brazil to gather insights from Quilombola leaders and community members on the ground, to inform our recommendations. We hope they can be leveraged by community members, leaders, and teachers to build capacity and continue to catalyze this work in their own communities.

Our central goal for this project was to develop a community-based tourism (CBT) strategy that advances ethnic identity, social and environmental justice, and economic strength by employing qualitative research methods, such as case study research, a tailored literature review, informal conversations, asset-mapping, oral history interviews, and photographic research to understand and assess local perspectives on and conditions for CBT.

Qualitative methods have become an important aspect of good quality planning practice, and professional planning education has adapted to this reality.6 The communitybased tourism recommendations that we outlined for our partners in the CBT Manual that we prepared for this project also aim to celebrate the cultural diversity of Quilombola communities and to strengthen their economic and social autonomy. The CBT Manual has been published in two languages - English and Brazilian Portuguese - and will be distributed as a downloadable and printable PDF to Quilombola leadership in Alcântara.

The CBT Manual consists of a set of considerations that communities should take into account when brainstorming their grassroots-controlled tourism initiatives. The Manual takes into consideration community leaders’ goal to channel CBT efforts towards community development initiatives, with the purpose of raising funds to support community projects and capacity building.

In this context, tourism, fundraising, and advocacy are deeply interwoven. The CBT Manual is part of a CBT strategy that is anchored on communications and cultural preservation efforts, namely a website and virtual and in-person exhibits. A detailed guided map of key Quilombos and a calendar of their activities also have emerged from this project and are housed on the “Experience” web page of the website that we developed as part of the deliverables requested by our community partners. We describe the deliverables further below.

Quilombola community members led the creation of locally grounded data by participating in photovoice workshops designed to inform planning efforts through their own lived experiences and aspirations. Through this cilent-based project method, they engaged in collective reflection and fostered solidarity, aiming to drive social change by raising awareness from within the community. Participants from Canelatiua Quilombo, Itamatatiua Quilombo, and Alcântara took part in five workshops—two each in Canelatiua and Itamatatiua, and one in Alcântara—with a total of 32 community members involved. They captured and curated photographs that have been assembled into

an interactive ArcGIS StoryMap, highlighting narratives and perspectives that reflect their everyday realities. This StoryMap is featured on the “Celebrate” page of our project’s website, as detailed further below.

To support the ongoing use of photovoice, Quilombola leaders in Alcântara received a facilitator guide in Brazilian Portuguese and five point-and-shoot cameras, enabling them to continue documenting and sharing community stories on their own terms.

Through our “Oral Histories with Quilombola Leaders of Alcântara” project, we interviewed eighteen Quilombola leaders from different parts of Alcântara, including Canelatiua, Vista Alegre, Santa Maria, Mamuna, Márunda, São Raimundo, Itamatatiua, and Morajituba. These interviews spoke to the diverse and intersecting traditions, histories, and senses of identity that make up the Quilombola peoples of Alcântara. The key purpose of this oral

history project was to preserve, affirm, and uplift their unique cultures of resistance to the Brazilian State, their collective ownership of the land, and their traditional lifeways. This projects provides a platform for Quilombola leaders to speak to their ongoing struggle for land titling and the ever-present threat of displacement that their communities face whether it’d be because of the proposed expansion of the Alcântara Space Launch Center (CLA) on the coast, or because of private land grabs in more forested areas. Through our interview exchanges with the eighteen Quilombola leaders that we interviewed, we gained key insights on their perspectives on CBT and what they would be comfortable and proud to share with visitors coming to their territories. Their voices and insights have been included in the CBT Manual that we crafted.

Group photo in Vista Alegre at the house of a community elder - Francisco Martins de Brito. Photo Credit: Cat Diggs.

The oral history videos that emerged from this project now live on an interactive map, built on the ArcGIS StoryMap platform, that features small summaries of each interview and a map that situates each interviewee geographically. This interactive content is embedded onto the “Celebrate” web page of the website we developed for this project, which we describe further below. Longer term, we hope that this project will turn into a traveling physical and digital exhibit in the Alcântara region and beyond! We have also provided our client partners with a bilingual (English and Brazilian Portuguese) Oral History facilitator guide that they can leverage to pursue and develop their own communitybased oral history projects in the future.

Finally, the website, titled Quilombos de Alcântara, which our client partners commissioned our team to develop, not only houses the aforementioned deliverables, but is also the digital face of the Quilombola communities and their social movements in Alcântara. In creating this information hub, our goal is to establish a platform that

our partners can maintain and populate with timely materials whenever they see fit. Structured into several main pages, the website is both informative and practical, offering a variety of content ranging from key historical events in the region and contemporary demographic details, to activities available for tourists visiting the Quilombola communities and various ways for website visitors to hear from (oral histories) and visualize (photographs) the stories of Quilombola leaders, youth, and community members.

We hope that through the varying assets that we have developed for the Quilombos of Alcântara they will be able to increase the domestic and global solidarity that their social movements need and deserve. With a recent and major ongoing land settlement process taking place under the current Lula administration, and with the Inter-American Court of Human Rights having found through their March 2025 decision that the Brazilian government was guilty of violating the human rights of Quilombo communities in Alcântara through the construction of the CLA in the 1980s, the Quilombos of Alcântara’s efforts serve as a model for other self-governing communities around the world. They make their voices heard and their movements seen and respected!

1. Brasilia. (2003, November 20). DECREE No 4,887, OF NOVEMBER 20, 2003. Presidency of the Republic - Civil House - Deputy Head of Legal Affairs. http://www.planalto.gov.br/ccivil_03/ decreto/2003/d4887.htm

2. McCoy, T., & Traiano, H. (2021, March 26). A story of slavery — and Space. The Washington Post. https:// www.washingtonpost.com/world/ interactive/2021/brazil-Alcântara-launchcenter-quilombo/

3. Pereira Júnior, D., & Prescod-Weinstein, C. (2024, February 20). Science shouldn’t come at the expense of black lives. Scientific American. https://www. scientificamerican.com/article/scienceshouldn-rsquo-t-come-at-the-expense-ofblack-lives/

4. Pereira Júnior, D., & Prescod-Weinstein, C. (2024, February 20). Science shouldn’t come at the expense of black lives. Scientific American. https://www. scientificamerican.com/article/scienceshouldn-rsquo-t-come-at-the-expense-ofblack-lives/

5. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258, 200. Available at https://repositories.lib.utexas.

ENDNOTES

edu/items/ff775879-3730-412b-8a9f2cafa831540c

6. Gaber, J. (2020). Qualitative Analysis for Planning & Policy: Beyond the Numbers. Second Edition. New York, NY: Routledge Press. https://doi. org/10.4324/9780429290190

#02 INTRODUCTION

Quilombola communities of Brazil embody the characteristics of many communities: strong communal ties, collective labors of love, and shared experiences and cultures. However, Quilombola communities are unique in that they are deeply rooted in their ethnic territories that sustain livelihoods through mutual aid and self-reliance. Despite facing conflicts due to human rights violations and longstanding historical injustices such as colonization, slavery, and disinvestment, the Quilombola communities of Alcântara remain resilient as they continue to catalyze their social and political power to nourish and celebrate their cultural roots and heritage. By understanding

Quilombola communities and their conflicts on Brazilian soil, local, national, and international ties of solidarity can be formed. These connections and awareness can strengthen the numbers in the struggle for collective title and the right to belonging in ethnic territories that Quilombola people call home.

Our partners in this project —ATEQUILA, MABE, STTR, MOMTRA — are essential actors in the Quilombos of Alcântara’s vital struggle for collective land title.

Quilombolas of Alcântara discussing ILO convention 169. Source: MABE archive.

QUILOMBOS DE ALCÂNTARA

The Quilombos de Alcântara is a communal collective force rooted in belonging to ethnic territories and identity – they protect and celebrate their traditional knowledge and ways of life that have endured decades of displacement and state violence. Comprised of the Association of the Alcântara Ethnic Territory (ATEQUILA, Associação do Território Quilombola de Alcântara), the Movement of the People Affected by the Alcântara Space Base (MABE, O Movimento dos Atingidos pela Base Espacial de. Alcântara), the Alcântara Women Workers Movement (MOMTRA, Movimento das Mulheres Trabalhadoras Rurais e Urbanas de Alcântara), the Alcântara Union of Rural Workers and the Family Farmers (STTR, Sindicato dos Trabalhadores Rurais Agricultores e Agricultoras Familiares de Alcântara), and others – the Quilombos de Alcântara encompass and represent hundreds of community members in diverse Quilombos. These collective organizations

ABOUT OUR COMMUNITY PARTNERS AND CLIENTS

and movements, united in experience and history, thread their shared practices in the struggle for collective land titling, the fight against displacement from the Brazilian Alcântara Launch Center, and traditional ways of being that sustain culture and community health. Together, the Quilombos de Alcântara have remained resilient despite uprooting from their homeland fueled by neocolonial practices that once displaced hundreds of families and threaten many more today. Today, these collective Quilombos stand together to strengthen community bonds and well-being through ownership in collective economic development practices and cultural celebrations that keep the Quilombo tradition and spirit alive – resonating with many across the globe.

THE ASSOCIATION OF THE ALCÂNTARA ETHNIC TERRITORY (ATEQUILA)

According to Dr. Davi Pereira Júnior, the Association of the Alcântara Ethnic Territory

(ATEQUILA) “is a collective construction by the communities and their representative social movements and a response to the signaling by the Brazilian state that it would comply with its constitutional obligations and international law.”1 The association, which officially formed in 2018 represents nearly 71% of the population in the municipality – encompassing nearly 156 Quilombola communities. In response to the need for political mobilization for collective titling and the securing of ethnic territories and belonging, ATEQUILA formalized to position itself as a legal association that could receive the collective land title and manage the territory following the recognition of Alcântara as an ethnic territory from the Palmares Cultural Foundation (FCP) in accordance with Decree 4.887/2003.2 Two organizations are responsible for recognition and titling: First, the Palmares Cultural Foundation, housed within the Federal Ministry of Culture, issues the certificate of recognition based on the self-definition and self-identification presented by the Quilombola group. From there, the National Institute for Colonization and Agrarian Reform (INCRA), positions the government as the agency responsible for titling quilombo lands. ATEQUILA still waits for the titling.3

Prior to Decree 4.887 of 2003, article 68 of the Transitory Constitutional Provisions Act (ADCT) of the 1988 Federal Constitution of Brazil stated for the first time in Brazilian constitutional history that “The remnants of quilombo communities that are occupying their lands are recognized as having definitive ownership, and the state must issue them

the respective titles.”4 Decree 4.887 of 2023 has been serving as the enabling instrument authorizing the administrative procedures that identify, recognize, and demarcate definitive lands occupied by remnants of Quilombo communities that are used to “guarantee their physical, social, economic and cultural reproduction.”5,6

ATEQUILA brought Quilombola community members together from the approximately 156 remaining Quilombola communities to discuss the legal pathways to receive the collective title in a way that could center belonging and identity. Today, ATEQUILA continues to work with other organizations and movements, such as STTR, MABE, and MOMTRA, to advance collective titling and protect networks of belonging from ethnic identity.7

THE ALCÂNTARA WOMEN WORKERS MOVEMENT (MOMTRA)

Spanning well beyond its formal formation in 1992, the Alcântara Rural Women Workers Movement (MOMTRA) mobilized gender equality within the Quilombo community organizing strategy and fight for territory and identity. Specifically, MOMTRA arose to empower women in the sometimes

challenging and exclusive structure of the rural workers within STTR; women rural workers were not allowed to join the union until the early 1980s. Recognizing a greater need for women’s health services, preventative care, and promotion of self-care, MOMTRA also fosters the space and education for well-being and greater access to healthcare to improve the quality of life for women in Alcântara. Directly challenging the deeprooted patriarchal systems that many women rural workers face in the community and through state violence from the Alcântara Launch Center, MOMTRA collaborates with STTR, MABE, and other affiliates to bolster the fight for territorial rights through the lens of gender equality. Expanding beyond the bounds of assumed and often restrictive roles for women, MOMTRA affords an avenue for women in Quilombola communities to continue to participate in the struggle that has grown from the patriarchy.8 Recently MONTRA extended its activism to embrace the working women living in the urban center of Alcântara.

PEOPLE AFFECTED BY THE ALCÂNTARA SPACE BASE MOVEMENT (MABE)

The organization People Affected by the Alcântara Space Base Movement (MABE), O Movimento dos Atingidos Pela Base Espacial de Alcântara formed in 1999 and was founded by Dorinete Serejo Morais to facilitate discussion around the social implications and harms the Alcântara Launch Center has caused for Quilombola community members. MABE is a social movement rooted in efforts to ensure the permeance of territory through identity awareness and the resistance of communities to land dispossession. MABE is a political movement that also aims to institutionalize Indigenous, traditional knowledge of community members through partnerships with STTR and other organizations and movements –further formalizing Quilombola collective identity, experience, and right to collective land ownership. The efforts of MABE and community members that belong have expanded the movement to the international stage, garnering support and solidarity in their collective struggles globally. Approximately 156 communities are a part of MABE, which holds the space for diverse perspectives and discussions of the territorial struggle in Alcântara, ultimately fostering a rich mosaic of political capital and collective power.9

ALCÂNTARA RURAL WORKERS AND FAMILY FARMERS UNION (STTR)10

The Sindicato dos Trabalhadores Rurais Agricultores e Agricultoras Familiares de Alcântara - MA (STTR) (Alcântara Rural Workers and Family Farmers Union) (STTR)11 – as founded in 1971 to defend the guarantee

of rights of workers. It also has a robust history of defending Quilombo territory in the face of displacement. Founded nearly a decade before over 62,000 hectares of land were seized from Quilombola communities by the government to build the Alcântara Launch Center, STTR was one of the principal organizations controlled and led by residents from impacted communities, harnessing the political capital and power of over 35 union delegates throughout the three Quilombola territories, including about 200 Quilombola communities.12The vast network of STTR spans many villages within Quilombola communities. It catalyzes the political and social capital of those on the ground to mobilize communities and strengthen their position, thus generating recognition from government agencies and legitimizing “invisible claims” and pressuring Brazilian officials to

comply with infra-constitutional treaties, such as Convention No. 169 of the International Labour Organization (ILO), ratified in 2002 by the Brazilian government.13 Alcântara STTR continues to be an influential proponent for territorial and identity rights for Quilombola communities, defending their right to collective land titling before international bodies such as the Inter-American Court of Human Rights (IACHR).14, 15

IACHR logo. Source: Center for Democratic and Environmental Rights.

The Quilombo is more than just a community that arose in the context of the struggles against colonialism, the transatlantic slave trade, and their legacies in Brazil. Quilombos are institutions that encompass social, territorial, cultural, political, symbolic, and economic ways of being that flourish outside capitalist regimes.16 Quilombola communities define the Quilombo, which often fosters a unique collective identity concerning territory and beyond through organizational structures and processes anchored on self-determination.

Quilombos are symbols of collective struggle and solidarity that cultivated the space for safety after exploitative labor.17 For Quilombo communities, collective ownership and shared use of land are integral to survival and identity. However, Quilombos have been threatened by Brazilian state operations and

WHAT IS A QUILOMBO?

international economic interests for decades, posing concerns about displacement from ethnic territories and the collective loss of identity for hundreds of Quilombo families.18, 19

During the violent oppression of slavery and colonization that saw its highest influx of enslaved Black people in Brazil in the 18th century, oppressors within the slave trade viewed Quilombola communities as a threat to colonial power.20 Quilombola communities were, and still are, a place “for reimagining and rebuilding the idea of community and identity itself” and reclaiming territory in the face of erasure and violence.21

This idea of collective resistance, community reimagining, and social rebuilding within the Quilombo is not unique to Brazil’s over 6,000 Quilombo communities, with approximately 217 Quilombos in Alcântara, Maranhão, divided into three territories: the Ethnic Territory of Alcântara, which was affected by the Alcântara Space Base; Cajual Island, and Santa Teresa, or Itamatatiua.22, 23 Formerly enslaved people throughout the Americas formed Quilombo-like communities to survive and combat the colonial growth machines driven by slavery that aimed to fragment social fabrics and ecosystems through capitalist systems of land and labor extraction.24

Aerial view of a Quilombo. Photo Credit: Davi Pereira Júnior.

QUILOMBOLA COMMUNITIES TODAY

Today, Quilombola communities share a common struggle and identity in their experience as Afro-descending communities working to receive deserved recognition for their rights to collective land title and to sovereignty over their territories. However, their sustenance practices and traditional knowledge systems, which are deeply rooted in their unique territories and in their history of displacement and state violence, vary widely.25

For instance, the Quilombola communities in Alcântara form a vibrant social fabric that tells the story of the collective and individuals that make up the network. Although practices and traditions may vary from community to community, the 207 Quilombos of Alcântara cultivate a broad and intricate network of land-based skills and practices, from fishing

to agriculture and sustainable forest gathering to food processing and craft-making, such as Buriti palm weaving and ceramic artworks.26

From the earliest records of one of the first known Quilombos, the Quilombo dos Palmares that was home to over 30,000 inhabitants from 1597 to 1710, to the nearly 1.3 million people that self-identified as Quilombola in the 2022 Brazilian census –Quilombola communities persist through the ongoing hardships they face.27, 28 The 473,970 households with at least one Quilombola person in them spanned across 1,696 municipalities. Alcântara, Maranhão has one of the highest proportions of Quilombola peoples within its municipality as compared to that of other municipalities across the country. Out of its total population of 18,467, 84.60% of the population is Quilombola.29 These data from the first Brazilian census to capture Quilombola ethnicity highlights the robust and expansive pulse of the diverse Quilombola communities in Brazil – pointing to a collective power that covers nearly every corner of the country.

Distribution of Quilombola people by Brazilian municipalities, 2022. Source: Brazilian Institute of Geography and Statistics (IBGE)

Quilombola woman making manioc flour. Photo Credit: Ana Paula Pimentel Walker.

Quilombola communities are part of a vast and storied network of Afro-descending peoples who said no to being enslaved; who said no to empire and instead constructed a new sense of home and freedom in the lands that they were forcibly relocated to through the translatlantic slave trade. To quote Dr. Davi Pereira Júnior’s dissertation, “These institutions were present everywhere in the Americas where black slavery was instituted as a central component of colonial economic enterprises, and included Quilombos and Mocambos (Brazil), Garifunas (Honduras and Belize), Crueles (Nicaragua), Maroons (USA), Cumbes (Venezuela), Cimarrones (South America, Mexico and the Caribbean), Palenques and Raizales (Colombia), Bony (French Guiana) a Djuka (Suriname)”.30

CONNECTED HISTORIES: MAROONING TRADITIONS IN THE AFRICAN DIASPORA OF THE AMERICAS

These diverse territorial entities partook in the practice of marronage, or open resistance to slavery. In other words, Afro descendents would form their own settlements and governance systems in often remote areas of the lands they had been enslaved on, notably by escaping the grips of slavery or by staying back when plantation lords abandoned their lands during phases of economic downturn or after the abolishment of slavery. These Black settlements are often known for their communal land ownership practices and reciprocal relationships to land, which they live off of and traditionally occupy.31

Novo Quilombo Reggae Bar in Liberdade Quilombo of São Luís, Brazil. Photo Credit: Owner of Novo Quilombo Reggae Bar.

They represent a form of cultural resistance and assertion of freedom in the face of deep-rooted institutional racism and systemic disinvestment in their respective territories. For instance, in their article, “Palenquero: The identity behind a language in Colombia”, Jpaquin Sarmieto explains that in “San Basilio de Palenque; a settlement established by runaway slaves from Cartagena”, its inhabitants formed a Spanish-based CreolePalenquero- to communicate with each other and define their sense of identity outside of the generations of oppression that had been imposed on them through slavery. To quote one of Sarmieto interviewees, John Jairo, “First I am Palenquero, then Colombian”.32

This same sense of pride to be part of these long histories of resistance to oppression and to be part of an ancestry of people who fought for their independence and sense of belonging on lands that they had been forcibly relocated to, resound across the African diaspora of the Americas, whether they be Maroons in Jamaica, urban or rural Black communities in America, or Quilombos in Brazil.

As argued by Dr. Davi Pereira Júnior in his dissertation, Quilombola communities were, and still are, a place “for reimagining and rebuilding the idea of community and identity itself” and reclaiming territory in the face of erasure and violence.33 Quilombola communities and other marooning communities across the diaspora continue to represent a threat to colonial power and capitalist labor and land extraction.

Finally, through their continued generational struggles to assert their human rights to belong and continue to occupy the lands they call home, marooning communities across the diaspora have come to be recognized by international human rights frameworks like the International Labor Organization Convention 169 for their inalienable right to traditionally occupy their lands. 34 Some of these communities, like the Quilombos, have obtained formal constitutional recognition in their countries. Despite these major legal wins and milestones, the struggle for their rights to live free of violence and colonial oppression continues!

Local farmer carrying wood in Canelatiua Quilombo, Alcântara, Maranhão. Photo Credit: Cat Diggs.

ENDNOTES

1. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258, 183. Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

2. Brasilia. (2003, November 20). DECREE No 4,887, OF NOVEMBER 20, 2003. Presidency of the Republic - Civil House - Deputy Head of Legal Affairs. http://www.planalto.gov.br/ccivil_03/ decreto/2003/d4887.htm

3. Portela Nunes, P.M. (2015). «Conflitos étnicos na Amazônia Brasileira: processos de construção identitária em comunidades quilombolas de Alcântara», Colombia Internacional, 84 | 2015, 161-185. Published May 1 of 2015, consulted May 8, 2024. URL: http://journals.openedition. org/colombiaint/12111

4. The 1988 Federal Constitution of Brazil, article 68 of the Transitory Constitutional Provisions Act (ADCT). https://www. planalto.gov.br/ccivil_03/constituicao/ constituicao.htm

5. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258.

Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

6. Brasilia. (2003, November 20). DECREE No 4,887, OF NOVEMBER 20, 2003. Presidency of the Republic - Civil House - Deputy Head of Legal Affairs. http://www.planalto.gov.br/ccivil_03/ decreto/2003/d4887.htm

7. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258. Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

8. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258, 176-180. Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

9. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258, 170-175.

Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

10. Sindicato dos Trabalhadores rurais agricultores E agricultoras familiares de alcântara. Instituto Nacional do Seguro Social - INSS. (n.d.). https://www.gov. br/inss/pt-br/canais_atendimento/acts/ acordos-de-cooperacao-tecnica-acts-porestado/maranhao-ma/alcantara-ma/ sindicato-dos-trabalhadores-ruraisagricultores-e-agricultoras-familiares-dealcantara

11. STTR. (n.d.). POSSE DA NOVA DIRETORIA DO STTR DE ALCÂNTARA. STTR Comunidades. https://sttr.comunidades.net/

12. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258. Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

13. Serejo, D.. (2022). A Convenção n. 169 da OIT e a questão quiombola: elementos para debate. Coleção Caminhos, Justiça Global.

14. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the

Struggle for Territoriality, 14–258.

15. Vieira, C., & Santiago, B. X. dos S. (2023, October 9). The quilombola communities of Alcântara are bringing a historic case against Brazil to the inter-american court of human rights. EarthRights International. https://earthrights.org/ blog/the-quilombola-communities-ofAlcântara-are-bringing-a-historic-caseagainst-brazil-to-the-inter-american-courtof-human-rights/

16. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258. Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

17. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258. Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

18. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral

ENDNOTES

Dissertation, University of Texas, Austin]. UT campus repository. 14–258. Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

19. McCoy, T., & Traiano, H. (2021, March 26). A story of slavery — and Space. The Washington Post. https:// www.washingtonpost.com/world/ interactive/2021/brazil-Alcântara-launchcenter-quilombo/

20. Silva, L. G. (2020). Palmares and Zumbi: Quilombo Resistance to Colonial Slavery. In Oxford Research Encyclopedia of Latin American History. https://doi.org/10.1093/ acrefore/9780199366439.013.632

21. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258, 214. Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

22. Pereira Júnior, D. (2020). Political Appropriation of Social Cartography in Defense of Quilombola Territories in Alcântara, Maranhão, Brazil. Sletto, B., Bryan, J., Wagner, A., & Hale, C. (Eds.). In Radical Cartographies: Participatory Mapmaking from Latin America (pp. 183-

202). University of Texas Press.

23. Fleischer, D. (2021, February 26). Making their own way: Brazil’s Quilombola Communities. Inter-American Foundation. https://www.iaf.gov/content/story/ making-their-own-way-brazils-quilombolacommunities/

24. Maria da Silva, G., & Souza, B. O. (2022). Quilombos in Brazil and the Americas: Black Resistance in Historical Perspective. Agrarian South: Journal of Political Economy: A Triannual Journal of Agrarian South Network and CARES, 11(1), 112–133. https://doi. org/10.1177/22779760211072193

25. De Almeida Wagner, A. (2004). Terras tradicionalmente ocupadas: processos de territorialização e movimentos sociais. Revista brasileira de estudos urbanos e regionais, 6(1)Ç 9-9.

26. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258. Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

27. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin].

UT campus repository. 14–258. Available at https://repositories.lib.utexas.edu/items/ ff775879-3730-412b-8a9f-2cafa831540c

28. The Brazilian Institute of Geography and Statistics (IBGE). (2023, October 27).

Brasil Tem 1,3 milhão de quilombolas em 1.696 municípios: Agência de Notícias. https://agenciadenoticias.ibge.gov.br/ agencia-noticias/2012-agencia-de-noticias/ noticias/37464-brasil-tem-1-3-milhao-dequilombolas-em-1-696-municipios

29. The Brazilian Institute of Geography and Statistics (IBGE). (2023, October 27).

Brasil Tem 1,3 milhão de quilombolas em 1.696 municípios: Agência de Notícias. https://agenciadenoticias.ibge.gov.br/ agencia-noticias/2012-agencia-de-noticias/ noticias/37464-brasil-tem-1-3-milhao-dequilombolas-em-1-696-municipios

30. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 125. Available at https://repositories.lib.utexas.edu/items/ ff775879-3730-412b-8a9f-2cafa831540c

31. Maroons and marronage. (n.d.). Obo. https://www.oxfordbibliographies.com/ display/document/obo-9780199730414/ obo-9780199730414-0229.xml

32. Udobang, W. (2016, December 2). Palenquero: The identity behind a language in Colombia. Al Jazeera. https://www.

aljazeera.com/features/2016/12/2/ palenquero-the-identity-behind-alanguage-in-colombia

33. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. (Doctoral dissertation) University of Texas, Austin, 214.

34. The rights of Maroons in international human rights law. (2010b, April 28). Cultural Survival. https://www. culturalsurvival.org/publications/ cultural-survival-quarterly/rightsmaroons-international-human-rightslaw#:~:text=ILO%20169%20defines%20 tribal%20peoples,regulations.%22%20 The%20IACHR%20used%20the

#03 PROJECT CONTEXT

3.1

ALCÂNTARA GEOGRAPHY

OVERVIEW OF THE REGION

The municipality of Alcântara is a biodiverse region situated on the edge of the Amazonian basin, renowned for its natural richness and historical significance. Split into two distinct ecoregions, namely the mangroves and the Tocantins/Pindaré moist forests, Alcântara’s ecosystems play a vital role in shaping land use practices, including farming and fishing.1

OCEAN COAST

The North Atlantic coastline of Alcântara presents a complex blend of natural abundance and historical significance. While historically it has provided bountiful harvests from the sea and enabled trade through its bay, it has also served as the entry point for Europeans and enslaved people in the past, and more recently, the establishment of naval and space bases.

TOCANTINS/PINDARÉ MOIST FORESTS

This ecoregion predominantly occupies a flat alluvial plain (flat or slightly sloping land surface) shaped by the Amazon River’s historical dynamics, with several rivers traversing its boundaries. The soil, mostly consisting of deeply weathered clay, is generally of poor quality.2 The dominant tree in this area is the açaí tree, whose fruits are widely used by locals.

Aerial view of Alcântara Photo Credit: Davi Pereira Júnior.

Walking down to the beach in Vista Alegre. Photo Credit: Cat Diggs.

Aerial view of Alcântara. Photo Credit: Davi Pereira Júnior.

IGARAPÉS

The Amazon region features watercourses, often lengthy arms of rivers or channels, known as “igarapés.” These are relatively shallow and meander through the forest. Most igarapés resemble the dark waters of the Negro River, a significant tributary of the Amazon, carrying minimal sediment. Igarapés play a crucial role in supplying water to the region’s wildlife and plant life. Navigable by small boats and canoes, they serve as vital transportation and communication routes for inhabitants of the region.3 Moreover, streams serve as habitats for a wide variety of fish, amphibians, reptiles, and birds, all of which rely on these waterways for their existence.

FARMLAND

The farmland in Alcântara presents a dual narrative. While it sustains numerous communities with its rich fertility, not all areas are equally productive. The expansion of the space center and military bases has resulted in the displacement of hundreds of Quilombola communities, worsening the challenges of agricultural sustainability. Forced to adapt to new environments for crop cultivation, many struggle to thrive the way they did before being displaced.

River in Canelatiua. Photo Credit: Cat Diggs.

Pastoral field in Itamatatiua. Photo Credit: Cat Diggs.

COLLECTIVE TITLING: AN UNFULFILLED PROMISE

According to a Terra de Direitos factsheet, titled “Quilombola titling: a historical debt of the Brazilian State” (2023), if the Brazilian government continues at its current pace of granting titles to Quilombola territories, it will take 2,188 years to “fully title the 1,802 processes currently open at the National Institute for Colonization and Agrarian Reform” (or Instituto Nacional de Colonização e Reforma Agrária), also known as INCRA, the federal body responsible for Quilombola land regularization. By 2023, only 54 territories had been either partially or totally titled by INCRA since the property rights of traditional Quilombola people was formally recognized by the 1988 Federal Constitution. Of the 54 territories that have been granted title, 30 received a partial title, meaning that the title only applies to one area of the territory to which the filing

Quilombola community actually has full right to. The factsheet explains that, “The data does not include quilombola land regularization processes assigned to states and municipalities, or to communities that were not certified by the Palmares Foundation (FCP), a federallyfinanced body that promotes Afro-Brazilian culture, including certifying quilombola territories.”4

Many obstacles have been getting in the way of Quilombola communities obtaining rightful access to their collective land titles. For instance:

• the numerous stages to the land titling, notably certifying the territory, identifying and delineating it, recognizing it, declaring its social interest and finally, titling it, make it a long-drawn, unpredictable, and bureaucratic endeavor

• the varying levels of opposition by the Brazilian government to the titling process. While the Bolsonaro administration (20192022) only granted 6 partial titles during its 4 year administration, Dilma Roussef’s administration granted 14 during her first term as president.

• private land holding oligarchies and private land developers, who aim to acquire Quilombola land(s).

Baixa Grande Official Photo. Photo Credit: Davi Pereira Júnior.

Furthermore, the generations of institutional racism rooted in Brazil’s colonial and slaveholding history, make land ownership structures between non-white and white inhabitants of Brazil inherently unequal.

The new Lula government, which was put in place in 2023, has taken important steps to demonstrate its commitment to Quilombola land regularization, including reinstating the Ministry of Racial Equality, which now

contains the Secretariat of Policies for Quilombolas, Traditional Peoples, and Communities of African Origins, Terreiro Peoples and Gypsies. It is run by the Quilombola and former member of National Commission for Black Rural Quilombola Communities (CONAQ) coordination board, Ronaldo Barros. There is still a strong push by CONAQ leadership and Quilombola communities on the ground to speed up the collective titling process.

3.3

FORTY YEARS OF RESISTANCE TO LAND DISPOSSESSION: A DEEPROOTED COLONIAL LEGACY

The region of Alcântara located in the Northeastern state of Maranhão, Brazil, which was formerly inhabited by the Tupinambás Peoples, has a history of European settler colonialism dating back to the 17th century. From a booming slave-run economy in the 18th century, to a declining plantation market

in the 19th century, Alcântara experienced Portuguese White flight in the late 19th century. This phenomenon led to the formation of multiple autonomous social groups, today known as Quilombos, who had been left behind by plantation lords.

Photo Credit: Terra de Direitos.

Known for their land-based collectivist cultures and ways of life, the Quilombos of Alcântara lived removed from the intervention or support of the government until the 1970s when the Brazilian military started to lay claim to parts of the territory, thus displacing many Quilombola communities from their homes. In 1980, the Space Launch Center of Alcântara (CLA) was approved for construction in the region without prior consultation or consent from our local communities, leading in 1986 to its construction and to the forcible displacement of 32 of our Quilombola communities (more than 300 families), under the guise of a national security rhetoric. The CLA location was chosen due to the predictable weather, open ocean, and its 169 mile-distance from the equator - where the Earth rotates at a higher speed.5 These 502 displaced people were resettled to areas near the CLA called “Agrovilas” to live in military-built homes where growing their food and fishing became near-impossible. In response to these human rights violations, social movements began to form, all the while the 1988 Federal Constitution guaranteed the right of collective titles of Quilombo territories across the country. In 1989, the International Labor Organization Resolution 169 recognized the territorial rights of Indigenous and Tribal peoples, while in 2003 President Lula enacted Decree 4.88 of 2003 to establish procedures leading to the granting of the collective title.6 It is, however, not until 2020 that ILO acknowledged that the right of Quilombola communities to Free, Prior, and Informed Consent had been violated through the approval and construction of the CLA.

In 2020, the Brazilian government announced in a decree its plan to expand the CLA by over 30,000 acres, which could lead to the

displacement of over 2,100 peoples from communities in the regions, which have been founded hundreds of years ago by their escaped enslaved and freed ancestors.7, 8 A case at the Inter American Court of Human Rights concerning the human rights violations committed by the government on Quilombola Communities of Alcântara has been pending for a decision since 2023. The precedent-setting decision shall be taken in 2025.

Furthermore, in a historic decision on September of 2024, the Brazilian government and Quilombola entities have reached an agreement pertaining to the use of the Alcântara Space Base (CLA) and the protection of the rights of local communities, that is 152 remaining Quilombola communities in Alcântara, Maranhão, who have been directly impacted by the establishment CLA in the 1980s. The pact was announced on September 19th in Maranhão, alongside President Luiz Inácio Lula da Silva. Its goal is to put an end to the 40 years of ongoing disputes between the Brazilian state (the Brazilian Air Force and the Ministry of Defense), who claimed the need to preserve land in Alcântara for the potential expansion of Brazil’s aerospace program and Quilombola communities of Alcântara, who have claimed historic ties to the land on which they depend for their subsistence and community health.9

3.4 ABOUT THE ALCÂNTARA SPACE LAUNCH CENTER (CLA)

Although the Alcântara Space Launch Center, or CLA, was initiated in 1986, a space agency in Brazil had been established years before during the country’s military dictatorship, which formally ended in 1985. Land clearance for the CLA began in 1980, six years before the construction of the facility, leading to a first wave of mass displacements among the Quilombola communities of Alcântara. Alcântara’s proximity to the equator and to the ocean makes it an ideal and cost-effective location for space launches10, both domestic and international, prompting the Brazilian government to develop numerous strategies for removing Quilombola communities from their land, rather than honoring their constitutional rights to traditionally occupy their territories.11

It’s crucial to note that the CLA wasn’t the sole reason for expelling the Quilombola from their ancestral lands; the Navy also played a role. According to a Quilombola leader interviewed in the context of our oral history project, the military also displaced the Quilombola to build villas for high-ranking military personnel.

In 2023, Alcântara Quilombola leaders bring a historic case against Brazil to the Inter-American Court of Human Rights (IAHR) in Chile. Photo Credit: IAHR Court archive.

The Alcântara Space Launch Center. Photo Credit: Getty Images.

QUILOMBOS OF ALCÂNTARA TIMELINE: FROM COLONIAL TIMES TO

TODAY

Although the history of the Alcântara region far predates the arrival of Europeans settlers and the subsequent importation of enslaved peoples from Africa to the region, the history of Alcântara as it is today is largely shaped by the collapse of the plantation economy in the late 19th century, and the discovery inthe 1980’s of the ideal location for a Space Launch Center and renewed foreign interest for its use. The condensed timeline below shows several key events. For a full timeline please visit the website or this link.

• Grão-Pará and Maranhão General Trading Company was established. It was the first company to drastically influence the ethnic composition of the area because of its importation of enslaved African peoples to the region.

Late 18th Century

• The economic investment shifts, particularly the closure of major cotton and other commodity crop trading companies like Grão-Pará and Maranhão, played a pivotal role in Alcântara’s decline.

• This economic instability triggered a phenomenon of white flight, with plantation owners deserting their estates and infrastructure. Factors such as the dwindling domestic slave trade, mounting pressure against transatlantic slavery, and a shift in the economic axis further exacerbated Alcântara’s decline. Additionally, the proliferation of Quilombos across Brazilian territory and falling export prices on the international market added to the city’s woes, leading to a significant downturn in its fortunes.

A Brazilian family in Rio de Janeiro by Artist: Jean-Baptiste Debret, 1839.

• The collapse of large plantations led to the consolidation of autonomous social groups left behind by plantation lords. Within this context, multiple Quilombola communities were formed.

• The Ministry of Aeronautics receives 52,000 hectares of donated land from the State of Maranhão (via this letter) to build out the Space Launching Centre in Alcântara. This is the first step towards starting Brazil’s domestic space program.12

• The construction of the Space Launch Centre in Alcântara (CLA) was initiated, starting the process of evicting 32 Quilombo communities (or 320 families) in Alcântara, in the State of Maranhão.

• 520 people were resettled to areas near the CLA, which were called “Agrovilas”, where families were forced to live on 15 hectares of land, when national legislation had established a minimum rural allotment of 30 hectares. Moreover, the lands on which they were resettled were not conducive to subsistence farming and fishing.

• Residents of Alcântara resisted the possibility of only receiving small plots of land in their Agrovilas by barricading the road leading up to the CLA’s headquarters in Alcântara, when prominent members of the federal government visited the Space Launch Center.

• The Federal government signed a decree decreasing the rural land allocation from 35 to 15 hectares within the expropriation zone. This reduction failed to consider the social and ecological needs of Quilombola communities, leaving families in the Agrovilas with insufficient land to farm, fish, and subsist on.

• The Federal Constitution of Brazil was enacted, in which Article 68 of Transitory Dispositions guarantees the right to collective land titles to Quilombo territories. However, due to the discriminatory criteria that it imposes, it is nearly impossible to obtain the legal titles.

• A number of the affected communities supported by the Maranhão Society for Human Rights (SMDH), the NGO Global Centre of Justice, the Association of Black and rural Quilombo communities (ACONERUQ), the Federation of Agricultural Workers of Maranhão, and Global Exchange, presented a petition to the Inter-American Commission on Human Rights. The Centre on Housing Rights and Evictions (COHRE), presented an amicus curiae brief before the Inter-American Commission in support of this main petition.

• Quilombola communities in Alcântara filed a claim to the Inter-American Commission on Human Rights (CIDH) within the Organization of American States (OAS) on how the process of expropriation of their territories underway in Alcântara by the Brazilian state in the 1980s constituted human rights violations under the American Convention on Human Rights.

2003

• The International Labour Organisation’s Resolution 169 prompted the Brazilian government to enact a decree regulating the right of collective property of the Quilombo communities, but left much to be desired in terms of the implementation of this decree.

• The Foreign Relations and Defence of the Senate Commission approved Decree no.393/03, which instituted the Technological Safeguarding Agreement between Brazil and Ukraine, authorizing the use of the CLA by the Ukrainian government. Both agreements are harmful to the development of national scientific and technological policies as they prohibit the transfer of technology from the USA and Ukraine to Brazil. The viability of both agreements will result in the forced displacement of over 1,000 Quilombola people to areas located far from the coast and already densely populated by other Quilombo communities.

• The VLC (Veículo Lançador de Satélites) Brazilian accident occurred on August 22, 2003, at the Alcântara Launch Center during preparations for the third VLS-1 rocket launch. A catastrophic explosion on the launch pad resulted in the destruction of the rocket and its payload, along with the tragic loss of 21 technicians and engineers. This incident marked a significant setback for Brazil’s space program, prompting a reassessment of safety protocols and technical practices while highlighting the inherent risks and complexities of rocketry.

• The Association of the Ethnic Territory of Alcântara (Associação do Território Étnico de Alcântara), also known as ATEQUILA, was founded, in order to obtain collective land titles for all Quilombos within Alcântara.

• Consultation workshops were conducted from August 24 to October 13, 2007 by the CLA, involving affected communities and their representative organizations, MABE, STTR, and others. The objective was to discuss the establishment of an associative mechanism to obtain collective land titles for the territory.

• The National Policy for the Sustainable Development of Traditional Peoples and Communities (PNPCT) was instituted by Decree 6040; recognising the collective land rights of Quilombola communities.

• The Technology Safeguards Agreement (TSA) was signed between Brazil and the USA to allow the CLA to launch American space crafts.

• STTR filed a complaint with the International Labor Organization (ILO) in April after the signing of the Technological Safeguards Agreement between Brazil and the United States due to its violation of Convention 169 and the right of Quilombos to Free, Prior and Informed Consent on their territories.

• The International Labor Organization (ILO) acknowledged the complaint lodged by STTR to represent Quilombola communities of Alcântara by asserting that the Technological Safeguards Agreement (AST) between Brazil and the United States breached the right to consultation outlined in Convention 169. The ILO stated its intention to take legal action against the Brazilian State for its failure to implement the Free, Prior and Informed Consent process mandated by ILO’s Convention 169.

• The Brazilian government, through Resolution 11, announced a plan to further expand the base by 30,000 acres, thus threatening to displace over 2,100 Quilombola peoples from their homelands.13

• In April 2023, after 40 years of disputes, the Brazilian state made a historic decision to acknowledge its international responsibility to honor the territorial rights of Quilombola communities in front of the Inter-American Court of Human Rights and formally apologized to Quilombola communities of Alcântara for violating their rights as outlined in the American Convention of Human Rights.

• To take concrete actions to remedy these rights violations, the Brazilian government established the Interministerial Working Group to reconcile the interests of the Alcântara Space Center (CLA), while honoring the territorial rights of the Quilombo communities of Alcântara.

2024-2025

• Despite these efforts, relationships between Quilombo communities and authorities have grown more and more strained through 40 years of disputes. In January of 2024, Quilombola groups who had been invited to participate in consultations through the Interministerial Working Group withdrew from it because they did not consider that the process was leading to the titling of their lands.

• These groups demanded a meeting with Lula and expressed that the Brazilian Space Program had never released any technical studies that demonstrated the need to expand the CLA’s current land use from 8,700 to 21,300 hectares on Quilombola territory.

• In the end, the process was resumed outside of the Working Group to eventually reach an agreement, which is detailed below. 14

• In a historic decision on September of 2024, the Brazilian government and Quilombola entities have reached an agreement pertaining to the use of the Alcântara Space Base (CLA) and the protection of the rights of local communities, that is 152 remaining Quilombola communities in Alcântara, Maranhão, who have been directly impacted by the establishment CLA in the 1980s.

• The pact was announced on September 19th in Maranhão, alongside President Luiz Inácio Lula da Silva. Its goal is to put an end to the 40 years of ongoing disputes between the Brazilian state (the Brazilian Air Force and the Ministry of Defense), who claimed the need to preserve land in Alcântara for the potential expansion of Brazil’s aerospace program and Quilombola communities of Alcântara, who have claimed historic ties to the land on which they depend for their subsistence and community health.

• Here are key components to this agreement:

1. The CLA will retain use of 9,200 hectares of land with no further challenges from Quilombola communities in the region.

2. The Military of Defense will no longer lay claim to 78,100 hectares of the land traditionally occupied by the Quilombos of Alcântara and will not challenge the Quilombos’ efforts to title their land through the National Institute for Colonization and Agrarian Reform (INCRA).

3. Once the agreement is signed, INCRA will mandate the recognition and definition of Quilombola Territory of Alcântara, which covers the area of 78,105 hectares of land.

- From there, land regularization for Quilombola communities will be unlocked as it has been stalled for the past 16 years.

4. Lula will then sign a decree, which will declare the area to be of social interest for the purpose of land regularization

5. Within a one year period, INCRA will begin to title the identified territory.

6. A public company will also be created by the Brazilian government for the aerospace sector.

• The agreement will provide a foundation for the parties involved to seek counsel from international organizations to assess whether the dispute has been either fully or only partially addressed. In this context, Quilombolas of Alcântara await the soon-to-be rendered decision by the Inter-American Court on Human Rights regarding their recognition as a peoples through ILO 169.15

• In March of 2025, two years after Quilombola leaders of Alcântara brought the case to them, the IACHR rendered the following precedent-setting decision - “In the judgment notified today in the case Quilombola Communities of Alcântara v. Brazil, the Inter-American Court of Human Rights (IACHR) declared the State of Brazil internationally responsible for human rights violations against 171 Quilombola communities located in the municipality of Alcântara, Maranhão. The violations primarily concern their right to communal property, as well as other fundamental rights.”

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the Alcântara Space Launch Center. Photo Credit: Murilo Santos.

THE UNMONITORED ENVIRONMENTAL DAMAGE WROUGHT BY THE SPACE LAUNCH CENTER

The Alcântara Space Launch Center (CLA) is situated near the coast, and its construction has displaced numerous Quilombola communities along the coastline. According to Danilo Serejo, a Quilombola lawyer and author, the government’s failure to conduct an environmental impact assessment of the CLA has led them to completely overlook the negative impacts that the construction of the CLA has caused to the livelihoods of Quilombola communities whose forcible displacement to unfamiliar regions of Alcântara has threatened their food security, their ability to subsist off the land, and their sense of cultural identity.

The economic benefits promised by the CLA have not justified the social and environmental ecosystem destruction caused by its construction. In fact, 56 percent of the residents of Alcântara still live below the poverty line despite over 30 years since the center’s construction. President Bolsonaro’s rejection of G7 aid to protect Brazil’s sovereignty during the Amazonian fires in 2022 stands in stark contrast to his eagerness to hand over control of the CLA to the U.S. Some critics highlight provisions in the 2019 agreement between Trump and Bolsonaro that would grant the U.S. power to restrict access to the base and allow for the storage

of radioactive materials and other harmful substances at the CLA without the consent of the Brazilian government.16

The incident at the Alcântara Space Launch Center in 2003, where a rocket explosion claimed the lives of at least 21 people, underscores the human and environmental risks associated with Brazil’s space ambitions. The government’s neglect of Quilombola displacement issues and its inadequate environmental oversight over the CLA has led to systemic problems, including the failure to acknowledge Quilombola land rights and address environmental degradation caused by the CLA. The proposed expansion of the Alcântara base, combined with absent consultations and impact assessments, exacerbates these challenges, putting vulnerable Quilombola communities at further risk.17

Furthermore, a recent study revealed that following the 2003 accident, apex predatory sharks near the CLA contained exceptionally high levels of Rubidium (Rb), a toxic element used in fuels and space propulsion systems with bioaccumulative and biomagnifying properties.18 This highlights the government’s neglect of environmental oversight, particularly concerning the vital marine life relied upon by Quilombola communities for their livelihoods.

Wreckage at the Alcântara Launch Center following the 2003 explosion (VLS-1 V03 accident). Photo Credit: AFP Getty Images.

ALCÂNTARA SOCIODEMOGRAPHICS

ALCÂNTARA SOCIODEMOGRAPHICS

To understand the importance of the Quilombola struggle to maintain and protect their belonging to the territory, one must understand the grave impacts displacement and state violence have had on their communities and peoples. Despite recent efforts from the Brazilian Institute of Geography and Statistics (IBGE) to recognize the ethnic identification of Quilombola people in the 2022 census, much of the data collected by state actors and partners does

not reflect or consider the generations of traditional knowledge, economies, and social networks impacted by the Alcântara Launch Center. For example, official data ignores artisanal fishing and traditional production methods as economic indicators pertaining to income and other means of well-being. The Quilombola way of life requires alternative means of data production and analysis as official institutional data collection often does not capture their collective livelihoods.

The Movement of People Affected by the Alcântara Space Base (MABE), the Alcântara

Alcantara on the map (Zoomed out and Zoomed in). Photo Credit: Google Maps.

Family Farmers’ Workers’ Union (STTR), and the Alcântara Women Workers’ Movement (MONTRA) have partnered with others to highlight the most relevant demographic indicators from the past 40 years to understand the impacts Alcântara Space Launch Center-induced displacements has had on communities over time.19

DEMOGRAPHIC TRENDS

Demographic data, trends, and keynotes gathered and analyzed by Quilombola community scholars and experts are demonstrative of their resilience, resistance, and self-sufficiency across time and place and of their positive influences in Alcântara, where many Quilombola community members live. However, displacement from the Alcântara Launch Center and oppression broadly have placed many Quilombola community members in precarious situations, severing their systems of traditional knowledge transfer and leaving many of them hungry and in poverty. According to Quilombolaled research in 2010, nearly 75% of the population of Alcântara were in income brackets of up to half of the minimum wage, including those with no income. 85.2% of the individuals in those income brackets declared themselves as Black or Brown. Although the percentage of community members with a per capita household income of R$70.00 or less per month has declined between 1991 to 2010, the Gini Index, which measures the degree of inequality, has grown from 0,48 to 0,59 – highlighting pronounced racial and ethnic disparities and discrimination.20

According to 2010 Census data, access to education is also limited due to nominal state support. Nearly 68% of the population has no education or has not completed elementary school.21 These statistics, which also highlight high illiteracy rates in the region, are rooted in systems of racial inequity and discrimination. Black and Brown populations are disproportionately impacted by state negligence to facilitate formal education pathways for Quilombola community members.

Poor access to education also impacts quality of life and income levels. Despite an increased United Nations Development Programme (UNDP) Municipal Human Development Index (MDHI) in the past twenty years, 2010 Census data found that it remains lower in Quilombola communities than in others because of late schooling and dropout rates for adults aged 15 to 20. These realities impact their communities’ economic wellbeing and lead to high rates of informal employment.22

Cover page of 2010 Census Data on Farmers in Alcântara between 1980 - 2020. Source: Movement of People Affected by the Alcântara Space Base (MABE).

LOSS OF GENERATIONAL KNOWLEDGE AND INCOME

For the many Quilombola families forcefully displaced by the Alcântara Launch Center, income level indicators point to a significant reduction in means and financial well-being to feed their families and produce income from traditional ways of living, such as artisanal fishing and agricultural production. Physical uprooting from territories destroyed the abundant opportunities and fertile soil for communities to sustain themselves off for generations. Access to traditional fishing grounds are monitored, reduced and/or eliminated by space program operations and permitting processes, therefore impacting communities’ access to food and income.

Since 1980, displaced Quilombola community members have seen a loss of revenue from the inability to fish, ranging from a 25% loss to just over an 83% loss. There is also a reduction in the number of fish due to the influx of others occupying formerly traditional fishing grounds that Quilombola communities maintained sustainably before being barred from the area. Additionally, the loss of water-based transportation caused by the space launch program is a significant barrier for displaced people, contributing to the loss of income and access to food. This research therefore highlights the lasting and compounding impacts caused by the construction of the Alcântara Launch Center and the high stakes that future displacement would represent for neighboring communities following recent political action between the United States and Brazil.23

Quilombola fisherman in Canelatiua. Photo Credit: Cat Diggs.

OVERVIEW

Brazil has a rich history of domestic tourism; in 2017 alone, tourism brought in over 56 billion USD, with only 6% of tourists from the international arena.24 Tourism is also inherently a process and practice that facilitates cultural exchange, education, and even empathy-building for those learning about new experiences and identities in new places.25 With the continued growth of tourism globally over the past century, there has also been a growth in historical-cultural facilities acting as attractions for the booming tourist industry – leading to an increase in cultural institutions that aim to preserve aspects of identity and heritage.26 These trends point to the importance of tourism as a tool and pathway for cultural exchange, celebration of cultural heritage, and preservation of way of life and traditional assets.

Although these statistics can foster hope for those looking to supplement income through tourism – tourism can also bring negative externalities. The potential impacts of tourism, or “overtourism,” can degrade social and environmental landscapes if not managed with care and sustainability in mind.27 These impacts of overtourism are also rooted in capitalist methodologies that often focus solely on the economic benefits

ABOUT COMMUNITYBASED TOURISM (CBT): WHY ALCÂNTARA?

of larger corporations or actors that exploit or extract from others for gain. Therefore, alternative methods to tourism and its cultural preservation benefits have been explored for decades around the globe. Community-based tourism (CBT) is one of those alternatives as a form of tourism that has provided promise for a more sustainable path forward for those often excluded from the benefits of tourism.28

CBT is a form of sustainable tourism planning rooted in community ownership, power, and decision-making; community power in the process is integral for sustainable efforts and development. These tourism efforts and unique plans span across the globe and can fall on a spectrum from more neocolonial in nature to more rooted in frameworks of kinship or ethnicity.29 CBT aims to generate social inclusion, economic growth, equity, and environmental sustainability, through operations directed and managed by community members through participatory actions and management strategies.30 Through CBT development, institutions can be strengthened, leading to the potential for greater inclusion in the economy and other social systems. Additionally, CBT allows for collaborative solutions and efforts to develop outcomes and products that would not be possible for individuals to carry out on their own.31

CBT AS A MEANS FOR CULTURAL PRESERVATION AND A TOOL FOR THE QUILOMBOLA STRUGGLE

As it pertains to Quilombola communities specifically, CBT has been implemented in multiple Quilombos and places in Brazil as a means of tangible and intangible cultural heritage preservation and selfdetermination.32, 33, 34 Not only does CBT afford the opportunity to supplement and bolster economic opportunities for the broader Quilombola communities, who are still facing persistent systemic racism, it also highlights the importance of generational knowledge transfer to youth members. CBT can facilitate the transfer of agricultural, craft, symbolic, and other intangible and tangible identity-based practices in ways that celebrate cultural exchange and expression while creating employment opportunities for youth

community members.35 This greater awareness of cultural heritage with the broader public made possible through CBT can also garner solidarity and support for the Quilombola communities’ cause and struggle for sovereignty and collective titling in the face of continued state violence and displacement.36 In this way, CBT can also be a political tool to advance land preservation and formalization.37 Moreover, as the name implies, communitybased tourism (CBT) is built on the foundation of communal pathways, traditions, and benefits to varying degrees based on the model implemented. As compared to topdown tourism approaches, this bottom-up method of developing local and sustainable tourism better aligns with the Quilombola way of life that aims to collectively harvest resources, ensure subsistence, and produce products for local consumption and sale.38

Manual Caiçara de Ecoturismo de Base Comunitária. Credit: Instituto EcoBrasil.

CONSIDERATIONS FOR COMMUNITY-BASED TOURISM

Due to each community’s unique needs, territory, and experiences, CBT can be challenging to define in detail – locals adopt and center the aspects of a tourism strategy that best meet their place-based needs, culture(s), and history(ies).39 In other words, the term “community” in community-based tourism must be defined by the community participating in and designing a CBT plan. These dynamics are not, however, always seamless or clear. Cultural variations within

communities can vary greatly, leading to diverse offerings within a CBT plan that spans specific geographical areas. Individuals who make up communities also have diverse experiences, desires, and circumstances that should also be considered when developing community-wide plans.40 With these complexities in mind, it is vital to understand the community’s diversity when developing CBT plans to ensure broad community participation can best engage and respect community members who may be impacted by tourism.

Flour house workers in Canelatiua’s flour house. Credit: Cat Diggs.

Considering the complexities of CBT, there are various components to take into account when developing a CBT plan, notably the participatory engagement of the community that aims to host tourists. Embedding strong participation and the adequate time needed for it in the early stages of CBT development is integral to forming the pathways required for collaboration in the later stages of the process.41 By building a solid foundation rooted in broad participation and awareness of operations, communities can also ensure that benefits are distributed equitably to ensure the sustainability of youth and other members who may have limited training and education on the matter.42, 43

Community development for sustainable CBT plans also requires internal community collaboration and outside collaborations to ensure market connection and sustainability of operations. It also requires resources and skills such as project management, customer care, marketing, financial management, and product development. To ensure community members have the skills required to sustain CBT operations, non-governmental organizations (NGOs), private tourism companies, and others have worked with communities to foster the internal capacity and facilitation of training necessary for CBT implementation.44

Lastly, it is vital that plans intentionally work to preserve what makes communities unique to tourists and the environmental ecosystems communities live within.

• identifying who the potential visitors are;

• detailing the resources or products the community will offer to visitors;

• denoting what the desired outcomes are for community members, tourists, and other organizations involved;

• identifying investment streams and sources to fund development and operations where necessary;

• selecting and building out management structures and securing community buy-in;

• developing strategies to implement planning efforts by assigning responsibility and investing funds;

• building the foundation for continued evaluation in the process and operations; and

• marketing and advertising to the target tourist population previously identified.45

In the earliest phases of this process, qualitative and other research methods can be helpful tools for better understanding community needs and guiding other processes forward.

LAYING THE FOUNDATION FOR CBT IN ALCÂNTARA

Other key considerations and steps in the process for building sustainable CBT include:

As a part of this Capstone Studio project, our U-M Team worked to cultivate the grounds for flourishing and sustainable communitybased tourism for Quilombo communities of Alcântara. To do so, the team began researching the region, history, and culture of our clients and community partners to best understand critical considerations and plan accordingly. This discovery phase also included exploratory research around CBT in other regions of Brazil with a focus on CBT in the Quilombo. By doing so, we wanted to be sure to be best prepared to gather data and insights on the

ground during the fieldwork phase.

The various elements of this project facilitated the fact-finding and tool-building necessary to best understand what impacted Quilombola community members might see as fit for tourism, what they see as important, and their general concerns regarding daily life and history. Combined, this research and exploration of CBT and the Quilombola community way of life has cultivated the insights to highlight elements and aspects that the clients and community partners can bring to the Quilombos for further discussion and reflection. Additionally, the sustainable design of this work affords the opportunity for further reflection and research through the Photovoice and Oral History methodologies employed while in the field.

The considerations we identified for the clients and community partners to explore further with Quilombola community members involve demystifying the non-local tourist; developing the tourist product and expected and suitable services for rural and forested Quilombola communities; organizing the tourism management; fostering partnerships; and gathering resources to support ethnicbased CBT in Latin America.

These considerations will allow our client partner to better understand travel patterns and reasons; possible travel itineraries; delivery of services such as food, transportation, and lodging; pricing models for tourists; and roles and responsibilities, community inclusion, and participation across the community.

Aerial view of São João de Cortês Quilombo. Photo Credit: Davi Pereira Júnior.

ENDNOTES

1. Ecoregions 2017 ©. (n.d.). Ecoregions. appspot.com. https://ecoregions.appspot. com/

2. One Earth. (n.d.). Tocantins/Pindare Moist Forests | One Earth. https:// www.oneearth.org/ecoregions/tocantinspindare-moist-forests/

3. Igarapé - IPAM Amazônia. (2015). IPAM Amazônia. https://ipam.org.br/glossario/ igarape-2/

4. Direitos, T. de. (2023). Quilombola titling: a historical debt of the Brazilian State. Terradedireitos.org.br. https:// www.terradedireitos.org.br/en/archive/ publications/bulletins/49/quilombolatitling-a-historical-debt-of-the-brazilianstate/23894

5. Barros, T. M. H. T. J. L. I. (2021, March 29). A story of slavery — and space. The Washington Post. https:// www.washingtonpost.com/world/ interactive/2021/brazil-alcantara-launchcenter-quilombo/

6. DECRETO No 4.887, DE 20 DE NOVEMBRO DE 2003. D4887. (2003). https://www.planalto.gov.br/ccivil_03/ decreto/2003/d4887.htm

7. RESOLUÇÃO No 11, DE 26 DE MARÇO DE 2020. D4887. (2020). https://www.planalto.gov.br/ccivil_03/ decreto/2003/d4887.htm

8. Barros, T. M. H. T. J. L. I. (2021, March 29). A story of slavery — and

space. The Washington Post. https:// www.washingtonpost.com/world/ interactive/2021/brazil-alcantara-launchcenter-quilombo/

9. Jamil Chade. (2024, September 17). Lula faz acordo sobre base de Alcântara e tenta encerrar 40 anos de disputa. UOL. https://noticias.uol.com.br/colunas/jamilchade/2024/09/17/lula-faz-acordo-sobrebase-de-alcantara-e-tenta-fechar-40-anosde-disputa.html

10. Barros, T. M. H. T. J. L. I. (2021, March 29). A story of slavery — and space. The Washington Post. https:// www.washingtonpost.com/world/ interactive/2021/brazil-alcantara-launchcenter-quilombo/

11. Litvinov, N. (2023, August 21). Disaster at Alcântara: The Explosion that Hindered Brazil’s Ascent as a Space Power. Universe Magazine Space Tech. https:// universemagazine.com/en/disaster-atalcantara-the-explosion-that-hinderedbrazils-ascent-as-a-space-power/

12. Brasilia. (1980). State Decree No.7,820 (Annex B). Brazilian Government

13. Brasilia. (2020). RESOLUÇÃO Nº 11, DE 26 DE MARÇO DE 2020 (Diário Oficial da União). Presidência da República/ Gabinete de Segurança Institucional/ Comitê de Desenvolvimento do Programa Espacial Brasileiro

14. Jamil Chade. (2024, September 17). Lula

faz acordo sobre base de Alcântara e tenta encerrar 40 anos de disputa. UOL. https://noticias.uol.com.br/colunas/jamilchade/2024/09/17/lula-faz-acordo-sobrebase-de-alcantara-e-tenta-fechar-40-anosde-disputa.htm

15. Jamil Chade. (2024, September 17). Lula faz acordo sobre base de Alcântara e tenta encerrar 40 anos de disputa. UOL. https://noticias.uol.com.br/colunas/jamilchade/2024/09/17/lula-faz-acordo-sobrebase-de-alcantara-e-tenta-fechar-40-anosde-disputa.htm

16. Engle, K., & Shore, E. (2019, October 2). US should oppose expansion of Space Launch Center in Brazil. The Hill. https://thehill.com/opinion/ international/463972-us-should-opposeexpansion-of-space-launch-center-in-brazil

17. Teather, D. (2003, August 23). Brazilian space rocket blast kills 16. The Guardian. https://www.theguardian.com/ science/2003/aug/23/spaceexploration. internationalnews

18. Wosnick, N., Chaves, A. P., Leite, R. D., Nunes, J. L. S., & Hauser-Davis, R. A. (2023). Potential negative effects of the Brazilian Space Program on coastal sharks. Frontiers in Marine Science, 10. https:// doi.org/10.3389/fmars.2023.1141640

19. Alcântara Rural Workers and Family Farmers’ Union (STTR), Movement of People Affected by the Alcântara Base (MABE), Alcântara Rural Women Workers’ Movement (MOMTRA), & Family Farming Rural Workers’ Union (SINTRAF). (2020). Dados Socioeconômicos e Agropecuários Do Município de Alcântara – Maranhão –1980 a 2020. https://www.ppgcspa.uema.

br/wp-content/uploads/2022/03/pedrade-rumo-vol-01-capa-900x0.jpg

20. Alcântara Rural Workers and Family Farmers’ Union (STTR), Movement of People Affected by the Alcântara Base (MABE), Alcântara Rural Women Workers’ Movement (MOMTRA), & Family Farming Rural Workers’ Union (SINTRAF). (2020). Dados Socioeconômicos e Agropecuários Do Município de Alcântara – Maranhão –1980 a 2020. https://www.ppgcspa.uema. br/wp-content/uploads/2022/03/pedrade-rumo-vol-01-capa-900x0.jpg

21. Alcântara Rural Workers and Family Farmers’ Union (STTR), Movement of People Affected by the Alcântara Base (MABE), Alcântara Rural Women Workers’ Movement (MOMTRA), & Family Farming Rural Workers’ Union (SINTRAF). (2020). Dados Socioeconômicos e Agropecuários Do Município de Alcântara – Maranhão –1980 a 2020. https://www.ppgcspa.uema. br/wp-content/uploads/2022/03/pedrade-rumo-vol-01-capa-900x0.jpg

22. Alcântara Rural Workers and Family Farmers’ Union (STTR), Movement of People Affected by the Alcântara Base (MABE), Alcântara Rural Women Workers’ Movement (MOMTRA), & Family Farming Rural Workers’ Union (SINTRAF). (2020). Dados Socioeconômicos e Agropecuários Do Município de Alcântara – Maranhão –1980 a 2020. https://www.ppgcspa.uema. br/wp-content/uploads/2022/03/pedrade-rumo-vol-01-capa-900x0.jpg

23. Alcântara Rural Workers and Family Farmers’ Union (STTR), Movement

of People Affected by the Alcântara Base (MABE), Alcântara Rural Women Workers’ Movement (MOMTRA), & Family Farming Rural Workers’ Union (SINTRAF). (2020). Dados Socioeconômicos e Agropecuários Do Município de Alcântara – Maranhão –1980 a 2020. https://www.ppgcspa.uema. br/wp-content/uploads/2022/03/pedrade-rumo-vol-01-capa-900x0.jpg

24. Lusby, C., & Pinheiro, T. (2019). Case study: Tourism in traditional Brazilian Quilombo communities – from theory into practice. Journal of Global Business Insights, 4(2), 119–124, 120. https://doi. org/10.5038/2640-6489.4.2.1052

25. Oliveira, A. F. B., Medeiros Santana, C. S. C., & Freitas, I. N. F. (2023). Patrimônio

Cultural E Turismo De Base Comunitária

Em Comunidades Quilombolas: Desafios

E Oportunidades. Revista Turismo: Estudos & Práticas (RTEP), 12(2), 1–19.

26. Oliveira, A. F. B., Medeiros Santana, C. S. C., & Freitas, I. N. F. (2023). Patrimônio

Cultural E Turismo De Base Comunitária

Em Comunidades Quilombolas: Desafios

E Oportunidades. Revista Turismo: Estudos & Práticas (RTEP), 12(2), 1–19, 7.

27. Lusby, C., & Pinheiro, T. (2019). Case study: Tourism in traditional Brazilian Quilombo communities – from theory into practice. Journal of Global Business Insights, 4(2), 119–124, 120. https://doi. org/10.5038/2640-6489.4.2.1052

28. Oliveira, A. F. B., Medeiros Santana, C. S. C., & Freitas, I. N. F. (2023). Patrimônio

Cultural E Turismo De Base Comunitária

Em Comunidades Quilombolas: Desafios

E Oportunidades. Revista Turismo:

Estudos & Práticas (RTEP), 12(2), 1–19.

29. Rosa, F. J., Tur, A. A., & Andreu, H. G. (2017). Community-based tourism and the political instrumentalization of the concept of community - a new theoretical approach and an ethnographical case study in northeastern Brazil. Anthropos, 112(2), 467–486, 468-470. https://doi. org/10.5771/0257-9774-2017-2-467

30. Rodrigues, C. B., & Prideaux, B. (2017). A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon. Journal of Ecotourism, 17(1), 1–19. https://doi.org/10.1080/1472 4049.2017.1309045

31. Burgos, A., & Mertens, F. (2017). Participatory management of communitybased tourism: A network perspective. Community Development, 48(4), 546–565. https://doi.org/10.1080/15575330.2017.1 344996

32. Rodrigues, C. B., & Prideaux, B. (2017). A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon. Journal of Ecotourism, 17(1), 1–19. https://doi.org/10.1080/1472 4049.2017.1309045

33. Ullán de la Rosa, F. J., Aledo Tur, A., & García Andreu, H. (2017). Community-based tourism and political communitarianism in Prainha do Canto Verde, Brazil. Latin American Perspectives, 46(4), 210–229. https://doi. org/10.1177/0094582x17702359

34. Burgos, A., & Mertens, F. (2017). Participatory management of communitybased tourism: A network perspective.

Community Development, 48(4), 546–565. https://doi.org/10.1080/15575330.2017.1 344996

35. Rodrigues, C. B., & Prideaux, B. (2017). A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon. Journal of Ecotourism, 17(1), 1–19. https://doi.org/10.1080/1472 4049.2017.1309045

36. Oliveira, A. F. B., Medeiros Santana, C. S. C., & Freitas, I. N. F. (2023). Patrimônio Cultural E Turismo De Base Comunitária Em Comunidades Quilombolas: Desafios E Oportunidades. Revista Turismo: Estudos & Práticas (RTEP), 12(2), 1–19.

37. Rosa, F. J., Tur, A. A., & Andreu, H. G. (2017). Community-based tourism and the political instrumentalization of the concept of community - a new theoretical approach and an ethnographical case study in northeastern Brazil. Anthropos, 112(2), 467–486. https://doi.org/10.5771/02579774-2017-2-467

38. Lusby, C., & Pinheiro, T. (2019). Case study: Tourism in traditional Brazilian Quilombo communities – from theory into practice. Journal of Global Business Insights, 4(2), 119–124. https://doi. org/10.5038/2640-6489.4.2.1052

39. Burgos, A., & Mertens, F. (2017). Participatory management of communitybased tourism: A network perspective. Community Development, 48(4), 546–565. https://doi.org/10.1080/15575330.2017.1 344996

40. Rosa, F. J., Tur, A. A., & Andreu, H. G. (2017). Community-based tourism and the political instrumentalization of the concept of community - a new theoretical

approach and an ethnographical case study in northeastern Brazil. Anthropos, 112(2), 467–486. https://doi.org/10.5771/02579774-2017-2-467

41. Burgos, A., & Mertens, F. (2017). Participatory management of communitybased tourism: A network perspective. Community Development, 48(4), 546–565. https://doi.org/10.1080/15575330.2017.1 344996

42. Rodrigues, C. B., & Prideaux, B. (2017). A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon. Journal of Ecotourism, 17(1), 1–19. https://doi.org/10.1080/1472 4049.2017.1309045

43. Rosa, F. J., Tur, A. A., & Andreu, H. G. (2017). Community-based tourism and the political instrumentalization of the concept of community - a new theoretical approach and an ethnographical case study in northeastern Brazil. Anthropos, 112(2), 467–486. https://doi.org/10.5771/02579774-2017-2-467

44. Rodrigues, C. B., & Prideaux, B. (2017). A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon. Journal of Ecotourism, 17(1), 1–19. https://doi.org/10.1080/1472 4049.2017.1309045

45. Rodrigues, C. B., & Prideaux, B. (2017). A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon. Journal of Ecotourism, 17(1), 1–19. https://doi.org/10.1080/1472 4049.2017.1309045

#04 METHODS AND FIELDWORK

4.1

DEFINING THE PROJECT SCOPE & DELIVERABLES

Together with Dr. Ana Paula Pimentel Walker, leadership from the Quilombos of Alcântara, and the student capstone team, the deliverables for this project were defined as follows:

A Community-Based Tourism (CBT) Manual to generate bottom-up, communitycontrolled economic development to foster community well-being that is complementary to rather than competing against traditional economic livelihoods. Furthermore, the CBT Manual would bolster the community’s efforts to secure their collective title to the Quilombola territories and celebrate their culture and way of life with tourists and allies who support their cause to affirm their rights to self-determination.

Photovoice workshops provided Quilombola community members a platform to generate ethnographic data that informs planning efforts and grounds outcomes in their lived experiences. Facilitated by sara faraj and Dr. Pimentel Walker, the sessions fostered collective reflection on shared histories and cultural themes, laying the groundwork for continued dialogue among stakeholders, local leaders, and residents. Participants produced physical and digital photographs, which will be displayed in community centers and featured on the client’s website. A bilingual

Photovoice guidebook was created to support ongoing engagement with this cilent-based project method. These materials enable local educators and leaders to sustain and deepen the methodology’s long-term application within their communities.

Oral History interviews to provide a platform for Quilombola leaders in Alcântara to share their unique cultures of resistance, collective ownership of land, and traditional lifeways, as well as to speak to their ongoing struggle for land titling in the face of everpresent threats of land displacement posed by the Alcântara Space Launch Center (CLA) and private developers. A bi-lingual guidebook would be produced to discuss the purpose and useability of Oral Histories in the Alcântara context. Another key aspect of this project would be to gain insights as to how CBT could be meaningfully carried out in Quilombola communities of this region. Finally, the stories that would emerge from interviews would be disseminated through digital (e.g. a website) and physical platforms (ex. museums, historical sites, etc.) for increased public engagement and cultural preservation purposes.

A website and identity to establish a firstever comprehensive online platform, managed and updated by the Quilombola communities of Alcântara themselves, which would present the challenges they face today and would provide a platform for them to receive both financial and political support. This platform would feature an interactive timeline highlighting key treaties and documents impacting their social movements, as well as the photovoice and oral history project outcomes in the form of a digital living archive.

Additionally, the project would ensure the digital identity consolidation of the various Quilombola communities in Alcântara through the creation of a logo. Key considerations for the website, which would ultimately serve as a hub to connect those unfamiliar with the struggle with organizations on the ground, would involve framing the tourism component of the website as “solidarity tourism” i.e. tourism that directly benefits host communities, thus reinforcing the Community-Based Tourism (CBT) approach.

PRELIMINARY LITERATURE REVIEW

BACKGROUND RESEARCH

Before diving into the throes of our project deliverables, our team worked through some overarching background research on the

subject matter of our project that came in the forms of books, media articles, short videos, factsheets, many of which we needed to translate from Brazilian Portuguese to English.

U-M capstone team and artisans at the Canelatiua flour house Photo Credit: Danilo Serejo.

Some examples of topic areas covered in our background research include:

The history of Quilombos in Brazil and the Alcântara region and territorial conflicts with the Space Launch Center with works like:

• “The Balaiada War, 1838–1841” (2020), academic paper by Adriana Barreto de Souza, Universidade Federal Rural do Rio de Janeiro, Department of History, which speaks to the fact that “Between 1831 and 1840, the Brazilian Empire was ruled by regents. Pedro I, who became Brazil’s first emperor in 1822 on the occasion of the country’s independence” and how he was “forced by a popular political movement to abdicate his throne on April 7, 1831. This episode set off a series of revolts that involved broad segments of society: slaves, Indians, the urban and rural poor, liberal professionals, and large and small landholders”.1

• The Future of Alcântara Is Not (Just) Rocket Science: Quilombola Epistemologies and The Struggle for Territoriality (2021), PhD

Dissertation by Dr. Davi Pereira Junior, Quilombola leader and activist, who devoted his research efforts to uplifting “how quilombolas think, feel, and interpret the acts of violence perpetrated against them and against their territories by the nation state, but I also seek to show how quilombolas feel and live their territories, their identity, and their collective existences.”2

• A Atemporalidade Do Colonialismo: Contribuições Para Entender A Luta Das Comunidades Quilombolas de Alcântara e a Base Especial (2020), by Danilo da Conceição Serejo Lopes, Quilombola leader and lawyer, whose book recounts in detail the history of the conflict between Quilombola communities of Alcântara and the space launch program that emerged in the region in the 1980s. Serejo details the ways in which this conflict is at the center of ongoing human rights violations and how he and his community continue to fight back against the systemic injustices they face.3

U-M capstone team at the Women’s Ceramics Association of Itamatatiua Photo Credit: Ana Paula Pimentel Walker.

• Traditionally Occupied Lands in Brazil (2011) by Dr. Alfredo Wagner Berno de Almeida, “Anthropologist, lecturer and leader of the New Social Cartography unit at Manaus University, Amazonia”4 whose book explores the emergence since the 1970s of social movements of the Amazon, such as the Rural Workers Union, and their reconfigurations in the past two decades to address issues of territoriality, ethnicity, environmental protection, gender, and “collective self-identification”.5

Human rights tools leveraged by Quilombola peoples in Alcântara to defend their land rights with key documents like:

• “Forced evictions and violations of the right to adequate housing and land of Quilombo communities of Marambaia Island – Rio de Janeiro and Alcântara, MA/Brazil” (2001), an amicus curiae brief presented by the Center on Housing Rights and Evictions (COHRE) before the InterAmerican Commission in support of the main petition put forth by a number of communities directly affected by the Space Launch Center who were supported by the SMDH (Maranhão Society for Human Rights), the NGO Global Centre of Justice, the Association of Black and rural Quilombo communities (ACONERUQ), the Federation of Agricultural Workers of Maranhão and Global Exchange to file a petition to the Inter-American Commission on Human Rights. 6The amicus brief is addressed it to Mr. Doudou Diéne, UN Special Rapporteur on contemporary forms of racism, racial discrimination, xenophobia and related

intolerance and emphasizes that the process of expropriation of Quilombola territories underway in Alcântara by the Brazilian state in the 1980s constituted human rights violations under the American Convention on Human Rights.

Census Data on the Alcântara region with works like:

• Socioeconomic and Agricultural Data from the Municipality of Alcântara - Maranhão 1980 to 2020 (2020) by the People Affected by the Alcântara Space Base Movement (MABE), which provides “socio-economic and agricultural data for the municipality of Alcântara, Maranhão, from 1980 to 2020, according to official sources” that reveals the negative impacts that the Space Launch Center has had on Quilombola communities in Alcântara. 7

Quilombola land title issues with resources like :

• “A Quilombola titling: a historical debt to the Brazilian State” (June 2023), a fact sheet by Terra de Direitos that details the challenges (bureaucratic, legal, political, financial) faced by Quilombola communities in their attempt to receive collective title for their lands by the Brazilian government.8

Community-based

• “Manual Caiçara de Ecoturismo de Base Comunitária,” (2009) is a manual created by the Instituto BioAtlântica (IBio) in collaboration with the Brazilian Ministry of Justice. This comprehensive guide provides practical instructions for fishing communities looking to engage in smallscale fishing commercialization and accommodate tourists through homestays or day trips. Developed as part of capacity building workshops, the manual delves into various topics including itineraries, pricing, and the sustainable impact of tourism. 9

• “Manual de Ecoturismo de Base Comunitária. Ferramentas para um planejamento responsável,” (Salvati, 2003). This manual explains the advantages and disadvantages of Community Based Tourism. It identifies the main planning components, which encompass the tourism business from the transportation to the community to the services provided, such as food, accommodations, and activities. 10

CASE STUDY RESEARCH

As we began to divide the work up amongst ourselves to prepare for our fieldwork experience in Alcântara Brazil in February of 2024, we pursued case study research for inspiration on our four deliverables for the project. Here were some of our top three picks for each deliverable.

C ommunity -B ased Tourism

Through our case study research on community-based tourism, we have explored examples of how CBT was implemented

in different communities across the world, including in Bali, Indonesia, xxx, and xxx. From these examples, we were able to glean inspiration about how CBT could be leveraged as a powerful community planning tool for the Quilombos in Alcântara, notably as it relates to their ability to self-determine by building their financial autonomy and the domestic and global solidarity networks that support their right to self-determination on their territories.

Case Study 1 - Host–Guest Orientations of

Community-based Tourism Products: A Case Study in Bali, Indonesia

This case study on community-based tourism in Bali is important for our partners because it outlines the key components of the tourism experience, focusing on both the industry and attractions. 11 The tourism industry encompasses services such as transportation, accommodations, meals, and souvenirs, while the attractions highlight the natural landscapes and ethnic culture of the area. The researcher conducted surveys with both local community members and tourists to gain insights into how each group evaluates the available touristic products in Bali. For instance, both host communities and tourists value the sharing of ethnic culture; however, neither group truly appreciates tourists participating in religious ceremonies. The takeaway from this study is that community-based tourism (CBT) should plan for travel services and attractions that are convenient and appealing to both tourists and host communities. Scholars, NGOs, and local governments are well-positioned to gather this information.

Case Study 2 - Anfitriões Do Litoral do Paraná, Brazil

The caiçaras represent traditional artisan fishing communities located in Southeastern Brazil, predominantly along coastal regions, although some also engage in hunting, agriculture, and livestock farming. These communities are characterized by their unique cultural heritage, stemming from a historical confluence of African, European, and Indigenous ancestries. The caiçaras embody a distinct way of life, reflecting a deep connection to their environment and traditional practices passed down through generations.

The Caiçara Network, situated in Paranaguá along the coast of Paraná, Brazil, comprises residents from five distinct communities: São Miguel, Piaçaguera, Eufrasina, Ponta do Ubá, and Ilha dos Valadares. This initiative underwent a planning phase spanning two years, culminating in the launch of some tourism initiatives by the year 2014. A pivotal advancement occurred in 2018 with the establishment of the do Litoral do Paraná (Hosts of the Paraná Coast network). 12 This network aims to consolidate and enhance the collective efforts of community-based tourism (CBT) groups within the region, fostering

collaboration and promoting sustainable tourism practices. The first stage of the network’s process was to assess attractions and activities within local communities. At the beginning, the project moved slowly, and involved testing incremental touristic activities and evaluating them, which is recommended for developing CBT strategies. The 2018 expansion received the support from external agents, such as a consultancy firm in the region (TCP), the Federal University of Paraná (UFPR) and Paranaguá City Hall, through the Municipal Department of Culture and Tourism. To strengthen the Caiçara Network meant to collaborate horizontally among Caiçara communities and their community leaders, and vertically with government, universities, and the private sector. The region’s tourist itinerary was designed to ensure that the touristic activities in different communities were diverse and not repetitive. This is a crucial consideration for the Quilombos of Alcântara when developing their itineraries.

Case Study 3 - Rota da Liberdade

Before Brazil abolished the slave industry in 1888, about 4 million Africans were forcibly brought to Brazil through the ports of the Recôncavo in the state of Bahia. Of those who escaped, many found refuge in Quilombos. 13 The Rota da Liberdade (Route to Freedom Project) has been established since 2005 by Quilombola communities within the Iguape Basin and Valley, particularly in Cachoeira, Bahia. It started in 2005 with a social project supported by the federal government, called Agente Cultura Viva (Live Culture Agent in English), which

A guide in Bali. Photo Credits: Togetherness Project Bali.

was directed at young adults and aimed to gather information about local history. It then organically developed into an authentic community-based tourism project, that is collaborative and participatory, with local Quilombos women assuming its leadership. 14 Today, this initiative encompasses a comprehensive program of cultural presentations, events, and activities that emphasize beekeeping, handicrafts, and palm oil production. A prominent cultural event associated with this initiative is the Oyster Festival, which is hosted by the Kaonge Quilombo in October, and draws tourists from various regions. This festival plays a significant role in generating economic income and creating employment opportunities by integrating local production with tourism efforts. Thirty-three women representing their families take the lead on oyster production; they are known as marisqueiras. These Quilombola women also manage and run most touristic activities. Kaonge Quilombo has also hosted several capacity building workshops on the issue of sustainable subsistence practices.

The overarching objective of the communities in question is to reinforce their cultural heritage while simultaneously valorizing their natural resources. In this context, tourism emerges as a pivotal mechanism for achieving the dual goals of educating the younger generation about their cultural legacy and ensuring its preservation. A significant initiative in this regard is the apprenticeship model, which facilitates the adaptation of traditional knowledge to the evolving context of the “apprentice” generation. This

approach embodies the essence of knowledge transmission, as it emphasizes, through several workshops, events and festivals, a learning process that is organic, allowing the younger generation to absorb traditional practices in a meaningful manner.

Furthermore, the dissemination of knowledge within the tourism frameworks of traditional communities and peoples presents a vital opportunity for fostering local sustainable development efforts and for enhancing an appreciation for local culture. Addressing the challenges inherent in this endeavor necessitates robust collaboration among various stakeholders, including community representatives, governmental entities, non-governmental organizations, and the private sector. Such cooperative efforts are essential to formulating sustainable development objectives that not only honor cultural diversity, but also contribute to the conservation of natural resources in the area.

This case study highlights the need for goalclarification and goal-setting as part of any CBT planning process.

“The welcome sign placed at the entrance of the only road that leads to the Quilombos Kaonge and Dende. Photo courtesy of Elisa Spampinato”.

This report highlights three international Photovoice projects that use participatory photography for social change. Each project centers community voices, allowing participants to document their lived experiences and reflect on key issues: from gender, peace, and identity, to youth employment and grassroots development. While the projects span diverse geographies— East and West Africa, Latin America, and Asia—they are committed to shifting power to local actors. These initiatives demonstrate how visual storytelling can amplify marginalized perspectives, inform policy, and inspire collective action by equipping participants with cameras and platforms for reflection.

Case Study 1 - PHOTOVOICE: Women see many things - WeWorld

Myriam Meloni, with local artists Halima Gongo, Gertrude Malizeni, and Nelsa Guambe, led the Photovoice initiative under the Kujenga Amani Pamoja project, enabling women across Kenya, Tanzania, and Mozambique to reclaim storytelling through photography. From February to May 2024, thirty-two women, aged 18 to 35, participated in workshops designed to amplify their voices in regions marked by instability and inequality. By fostering cultural capital and esteem, similar to projects in Brazil, these workshops aimed to promote social justice and counter radicalization. Organized by WeWorld, with European Union co-funding, the workshops emphasized local participation. In Kwale County, Kenya, participants reimagined traditionally male-dominated spaces by photographing maskanis and bodaboda

motorbikes, using kangas to emphasize agency and cultural resistance. On Tanzania’s coast, the initiative highlighted the oftenoverlooked labor of female seaweed farmers, drawing parallels with Brazilian efforts in recognizing local economic contributions. In Chiúre, Mozambique, women captured scenes juxtaposing education and health with domestic challenges, calling for justice through their visual narratives.15

The project culminated in public exhibitions on the International Day of Peace, uniting communities in dialogue and reinforcing the notion that peacebuilding starts within communities. As participants redefined personal and collective narratives, they not only documented life but also envisioned change. This initiative demonstrated that when women are equipped to tell their stories, they transform narratives and inspire change. Building on this success, future efforts could explore collaborative economic and community development strategies rooted in these visual insights.

PHOTOVOICE workshop in Kenya. Photo Credit: WeWorld.

In 2018, the “Constructing Futures” project empowered ten young Ghanaians to take charge of their narratives through the Photovoice process, mirroring the focus on lived experiences and identity construction seen in similar initiatives with Afro-Brazilian women. This project, led by the UK-based nonprofit PhotoVoice in collaboration with local facilitators, aimed to reflect on work, struggle, and dreams within the construction sector across Ghanaian communities.

Participants, aged similarly across mixed demographics as seen in the Brazilian study, honed their photography and storytelling skills to document harsh labor conditions, low wages, and the dignity of striving for a better future—paralleling the themes of occupation, empowerment, and resistance found in the exploration of Quilombola women’s experiences. Their images not only questioned the undervaluation of their labor but also advocated for recognition and justice, much like how Quilombola women highlighted the impact of systemic oppression. With support from partners such as the Mastercard Foundation, Overseas Development Institute, and others, the project facilitated an environment where young individuals could express pride and articulate their frustrations amid unstable employment.

The project culminated in public exhibitions, where communities gathered for impactful dialogue around youth, employment, and dignity, akin to the gatherings in Afro-

Brazilian quilombos that spurred collective awareness and resistance. By using photography as a tool for advocacy, the young photographers challenged stereotypes and initiated meaningful conversations, demonstrating a shift in power toward participatory media. This initiative reaffirms the potential of narrative control to reshape futures, similar to the call for occupational spaces and identity exploration seen in Brazilian quilombos. The lessons learned here suggest that when communities tell their own stories, they redefine their realities and possibilities.16

Case Study 3 - Development Progress: Communities Share Their Stories Through Photography

In 2014, the “Development Progress” project, organized by PhotoVoice with the Overseas Development Institute (ODI) and local partners, empowered communities in China, Ethiopia, Ghana, Nepal, Peru, and Tunisia to become narrators of their own development stories. This initiative, utilized photography

PhotoVoice workshop. Photo Credit: Dusey Elliot, 2017, ODI, YIEDIE, Constructing Futures, Ghana

as a tool to express grassroots perspectives, preserving cultural and historical narratives that are often overlooked in mainstream discourse. Participants across these countries were provided with the tools and skills necessary to visually articulate their daily realities, capturing achievements and challenges within the context of their unique development journeys.

In workshops, community members addressed specific themes, such as maternal and child health improvements in Phulpingkot, Nepal, and educational progress in Itaya, Ethiopia. Participants in Virgen de la Candelaria, Peru, documented neighborhood transformations, while those in Ghana reflected on civic education and governance. Environmental sustainability challenges were highlighted in rural China, and in Tunisia, cultural expressions and civic participation were celebrated as key aspects of social progress.

The project culminated in a public exhibition at London’s Royal Geographical Society in February 2015, drawing media attention and engaging diverse audiences. This exhibition, emphasized the importance of community voices in global development. By documenting their realities through photography, participants were able to reshape international dialogues on progress and influence public perception and policy, echoing the sovereign storytelling and counter-narrative development critical to Indigenous projects facing external threats.17

Oral History

The Oral History case study research effort explored examples of how the methodology of oral histories was leveraged across the African Diaspora of the Americas, whether it’d be the Black Movement in Brazil, Maroon communities in Jamaica, or political mobilization for racial justice in Detroit, Michigan. The three case studies below also uplift the fact that oral histories have been carried out to develop different outcomes, including online pedagogical tools, a documentary, and a community memorialization project. These case studies have served as inspiration for framing our approach to carrying out oral history interviews on the ground in Alcântara in late February/ early March during our fieldwork experience.

Case study 1 - Oral Histories as a Pedagogical Tool for Teaching Youth about Blackness and Race Relations in Brazil

In their book chapter, titled,” Black Movement and Race Relations in Brazil: Building New Knowledge through Online Oral History Materials” (2016), Verena Alberti and Amilcar Araujo Pereira speak to the oral history project with the Center for Research and Documentation of Contemporary Brazilian History (CPDOC), through which they conducted an oral history project “document the [contemporary] black movement in Brazil” starting in the 1970s.18 To do so, they carried out 39 interviews with over 110 hours of recordings, which are archived in the CPDOC. They did so during a period of 4 years between 2003 and 2007.

Context: The Black movement in Brazil was and continues to serve as a response to the ongoing structural and systemic racism that constitutes the foundation for pervasive and marqued social inequality in Brazil. As revealed by the authors, documenting this movement also provided them with insights about the “the rural Afro-Brazilian maroon Quilombola movement, the black women’s movement, affirmative action, and the trajectory of the different groups over time and in different regions of the country”. Despite new legislation bringing about the teaching of Afro-Brazilian, as well as indigenous histories and cultures in schools across the country, racism continues to pervade in Brazilian society and to exacerbate inequalities.

Moreover, with racial mixing being positioned as a point of pride to the country’s national

Center for Research and Documentation of Contemporary Brazilian History online archive Source: Verena Alberti and Amilcar Araujo Pereira.

identity, “the racial question” often gets openly avoided and/or ignored, thus invisibilizing the history of the Black movement and its contributions to the struggle for racial justice dating back to resistance against slavery. To this day, however, Brazil remains home to the largest population of Afro-descendents outside of the African continent.19

Purpose: The goal of this oral history project was therefore to weave oral histories about the dynamics of race and racism in Brazil into the curriculum for youth so that they can work with their teachers to create their own knowledge about these complex and ever-growing dynamics that inform their everyday lives as Brazililians. In other words, oral histories with Black leaders” give a human face to racial discrimination” and provide students with a concrete understanding of their implications.20

Outcome: The result is that with readily accessible oral histories like these, teachers can engage their students in better understanding the dynamics of interviewing and what it takes to carry out an oral history project such as this one. In short, the ultimate goal is for these oral histories to serve as an opportunity for the transfer of knowledge and the production of new knowledge by the next generation of young oral historians. As stated by Alberti and Pereira, “These oral sources and the inquiry process surrounding them, give students invaluable preparation for dealing with new encounters and experiences about race and racial relations in Brazil.”21

Case study 2 - Oral History as the Foundation for Documentary Film-Making and Other Multimedia Productions- Queen Nanny: Legendary Maroon Chieftainess

In an Oral History Association (OHA) Spotlight, OHA celebrates the work of Dr. Harcourt Fuller “which includes a documentary-film and recorded album project, and how oral history was essential to both”. Dr. Fuller, who is an Associate Professor of History at Georgia State University, focuses his research on histories “of resistance against slavery and colonialism” (with an emphasis on the practice of Marronage), and colonial anti nationalism in the “Africana world”.22

Context: His 2015 1-hour documentary, Queen Nanny: Legendary Maroon Chieftainess, explores the history and legacy of an 18th century Akan leader of the Jamaican Maroon. “The documentary was filmed in Ghana, Jamaica, Canada and the United States, and screened at educational,

“Queen

governmental, cultural and community organizations worldwide”.23 It was the recipient of multiple recognitions and awards, including but not limited to Best Documentary at the 2016 Newark International Film Festival and a nomination for an Africa Movie Academy Awards (AMAA) honor at the 2016 Pan African Film Festival. To accompany the film, a doubleCD, Granny Nanny Come Oh: Jamaican Maroon Kromanti and Kumina Music and Other Oral Traditions, recorded by the Moore Town Granny Nanny Cultural Group, was released.24 It contains “31 tracks of live studio recordings of traditional Jamaican Maroon and Bongo-Kumina songs, drumming and other instrumentals, oral history, an Anansi story, African language retentions (including Twi and Kikongo), and other verbal arts”. The album is an intergenerational conversation between younger and older generations of Moore Town Maroons about their musical traditions, Kromanti and Kumina, which are direct descendants of the great leader and Jamaican National Hero, Queen Nanny.25

Purpose: Most of what is known about Queen Nanny comes from oral history and folklore, not the written record. While she led her community to freedom during the transatlantic slave trade, very few people outside of Jamaica know of her existence. She is one of seven national heroes in Jamaica and is the only female representative of the group. She was a major figure in waging and winning an 80-year battle against the British army in the 18th century, which granted Maroons with territorial sovereignty “in their remote mountain strongholds”. She “symbolizes the

Nanny: Legendary Maroon Chieftainess” documentary flier Credit: Caribbean Student Association.

pride of today’s Carribean women”. This documentary would not have been possible without conducting oral histories with worldrenowned scholars, present-day Maroons, and women leaders of today, whose lives have been profoundly impacted by the legacy of Queen Nanny.26

Outcome: Not only has the documentary film been leveraged for educational and awarenessraising purposes worldwide, it is also an important piece of cultural affirmation, preservation and celebration for the Maroons of Jamaica and a powerful story of resistance and self-determination for peoples of the African diaspora. Those communities share the commonality of having deeply rooted oral traditions, which have continually breathed life into foundational stories such as these across generations. Oral histories are a powerful tool for tapping into these collective memory-making processes and uplifting them through more widely accessible mediums like documentary films and albums.

Case Study 3 - Oral Histories as Living Community Archives of Pivotal Historical Moments: Detroit 67 - Looking Back to Move Forward

Context: The Detroit 67 project is a “multiyear community project” whose purpose is to bring “together diverse voices and communities” to commemorate the “tumultuous summer” of 1967 during which Black Detroiters rose up against the City’s Police Department as a response to decades of pronounced systems of racial segregation and inequality throughout Detroit.27 It was known to be the bloodiest urban uprisings

in U.S. history, and a pivotal moment in U.S. history. Detroit has for decades been a Black stronghold in the U.S. and stands as one of the Blackest cities in America with 78% of its population being Black. Detroit 67 is led by the Detroit Historical Society, which is housed within the Detroit Historical Museum. Its mission is to tell “Detroit’s stories and why they matter”. Detroit 67 is comprised of multiple projects, including the Oral History Project (a compilation of “the most comprehensive collection of written, audio and video histories ever assembled on this topic”), an exhibition (featuring a sample of the 100s of oral histories gathered throughout the project), a placemaking project (to connect neighborhoods across the city with the Detroit 67 project, a companion book, and continued programs and outreach to the community.28

Purpose: The purpose of Detroit 67 is threefold: 1) to engage the community through community leaders, nonprofits, businesses, the policy community to be part of this effort; 2) to reflect on the past, present and future implications of the 1967 uprisings through the exhibition; 3) to act on the lessons learned through the project outside the bounds of the museum.29

Outcome: As a result of this comprehensive effort, the Detroit 67 Project has increased multi-stakeholder and community-wide understanding of the past and present legacies of this pivotal historical moment and has “created a ‘model’ that makes history relevant to a community’s present & future”.30

Website Development

In this subsection, we briefly discuss the different website models that inspired the development of our partner-commissioned website: Quilombos de Alcântara.

Model 1 - Self-Managed Housing in Brazil Website

Context: This website was built in the context of the 2020 Capstone Studio project led by Dr. Ana Paula Pimentel Walker. This project was about fostering community-owned, permanently affordable and sustainable housing in São Paulo, Brazil.

Purpose: The website serves as a hub to bolster public support for the Brazilian Shack Dweller’s Union’s drafted self-management bill by educating and inspiring the public on key issues, including the housing deficit in Brazil, autogestão, and collective property.31

To that extent, there are three educational flyers, which are available on the website and downloadable for easy printing and distribution. These flyers are designed to be visually appealing and digestible, providing essential information to the public. Additionally, they are included in a tri-fold brochure with a QR code linking back to the website, facilitating further engagement and outreach efforts.

Outcome: A bilingual website featuring information on affordable housing, including key concepts, current obstacles, and detailed breakdowns of housing projects’ costs. Main pages direct visitors to explore projects, relevant statutes/bills, and opportunities for involvement. Notable features include accessible bilingual functionality, vibrant graphics, and compelling photography.

Detroit 67 Mission. Source: Detroit 67.

Annotated user flow map with a total of 5 main pages. Source: 2020 U-M Brazil Capstone Team for the website content and Russell Lin for the annotations.

Model 2 - 2022 Kresge Foundation Annual Report

Context: A stylized report that showcases Kresge’s century-long commitment to advancing human progress through investments in people and places. It features stories illustrating this approach, alongside insights into their programs and financial transparency. 32

Purpose: Showcases multiple communitycentric stories that animate as one interacts with it. Includes multimedia content such as letters, other documents from significant figures within the company and videos.

Outcome: A visually engaging report showcasing an established private philanthropic foundation, highlighting five projects and eight programs. Notable features include immersive video content and user-

friendly navigation that ensures ease of use for the reader without overwhelming them.

Logo Development

Starting in the fall of 2023, the team began designing a logo for ATEQUILA. Its primary focus was to convey the concepts of territoriality and the enduring struggle of Quilombola communities with the government for recognition of both their collective land and human rights. With these objectives in mind, we chose a linocut design for the logo, as the roughness of texture represents the hands-on nature of Quilombola movement work, cultures, and their longstanding battle with the government. To encapsulate the entirety of the territory, the logo was shaped based on the outline of the Quilombola communities residing within Alcântara.

2022 Kresge Foundation Annual Report Annotated Website. Source: Kresge Foundation for website content and Russell Lin for the annotations.

First version of the linocut (left), Digitized logo (right). Source: Russell Lin.

PRE-FIELDWORK

SEEKING CLIENT FEEDBACK

On top of pursuing extensive background research on the subject matter of our project and of our deliverables, our team was very intentional about seeking feedback from our partners to ensure that the deliverables we designed, responded directly to their needs on the ground. For this purpose, we met with our community partner representatives - Dorinete Serejo Morais, Danilo da Conceição Serejo Lopes, Davi Pereira Júnior, and Valdirene Ferreira Mendonça - two times (one in late January and once in early February) via Google Meets before traveling to Brazil in late February.

To prepare for these meetings, we drafted brief slide decks to present our ideas to our partners and receive feedback. Our meetings covered the following main topics:

• Overviewing the goals of our project

• Reviewing the methodology for each deliverable and asking clarifying questions such as:

• Where and when will the Photovoice workshops take place? Who will participate?

• Who will we interview for the Oral History project?

• What are the priorities for the website? Should it simply be a tourism website for the region? Or should it include some aspects of the political struggle for the Quilombola peoples in Alcântara?

These meetings and the regular communication that Dr. Pimentel Walker maintained with our partners leading up to our departure, were essential in giving us the direction that we needed to ramp up for fastpaced fieldwork experience, during which we would be needing to accomplish all our “data” gathering goals for the projects (workshops, interviews, photography, asset-mapping, etc.)

COMMUNITY-BASED TOURISM

Beginning in August 2023, the University of Michigan partnered with MABE and ATEQUILA to support Quilombola communities in Alcântara through a collaborative project focused on communitybased tourism (CBT). The initiative aimed to honor and preserve Quilombola culture while advocating for territorial rights, including collective land titles and the right to selfdetermination. By January 2024, our U-M Urban and Regional Planning capstone team began working closely with community leaders to co-develop a CBT strategy and website.

Through online dialogues, regional research, and with the plan to leverage photovoice and oral history as engagement methods during fieldwork, the team helped surface community priorities, cultural values, and tourism possibilities rooted in Quilombola lived experiences.

For instance the U-M Team started to capture three main goals for the website they were tasked with developing through online conversations before fieldwork:

1. to provide a source of income for the local community;

2. to act as a catalyst for cultural and environmental stewardship and the preservation of local memories;

3. to educate outsiders about the rights of Quilombola peoples regarding their territories and ways of life.

Moreover, based on the research we were carrying out about CBT in Brazil and beyond, we developed a series of bilingual worksheets that we were planning to leverage for community engagement and visioning efforts while on the field. They worksheets included the following activities:

• Objective-setting for a CBT initiative in Alcântara

• Touristic activity logging by level of feasibility in different Quilombo communities across the region

• Building consensus on the general management structure for the CBT and what it might look like

• A CBT product identification exercise

PHOTOVOICE METHODOLOGY

Two Photovoice workshops were organized and held for the client to support the collaborative creation of data, highlight the perspectives and experiences of community members, and generate information and materials for our U-M Team to use in developing deliverables, such as the Community-Based Tourism (CBT) Manual, for our clients. The aim of the Photovoice pre-fieldwork deliverables was to address the necessary considerations for conducting Photovoice workshops in Alcântara while also preparing materials that clients could use after the U-M-led sessions, ensuring the methodology could continue within the community beyond the initial fieldwork.

1 - Bi-Lingual Guidebook Development

A bilingual Photovoice guidebook was created in both English and Brazilian Portuguese to support client leadership during fieldwork. The guide explains what Photovoice is, who typically participates, and outlines the overall process. The purpose of the guidebook is to compile key information about the Photovoice methodology and its steps; offer basic photography tips; provide and summarize relevant case studies; discuss common challenges and strategies for addressing them; detail logistical and equipment needs; and emphasize ethical and additional considerations to help sustain the method and its advantages.

Please see Appendix A for the bilingual worksheets.

This guidebook can also be distributed by community leaders, clients, and client partners to other community stakeholders, educators,

and participants interested in learning about the theory behind this participatory approach. Its content is based on exploratory research, student experience, and course materials related to the Photovoice methodology. The research conducted while developing the guidebook also looked at Photovoice use in applicable contexts, such as among Quilombos in Brazil and within Black and Indigenous communities.

2- Consent Form Development

Bilingual consent forms for the Photovoice process and workshops were developed before fieldwork in Brazil to ensure a comprehensive review and understanding of the ethical considerations of the Photovoice process co-produced with client-partners or simply Photovoice processes. The consent forms also act as templates for the clients; they can be adjusted and used to fit the client’s and community partner’s needs in the future should they decide to carry out Photovoice workshops.

To produce appropriate consent forms, best practices and industry standards for Photovoice and participatory action research (PAR) were studied. Since this project is part of coursework at the University of Michigan, a prominent research institution, available research resources—such as sample consent forms— were referenced as models and foundational materials from which to develop the final versions.

3- Workshop Design & Planning

The structure and delivery of the workshops were shaped through a combination of co-led community engagement and targeted training efforts alongside our client. One team member from the University of Michigan, sara faraj, deepened her understanding of Photovoice by participating in in-person coursework and seeking out examples of best practices from both domestic and international contexts. The training emphasized models most applicable to the specific goals and cultural setting of the Quilombola communities. In preparation, sara consulted with subject matter experts—such as Dr. Mieko Yoshihama, a professor at U-M’s School of Social Work, whom she took a 1-credit photovoice course with. She also gathered additional insights through independent study and shared proposed workshop plans with a range of interdisciplinary professionals, incorporating their suggestions to refine the approach. Workshop timing and design were ultimately aligned with the availability of participants and the duration of the fieldwork in Brazil.

Practical challenges, such as the distance some participants lived from the host communities, required thoughtful coordination. Local leaders and client partners played a crucial role in securing accessible venues, choosing two community centers that could serve as workshop hubs. To support full participation, the team collaborated with community members to arrange transportation services for those traveling from surrounding areas.

Beyond logistics, the workshop planning also included efforts to ensure participants

felt comfortable and supported during sessions. Local food vendors were hired to provide refreshments, contributing to both participant engagement and local economic support. The team also sourced and set up all necessary workshop materials and technology in advance—including a portable art-grade photo printer, display materials, camera equipment for hands-on practice, and visual aids—ensuring that all presentations and activities were effectively delivered.

ORAL HISTORY METHODOLOGY

Oral histories are stories told by ordinary people about their recollections of their life and their first-hand experience of history. Oral history research grew in popularity starting in the 1960s and often tends to focus on the voices of marginalized communities and peoples (women, Indigenous peoples, members of the African diaspora, etc.), whose histories have not been recorded or included in “official” historical records.33 In Brazil, oral history gained traction during the country’s period of re-democratization starting in the late 70s, early 80s when the country’s military dictatorship came to an end.

The goals of this oral history project, titled “Oral Histories with Quilombola Leaders of Alcântara Brazil” was to democratize the history-making process by providing Quilombola leaders of Alcântara with a platform to uplift their lived experiences of history on their own terms and in their own words to uplift. The timeline for this project was broken down into three major phases:

• Phase 1 - January 10 - February 22: Research design & oral history guidebook development

• Phase 2 - February 26 - March 8 (Brazil): Interviews & storage planning

• Phase 3 - March 11 - May 10: Compiling & editing videos, storing on website, and laying the groundwork for further video editing

1 - Bi-Lingual Guidebook Development

A bilingual English and Brazilian Portuguese Oral History guidebook was developed to provide client leadership with key background about oral histories as a methodology and its relevance to their communities of Alcântara. The topics covered in the guidebook included definitions and purposes of the methodology, its history and its emergence in Brazil, how to adapt it to the Quilombola context, how to carry out an oral history project out from start to finish, what some of the limitations of this methodology are (time, resources, power dynamics between interviewee and interviewer, the digital era) and how those can be overcome or addressed. Methods employed to develop the guidebook included a targeted literature review and case study research, both of which were rooted in student experience on the team and responded to the specific context of Quilombola peoples in Alcântara.

Please refer to Appendices C and D for the full guidebooks in English and Brazilian Portuguese.

2 - Consent Form Development

A consent form for the oral history interviews that would be carried out on the ground in Brazil, which was similar in format to that of different aspects of the Photovoice consent forms, was developed to provide participants with detailed information about the ethical considerations of participating in an oral history interview. These considerations included the background about the project, online information-sharing, some of the possible risks associated with participating, and information about how to contact Dr. Pimentel Walker if questions emerged. Similar to the Photovoice project, the consent form can be leveraged by our partner as a template to pursue their own community-based oral history projects.

Please refer to Appendices G & H for the full consent form in English and Brazilian Portuguese.

3 - Interview Protocol and Thank You Note Development

We co-created an open-ended but detailed interview questionnaire which revolved around the following major themes for interviewees in question: their upbringing, the history of their homeland, their day-to-day activities, what it means to be Quilombola, their understanding of the struggle for collective land title, what they would like to share with visitors coming to their community, and what their vision for the future of their community is. These 18-20 questions were developed with the goals of carrying out an

effective oral history project with Quilombola peoples in Alcântara. These goals include:

• Uplifting Quilombola search for freedom through community land ownership and reciprocal relationships to land.

• Affirming their resistance to the longstanding slave-holding and colonial histories that make up the foundations of Brazilian society.

• Acknowledging the adversity they confront in the face of government persecution, stigmatization, disinvestment, cultural devaluation, and the continued threat of land dispossession.

• Emphasizing that their memory-making processes are tied to collective memory and deep rooted oral traditions.

• The ultimate goal should be to center Quilombola peoples as the protagonists of their own resistance story and of their vision for thriving.

Our team setting up for an oral history interview with Quilombola leader, Danilo Serejo, in Canelatiua’s Knowledge Center. Photo Credit: Cat Diggs.

We also prepared a half page “Thank You Note” to distribute to all the individuals who decided to partake in the interview with us. The thank you note included a brief description of the goals of the project, the list of project team members, the Taubman College logo, the Quilombos of Alcântara logo that we had developed, as well as Dr. Pimentel Walker’s contact information.

Please refer to Appendices E, F, I, and J for the full interview protocol and thank you note in English and Brazilian Portuguese.

4 - Planning for the futurity of the project

To ensure that the oral history videos that would emerge from this project would have a physical place to live and be displayed in Alcântara, we applied for and successfully obtained a mini grant to purchase monitors for our client partners.

WEBSITE DEVELOPMENT

Developing a website for the Quilombola

communities is crucial to amplifying their visibility and recognition, particularly given their 40-year struggle to defend their land rights. It will serve as a vital connection point between the Quilombola communities and individuals or organizations unfamiliar with their struggle and/or looking to learn more about it. Through documenting the political struggle, including the pending decision of the Inter-American Court of Human Rights, the platform aims to educate and engage visitors while fostering their solidarity and support. The site will be updated by the team in Brazil once we build up its foundations. We therefore paid special attention toward selecting a web builder with a simple content management system (CMS) that is easy to build.

1 - Technical Training

Prior to developing the website, we sought help from professionals within the campus for guidance on website builders and existing resources we could tap into that would make this website a success. Ishan Pal Singh from Taubman’s TVLab was a great help and provided us with advice on simplifying the

Cover page of bilingual Oral History Guidebook by Cat Diggs.

user flow, access code for Cargo Collective, a website builder, and 3D scanning tools that we could incorporate into our website.

2 - Identity/Logo

We acknowledged the significance of the website’s identity in conveying the unity and solidarity of the movement underlying the Quilombola territorial struggles in Alcântara. Instead of starting from scratch, we decided to adopt a similar design to the one that was used for ATEQUILA’s logo. The color palette; yellow, green, red, and blue, was chosen to resonate with the Quilombola communities’ sense of identity. We refined a logo design created by a groupmate in the previous semester and digitized it. In pursuit of inclusivity, we adopted the name ‘Quilombos de Alcântara,’ reflecting our commitment to a broader representation of Quilombos in the region within the logo.

3 - Client feedback

Through our numerous interactions with the clients, we scoped out their needs early on and devised a method to translate their needs onto the website. For instance, Danilo Serejo, a lawyer and Quilombola leader, expressed his desire for the website to be political in nature, encompassing an interactive timeline to contextualize their land struggles by featuring significant historical events and documents. A core hurdle we had to overcome was to balance between the clients’ needs to include both strong political messages on the website with information pertaining to communitybased tourism. We balanced the two by splitting the website into five main call to actions (CTA’s):

• Learn, where we house information pertaining to demographic and history of the Quilombos in Brazil and Alcântara more specifically

• Experience, where tourism-related content lives

• Celebrate, where content from the Photovoice and Oral History projects live

• Support, where a link for folks to donate to the cause live

• About us, where we describe the organizations that lead the social movements of the Quilombos of Alcântara

Previous version of the logo (top and middle) and the Current version with an alternative version (bottom) Credit: Russell Lin.

User flow version 1 part 1 (Zoomed in): Notice the “What’s On” page. Source: Russell Lin.

User flow version 1 part 2 Source: Russell Lin.

MIDTERM REVIEW

On February 19, 2024, three days before our departure for Brazil on February 22nd, we held a Midterm Review to gather feedback from key faculty, who had subject matter expertise on subjects that directly related to our deliverables for this project. These faculty included:

• Dr. Mieko Yoshihama, Edith A Lewis Collegiate Professor of Social Work and Professor of Social Work at the U-M School of Social Work - PhotoVoice expert

• Dr. Lesli Hoey, Associate Professor of Urban and Regional Planning at Taubman College - food systems policy and international planning expert

• Dr. Scott Campbell, Associate Professor of Urban and Regional Planning at Taubman College - sustainability, economic development and regional planning expert

During our midterm review we went over the overarching context of our project, as well as the details of how we were planning to carry out fieldwork to gather information for the construction of our deliverables. The feedback we received that day about making sure to center community-based tourism in the narrative of our project, being clear with outside audiences about the geographical context of our work (i.e. Alcântara Brazil), and making sure we were intentional about seeking consent from people on the field when carrying out our photovoice and oral history projects, was taken into account throughout the rest of our capstone efforts.

Our Midterm Review Presentation. Photo Credit: Fabricio Martin.

A PARTICIPATORY APPROACH

Given the nature of this project, which is deeply rooted in territory, culture, and identity – conducting fieldwork on the ground was integral to our work and to cultivating the foundation for communitybased tourism (CBT), website development, recommendations, and more. Our team spent time on the ground with Quilombola community members, leaders, and our partner representatives and hosts from February 26, 2024, to March 8, 2024. During this time in Brazil, our team conducted applied ethnography to understand the Quilombola way of life as a tourist might; these experiences also provided the space for reflection and recommendation development. Understanding the physical and social landscapes of the Quilombo was vital for us to build culturally relevant and sustainable CBT recommendations for our partners. During this time in the Brazilian Amazon Forest, we also produced and collected data for deliverables by carrying out photovoice and oral history methodologies that facilitated democratic data production by Quilombola community members that would directly inform our CBT recommendations and website development goals.

OUR TRAVEL ITINERARY

During our 14 days in Brazil, we were very mobile in order to make sure that we covered as much ground as possible in the little amount of time that we had available. We visited coastal Quilombola communities like Canelatiua and Vista Alegre, as well as Agrovilas and the forested Quilombo of Itamatatiua, all throughout which we carried out photovoice workshops, oral history interviews, site visits, photographing, assetmapping, and relationship-building.

Site visit in Vista Alegre. Photo Credit: Russell Lin.

Time Range & Destination(s)

Feb. 24-25 : Arrival in São Luís

Feb. 26-29 : Canelatiua Quilombo and neighboring communities

We started our journey off in São Luís,the capital of Maranhão located adjacent to Alcântara, during which we visited the city’s historic center - Praia Grande - photographed its colonial architecture, visited its museums, and ate its local foods.

From there we traveled to Canelatiua, a small Quilombo on the coastlines of the region, located near the Space Launch Center and northeast from the city of Alcântara. This is where we began our fieldwork experience, which included documenting local traditions, like flour-making and farming, visiting sites, like a beach, port, and river, and carrying out oral history interviews and photovoice workshops. We also visited neighboring communities like Vista Alegre and Santa Maria to carry out oral history interviews.

March 1-3 : City of Alcântara & Agrovilas (participatory budgeting meetings)

We then traveled to the city of Alcântara and attended participatory budgeting meetings in surrounding Agrovilas and Quilombo communities, notably Agrovilas Cajueiro and Marundá, as well as Quilombo Santa Maria, all throughout which we facilitated oral history interviews with community leaders. During this time, we also returned to Canelatiua to finish mapping out and photographing its various assets (knowledge center, bars, flour-making house, church, etc.) for the tourism page of the website we would be working on.

March 3-7 : Itamatatiua Quilombo

March 7-9 : Return to São Luís before traveling back to the U.S.

On May 3rd in the evening, we traveled to Itamatatiua Quilombo located in the heart of the Amazonian rainforest. In the days following we carried out several more oral history interviews, held two photovoice workshops, and pursued asset mapping, photographing, and 3D scanning efforts. The day before our departure, we also traveled back to Alcântara to facilitate a photovoice workshop at the Alcântara Campus of the Federal Institute of Maranhão.

We wrapped up our trip in São Luís by visiting the urban Quilombo of Liberdade, the largest urban Quilombo in the Americas 34 before traveling back to the U.S. With over 160,000 inhabitants, many Liberdade dwellers came from Alcântara due to forced displacement or seeking better educational opportunities and living conditions.

Map of our fieldwork itinerary between February 24th and March 9th, 2024. Source: Russell Lin.

Site visit in Vista Alegre (top left); U-M student capstone team asset-mapping in the Quilombo of Itamatatiua (top right); Russell recording a participatory budgeting meeting in Cajueiro (bottom left); Visit of São Luís’s Historic Center (bottom right). Photo Credit: Cat Diggs, Russell Lin, and Ana Paula Pimentel Walker.

While in the Quilombos to carry out their fieldwork and build relationships with their partners it quickly became clear that informal conversations about which cultural practices, traditions, and sites to share with visitors in the context of a CBT initiative would be more effective than traditional planning approaches toward developing a CBT Manual, such as priority mapping and Specific, Measurable, Achievable, Relevant, and Time-Bound (SMART) goal-setting. This can be explained by a number of factors, including, but not limited to, the fact that:

• Quilombola communities harbor strong oral traditions, by which knowledge gets exchanged and passed on orally from generation to generation rather than in written form.

• Limited to no access to signal and stable wifi on Quilombola territories of Alcântara made engaging verbally much more accessible than engaging in writing.

• Quilombo communities of Alcântara are farming communities and most of their time is devoted to subsistence activities and crafts-making, not completing written questionnaires.

• The Quilombola leaders we stayed with and who took charge of guiding us through their territories had work and other daily obligations to tend to.

Due to the nature of tourism and the need to market places and experiences, one of our key goals was to gather as many field notes and visual materials as possible on the vibrant and varied traditions of the region to build out a robust CBT web page for Quilombola communities in Alcântara. Our client-partners will use this web page to draw visitors to their territories and increase their financial resources and autonomy.

The fieldwork activities, throughout which Dr. Pimentel Walker served as our interpreter, included:

• Informal interviews about artisanal traditions like manioc flour-making, ceramics-making, farming, fishing, babassu oil-making, fishnet weaving, buriti palm fiber weaving, festivals, and celebrations.

Ana Paula chatting with ATEQUILA leadership and local community members Photo Credit: Cat Diggs.

• Building out a draft calendar of events for tourists to access on the website when it goes live to learn about what activities to partake in and when.

• Guided tours of culturally significant sites, such as the flour-making house, the local bars, the beach, the fishing port, the local restaurant, the ceramics-making center, the river, the church, the knowledge center, someone’s backyard, etc.

• Asset-mapping during these tours by adding pins to Google Maps and by

consistently gathering photographs and b-roll to be used for website and videomaking purposes.

• Leveraging our photovoice workshops and oral history interviews to gather direct input from community members about what their vision would be for CBT in their territories. What makes them proud to be from where they are? What would they be willing to share with visitors coming to their territories for the first time? Why?

Neta Serejo Morais helping us photograph a canoe. Photo Credit: Cat Diggs.

Neide de Jesus guiding us through Itamatatiua. Photo Credit: Cat Diggs.

Danilo Serejo guiding us to the Canelatiua beach. Photo Credit: Cat Diggs.

Novo Quilombo Reggae venue in Liberdade urban Quilombo.

Photo Credit: Owner of the venue.

Finally, our team had the privilege of directly engaging with the rich and storied cultures that make up the Quilombola communities that welcomed us in as guests; we experienced the tourist experience firsthand. This meant eating the local foods being generously cooked and prepared for us (i.e. freshly caught fish, farm fresh eggs, locally made manioc flour, rice, grilled meats, freshly pressed juices, etc.), living in the homes of our project partners with their family members, setting up hammocks for sleeping, taking bucket showers when running water was not available, and the list goes on. During our last night in São Luís, we had the privilege of participating in a reggae musical gathering in a communityrun venue in Liberdade, the city’s large urban Quilombo settlement. This experience added to the diverse understanding gained during fieldwork – São Luís is known as the second reggae capital of the world and this genre of music represents a central part of Quilombo communities’ cultural identities.

PHOTOVOICE WORKSHOPS

The Photovoice workshops were designed to bring together Quilombola residents from multiple villages, offering them an opportunity to build photography skills while engaging in meaningful reflection on their personal and shared experiences. Conducted over the course of three days, the format included two in-person group sessions on the first and third days, with the second day reserved for individual work. Each session ran for approximately three hours and included time for refreshments. Facilitation was led by Dr. Ana Paula Pimentel Walker and U-M graduate

student sara faraj. Dr. Pimentel Walker, a native of Brazil, provided interpretation in both directions—translating between Portuguese for participants and English for the visiting students.

The Photovoice initiative was developed to create opportunities for collective storytelling and dialogue by using photography as a tool for reflection and expression. The workshop objectives included: sparking conversations within the community; providing a supportive environment for both individual and shared expression; recognizing and uplifting the traditions and everyday lives of Quilombola residents; encouraging community-driven change through collaboration and outreach; and identifying key narratives that could support the development of a long-term community-based tourism strategy. Core partners in this effort included ATEQUILA, MABE, MOMTRA, and STTR, who played a central role in advancing the project’s goals.

On the first day of the workshop, facilitators introduced themselves and provided an overview of the project’s objectives, key collaborators, and how the Photovoice method aligned with the broader consulting initiative. The session included a lesson on photography basics and hands-on instruction for using the five point-and-shoot cameras made available for the project. Participants were also guided through a detailed discussion of ethical practices, including five different consent forms related to documentation, image use, publication, and youth involvement. The team emphasized transparency and participant understanding,

offering both verbal explanations and written materials in Portuguese for later review. Before concluding the session, attendees were encouraged to explore the cameras on their own and ask questions, helping them feel prepared for the independent photo-taking scheduled for the following day.

On the final day of the workshop, the focus shifted to reviewing the photographs taken by participants and collaboratively selecting images for reflection and printing. The facilitators collected any outstanding consent forms and responded to participant questions. Using a projector, the group viewed and discussed the chosen images together. As part of the discussion, participants were invited to interpret the intent behind each photo before hearing directly from the photographer about their inspiration and thought process. This approach fostered rich dialogue and helped strengthen collective understanding through shared perspectives.

Following the group discussion, selected photographs were printed on-site using a portable printer. The images were then hung on hemp strings with wooden pins and labeled with each participant’s name and community, turning the space into a temporary exhibition. To preserve the stories behind the images, the final session was also audio recorded, capturing participants’ reflections to accompany their chosen photographs. .

Locations

The initial Photovoice workshop took place from February 27 to 29, 2024, at the Centro de Saberes Quilombola Mãe Anica in Canelatiua—a coastal Quilombola community home to roughly 50 families along the North Atlantic. The second workshop was held the following week, from March 4 to 6, 2024, at the Centro de Produção de Cerâmica de Itamatatiua, located in the southern region of Alcântara within the quilombo of Itamatatiua.

Participants

Participants for the workshops were selected by partnering organizations and local leaders, with an emphasis on individuals—particularly youth—who show promise as future leaders within their Quilombola communities. A total of 26 individuals took part: 9 in Canelatiua and 17 in Itamatatiua, ranging in age from 12 to 41, with nearly 60% under 18. In Canelatiua, attendees included four residents from the host community, two from Santa Maria, and three from São João de Cortes. In Itamatatiua, 10 participants were from the local community, four from São Mauricio, and 3 did not identify their village. Not all who registered ended up submitting photos for group discussion or display.

Photovoice workshop in Canelatiua (left); Photovoice workshop in Itamatatiua (center); Mock Photovoice workshop in Alcântara (right).

Photo Credit: Cat Diggs.

Upon arriving in Alcântara, we did not yet have a clear sense of how many people we were going to interview, who were going to interview, and where. All we knew is that we needed to be prepared at different given times on the field to set up for interviews. We made sure to keep the tenets of oral history work top of mind, notably the idea of sharing authority with the interviewee, who in sharing their story also guides the direction in which the conversation goes. Building as much trust as possible with our interviewees by fostering spaces of safe and open communication was also key to our project approach, despite the little amount of time we had to get to know interview participants before and after our interviews with them.

Resources

We brought along two digital cameras, two tripods, a Zoom microphone, two wireless lavalier microphones, SD cards, spare batteries, and two external hard drives for storing audio and visual materials postinterviews.

Participant selection

Our partner liaisons selected the community leaders whom they wanted us to interview, most of whom were elders and knowledge keepers in their respective communities. We interviewed three of our partner liaisons as well.

political time for them. During our first day in Canelatiua on February 26th, 2024, we witnessed several Brazilian Ministers paying the Quilombos of Alcântara a visit to officially invite them back to the negotiating table to discuss their demand for collective title and the 30 million real that the federal government was going to provide them as a form of reparations for the histories of injustices they had faced as a peoples. We learned that the Brazilian government staged this event as a response to the pending decision that the Inter-American Court of Human Rights was scheduled to render later in 2024. That day, we interacted with a number of the leaders from the social movements that our project acts to serve, many of whom we ended up interviewing for this project. We later came to realize that these types of gatherings across Quilombos were not that common due to poor road quality and challenged access to automobiles. We also met a number of the faculty from the Universidade Estadual do Maranhão in São Luís, who had been working in close partnership with the Quilombos of Alcântara for many years on their land titling and advocacy efforts.

Moreover, we were lucky to arrive in the Quilombos during a particularly busy

A few days later, we were able to attend a three community-based participatory budgeting workshops in Agrovilas and Quilombos, during which Quilombola community members discussed the way in which they would like to allocate the BRL 30 million into infrastructure development (schools, roads, etc.) and other community

development projects. Because Quilombola leaders from different communities across the region were attending these meetings, we were able to sit in for spontaneous oral history interviews with them.

Interview setup

For each interview, we made sure the lighting was favorable to our interviewees. Our setup included one phone connected to a lav mic as a backup recording device, with the Zoom microphone as the primary recorders. We typically ran the interview on one camera whose SD cards needed to be switched out a few times throughout the interview. Cat Diggs and Dr. Pimentel Walker were the lead interviewers for each interview with Cat asking questions in English and Dr. Pimentel Walker translating the questions to the interviewee in Brazilian Portuguese. Cat would take notes after interviewees responded to the questions and Dr. Pimentel Walker interpreted what she had heard back to English for the whole team to hear. Through each interview, sara faraj managed filming and camera equipment, while Russell Lin coordinated recording efforts with the Zoom mic.

Each interview began with a project introduction by Dr. Pimentel Walker, who then seeked verbal consent from interviewees before proceeding with the interview. At the end of each interview and after providing the consent forms for interviewees to sign, sara faraj would take a portrait of each interviewee.

Interview Outcomes

Throughout our 11 days in the Quilombos of Alcântara, we managed to carry out 18 oral history interviews. These interviews are detailed in the table below:

Oral history interviews with Neide de Jesus in Itamatatiua (top); Maria Luzia in Marundá (center); Davi Pereira Júnior in Itamatatiua (bottom). Photo Credit: Cat Diggs and Russell Lin.

Interview Date

Interviewee Name Age Quilombo and/or Agrovilla

02/27/2024 Dorinete Serejo Morais 49 years Canelatiua

02/28/2024 Francisco Martins de Brito n/a Vista Alegre

02/28/2024 Moises Costa Santos 37 years Vista Alegre

02/28/2024 Gaudencia Rodrigues Nogueira n/a Santa Maria

02/29/2024 Danilo da Conceição Serejo Lopes 39 years Canelatiua

03/01/2024 Inaldo Faustino Silva Diniz 64 years São Raimundo (transferred to Agrovila Marundá)

03/02/2024 Maria Luzia Silva Dimiz 69 years Marundá (transferred to Agrovila Marundá)

03/02/2024 Maria José Lima Pinheiro 50 years Mamuna

03/02/2024 Maximus Silva do Nascimento 63 years Marundá

03/03/2024 Sueli, Buriti artisan 45 years Santa Maria

03/04/2024 Neide de Jesus 75 years Itamatatiua

03/05/2024 Angela Cristina de Jesus 54 years Itamatatiua

03/05/2024 Eloisa Ines de Jesus 70 years Itamatatiua

03/05/2024 Domingas de Jesus de Jesus 73 years Itamatatiua

03/05/2024 Irene de Jesus 70 years Itamatatiua

03/05/2024 Denise de Jesus Araújo 37 years Itamatatiua

03/07/2024 Maria da Graça Oliveira Pereira 61 years Morajituba

03/07/2024 Davi Pereira Junior ~45 years Itamatatiua

We obtained verbal and written consent from all interviewees to publish their interviews online. We will be sure to seek feedback from them before we do so. These interviews speak to the diverse and intersecting traditions, histories, and senses of identity that make up the Quilombola peoples of Alcântara.

Field-based data compilation efforts

Each day after interviews, SD card memory was transferred to the two external hard drives to ensure that the oral history interviews were stored in a safe place. Folder systems were created within the external hard drives to start organizing the heavy amounts of data that were being gathered on the ground each day.

WEBSITE DEVELOPMENT

Finalizing website content

Although we were technically in the Amazonian rainforest, there were still pockets of internet which enabled us to continue modifying the website as we gathered feedback from the clients. We managed to find alignment on the website and logo color themes with the clients, and also planned how

the Photovoice and Oral History content would be translated onto the website. Most importantly, we planned what type of content would go onto the different webpages for the website, thus finalizing the user flow and populating the pages and subpages with detailed outlines on content we would need to finish building out upon our return from Brazil.

Interactive components for the website

While on the field, we decided to use ArcGIS to create the following deliverables for the website:

• Land Conflict map: a map that shows the overlapping land claims between the Brazilian government and the Quilombola communities of Alcântara

• Annotated timeline: a StoryMaps timeline that not only shows important dates involving the Quilombo in Alcântara, but also provides a link to relevant documents (treaties, decrees, etc.)

• Quilombola Vision and Voices: Photovoice StoryMaps

• Quilombola Oral Histories: Oral History StoryMap

On the other hand, we did manage to 3D scan numerous Quilombola artifacts and tools,

Clockwise from top left: drying table, ceramic storage shelf, canoe, pottery kiln, babassu fruit, flour oven, drum, and flour storage chest. Credit: Russell Lin.

such as ceramics and creole drums, that we plan to embed as interactive 3D models on the website. In total, we scanned over fifteen objects, and one house! For a comprehensive list of all scanned objects, please visit this site.

Website overview

As explained above, while on the field, we were able to more or less finalize our skeletal outline for the website, which we detail below:

• Homepage

◦ Short summary of the Quilombola communities in Alcântara.

◦ Brief overview of each page of the site.

• Learn

◦ Split into two subpages, each comprising of different components of the Quilombola

Overview: Defines what a Quilombola is, has a map of the overlapping land claims within Alcântara between the Quilombola and the government, and demographic data of Alcântara

History: Overview of the Quilombola struggle for land titling in Alcântara, has an interactive timeline with linked relevant documents.

• Celebrate

◦ Split into the two deliverables, Oral History and Photovoice

• Experience

◦ Houses all information related to tourism, which includes an interactive map that showcases several Quilombola communities with key facts about them, as well as an activity calendar and the relevant contact information for tourists to reach out to.

• Support

◦ Donation page with instructions for domestic and foreign donation methods.

• About

◦ A detailed description of all the key players, and those who make up the Quilombos de Alcântara and their social movements.

Poster in Canelatiua’s Knowledge Center, note the color. Poster from Nova Cartografia Social Da Amazônia. Photo Credit: Ana Paula Pimentel Walker.

Russ 3D scanning of a house. Credit: Davi Pereira Júnior.

The fourth and final version of the user flow map, outlining what each page and subpage will cover (part 1). Credit: Russell Lin.

The fourth and final version of the user flow map, outlining what each page and subpage will cover (part 2). Credit: Russell Lin.

ENDNOTES

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2. Pereira Júnior, D. (2021). The Future of Alcântara Is Not (Just) Rocket Science : Quilombola Epistemologies and the Struggle for Territoriality. [Doctoral Dissertation, University of Texas, Austin]. UT campus repository. 14–258. vii–viii. Available at https://repositories.lib.utexas. edu/items/ff775879-3730-412b-8a9f2cafa831540c

3. Serejo, D. (2020). A atemporalidade do colonialismo – contribuições para entender a luta das comunidades quilombolas de Alcântara e a Base Espacial. UEMA/ PPGCSPA/ PNCSA.

4. Alfredo Wagner Berno de Almeida. If Not Us Then Who? (2016, August 16). https:// ifnotusthenwho.me/who/alfredo-wagnerberno-de-almeida/

5. Almeida, A. W. B. de, & Mason, M. (2011). Traditionally occupied lands in Brazil. Projeto Nova Cartografia Social da Amazônia.

6. Center on Housing Rights and Evictions (COHRE). (2001). Forced evictions and violations of the right to adequate housing

and land of Quilombo communities of Marambaia Island – Rio de Janeiro and Alcântara, MA/Brazil (Amicus curiae brief). Center on Housing Rights and Evictions.

7. Alcântara Rural Workers and Family Farmers’ Union (STTR), Movement of People Affected by the Alcântara Base (MABE), Alcântara Rural Women Workers’ Movement (MOMTRA), & Family Farming Rural Workers’ Union (SINTRAF). (2020). Dados Socioeconômicos e Agropecuários Do Município de Alcântara – Maranhão –1980 a 2020. https://www.ppgcspa.uema. br/wp-content/uploads/2022/03/pedrade-rumo-vol-01-capa-900x0.jpg

8. Direitos, T. de. (n.d.). Quilombola titling: A historical debt of the Brazilian state. Terra de Direitos. https://www.terradedireitos. org.br/en/archive/publications/ bulletins/49/quilombola-titling-ahistorical-debt-of-the-brazilian-state/23894

9. Mourão, T. (coordenador) (2009). Manual Caiçara de Ecoturismo de Base Comunitária. Fundo de Defesa de Direitos Difusos, do Ministério da Justiça. Available at: manual-ecoturismo-comunitaria.pdf (icmbio.gov.br

10. Salvati, S. (2003). Manual de Ecoturismo de Base Comunitária. Ferramentas para um planejamento responsável. Publicação do

Programa de Turismo e Meio Ambiente do WWF-Brasil. USAID.

11. Ernawati, N. M., Sanders, D., & Dowling, R. (2017). Host-Guest Orientations of Community-based Tourism Products: A Case Study in Bali, Indonesia. International Journal of Tourism Research, 19(3), 367–382. https://doi.org/10.1002/jtr.2119

12. Coletti, G. F., de Lazari Hatano, N. C., Garatini, M. C., Toniolo, J. H. R., & Morais, L. P. (2022). Turismo de Base Comunitária e a Economia Social e Solidária: Organização da Gestão do Turismo em Comunidades Caiçaras. Turismo e Sociedade, 15(3), 37-59.

13. Spampinato, E. (n.d.). The Route to Freedom goes through the Quilombos. Equality in Tourism International: Creating Change for Women. Retrieved March 20, 2024, from https://www.equalityintourism.org/ the-route-to-freedom-goes-through-thequilombos/

14. Vieira, S., Benevides, C., & de Sá, N. C. (2024). O turismo na Bahia e a difusão dos saberes tradicionais dos povos e comunidades da Reserva da Jaqueira, Matarandiba e Quilombo Kaonge. RITURRevista Iberoamericana de Turismo, 14(1), 131-147.

15. PHOTOVOICE: Women see many things. WeWorld. (2024, September 19). https:// www.weworld.it/en/news-and-stories/news/ the-kujenga-amani-pamoja-project

16. PhotoVoice. (2018). Constructing futuresphotovoice - projects, training, photography and consultancy for Social Change. https:// photovoice.org/constructing-futures/

17. PhotoVoice. (2014). Development progressphotovoice - projects, training, photography and consultancy for Social Change. https:// photovoice.org/development_progress/

18. Benmayor, R., Prats, P. D., & Eugenia., C. de la N., María. (2016). Memory, subjectivities, and representation approaches to oral history in Latin America, Portugal, and Spain 167. Palgrave Macmillan US.

19. Benmayor, R., Prats, P. D., & Eugenia., C. de la N., María. (2016). Memory, subjectivities, and representation approaches to oral history in Latin America, Portugal, and Spain 167-170. Palgrave Macmillan US.

20. Benmayor, R., Prats, P. D., & Eugenia., C. de la N., María. (2016). Memory, subjectivities, and representation approaches to oral history in Latin America, Portugal, and Spain 171-173. Palgrave Macmillan US.

21. Benmayor, R., Prats, P. D., & Eugenia., C. de la N., María. (2016). Memory, subjectivities, and representation approaches to oral history in Latin America, Portugal, and Spain 170-173. Palgrave Macmillan US.

22. Fuller, Harcourt. “Harcourt Fuller’s Jamaican Maroon Oral History Projects.” Oral History Association, July 2017. https://oralhistory.org/2017/07/01/ harcourt-fullers-jamaican-maroon-oralhistory-projects/

23. Design, A. (n.d.). Queen nanny DVD and digital download now available!. Queen Nanny: Legendary Maroon Chieftainess. https://nannythemovie.com/

24. Moore Town Granny Nanny Cultural Group. (2016). Granny Nanny Come Oh: Jamaican Maroon Kromanti and Kumina Music and Other Oral Traditions [Album]. Granny Nanny Cultural Group.

25. Fuller, Harcourt. “Harcourt Fuller’s

Jamaican Maroon Oral History Projects.” Oral History Association, July 2017. https:// oralhistory.org/2017/07/01/harcourtfullers-jamaican-maroon-oral-historyprojects/

26. Fuller, Harcourt. “Harcourt Fuller’s Jamaican Maroon Oral History Projects.” Oral History Association, July 2017. https://oralhistory. org/2017/07/01/harcourt-fullers-jamaicanmaroon-oral-history-projects/

27. Home. Detroit 67. (2019, September 17). https://detroit1967.org/

28. Programs and outreach. Detroit 67. (2017, July 7). https://detroit1967.org/projectcomponents/programs/

29. About. Detroit 67. (2020, May 29). https:// detroit1967.org/about

30. About. Detroit 67. (2020, May 29). https:// detroit1967.org/about

31. Lei da autogestão JÁ. (n.d.). https:// leidaautogestaoja.org.br

32. Home. The 2022 Kresge Foundation Annual Report. (2023, June 20). https:// peopleplaces.kresge.org/

33. Field, S. (2007). Oral History Methodology. South-South Exchange Programme for Research on the History of Development (SEPHIS ), Amsterdam.

34. Martins. C. Liberdade: conhecendo o maior quilombo urbano das Américas. Correio Braziliense (Opinião). Available online. https://www.correiobraziliense.com.br/ opiniao/2023/11/6659535-liberdadeconhecendo-o-maior-quilombo-urbano-dasamericas.html

DATA MANAGEMENT

DATA

PROCESSING & FINAL DELIVERABLE DEVELOPMENT

Data processing and final deliverable development varied depending on the project aspect. However, common threads throughout the work laid the foundation to build deliverables, including the website. Considering the delicate and sometimes impermanent elements of digital data and content, shared folder systems were swiftly developed to begin uploading data on platforms such as Google Drive and Dropbox to ensure the continuity of this work. Respective content was placed into folders according to activity, project aspect, format, and the timeline of fieldwork.

The outlines and plans for each deliverable pathway formed the foundation of each deliverable based on fieldwork and the data collected during the time in Brazil. Our team could then utilize the stored data, build deliverables, and collaborate to ensure that products could be built with the appropriate data. This organization methodology also supports the digital sharing and delivery of content and deliverables with the client and community partners. Formal processes such as the scanning and archiving of consent forms also occurred in this phase of the project.

Data Compilation

In order to be able to leverage the data that we gathered while on the field for the development of a robust CBT page for the Quilombos of Alcântara website and for a CBT Manual, it was essential to first begin by retracing our steps and to draw out a detailed itinerary of our trip and what we achieved each day. To do so, we created a data management system that adapted to the different types of data that we gathered, which include the following:

• For photographs and b-roll videos, we built Google folder systems according to

COMMUNITY-BASED TOURISM PLAN

U-M capstone team hanging out after oral history interview with Moises Costa Santos. Photo Credit: Ana Paula Pimmental Walker.

our fieldwork itinerary and archived them according to format.

• For larger video and audio files that captured activities like flour-making we created an organized folder system in Dropbox.

• For 3D scans, we downloaded the files from PolyCam and exported them onto Sketchfab.

• For all important messages and pieces of information shared during our trip in our WhatsApp group chat about cultural activities and traditions, we created a fieldnotes Google document to compile them.

• For all map pins gathered while in lowto-no-wifi zones in the Quilombos, we created a Google document to compile them.

Moreover, we gathered and compiled scanned versions of the CBT Objective Identification worksheets that were physically distributed to our partner liaisons while in the Quilombos. However, these worksheets were not used by our clients. Instead informal conversations, guided tours, photovoice workshops, and oral history interviews are what informed our CBT recommendations.

Designing our CBT deliverable strategy

Once all the data was compiled, we decided how to best make use of it for the development of our CBT-related deliverables. We finalized our decision that the CBT web page would feature a touristic calendar of activities and an ArcGIS StoryMap of the Quilombos that we visited or heard about during our travels. For the touristic calendar of activities, we decided it would include potential activities of interest for tourists, such as learning about traditional Quilombola subsistence practices and festivities, and their availability throughout the year. It became the product of further client-liaison conversations and of compiling field notes, photographs, and online searches. To build out the Quilombo and Agrovila descriptions for the ArcGIS Guided Story Map, we used notes from oral history interviews, Quilombola scholarship, and photos from the field, as online information about these communities is scarce. We also researched the social media handles of various Quilombos who host activities to include them on the CBT web page as well.

We prepared a detailed outline for the bilingual CBT Manual to ensure its contents would be useful to Quilombola leadership in Alcântara and would meet them where they are. In other words, since our partners were not yet at the stage of CBT implementation, we wanted to be sure the manual would be both high level enough to be transferable but also adjusted to the unique circumstances of the region and the people that would lead on CBT initiatives.

Alcântara cityscape. Photo Credit: Cat Diggs.

Processing & Analysis

After completing fieldwork and returning to the United States, our team organized participant data to prepare it for analysis. Our team securely stored and backed up participants’ intellectual property (photographs) on the University of Michigan’s shared Google Drive folder designated for the Capstone Studio course and an external hard drive dedicated to the project. Photographs were processed to embed participant copyrights and formatted appropriately for digital sharing and other uses. Our team then used the Turboscribe service to transcribe and translate audio recordings from the two workshops into English and Portuguese. Fabricio Martins, the course’s Graduate Student Instructor (GSI), conducted a second review and edited the transcripts to ensure accuracy.

Themes

The University of Michigan team identified four core themes after reviewing transcripts from individual and collective reflections during the Canelatiua and Itamatatiua Photovoice workshops. These themes emerged through a combination of methods: scanning for frequently used words, identifying recurring ideas during transcript review, and drawing from prior fieldwork and related research.

and territorial characteristics. The identified themes, therefore, function as broad frameworks, flexible enough to encompass local differences. Given these communities’ deeply interconnected nature of life, overlaps between themes are expected and meaningful. The four themes—Subsistence, Traditional Culture, Territory, and Community highlight core aspects of everyday life and collective identity:

• Subsistence reflects daily practices that support survival and sustain families through local resources. Activities like farming, fishing, and crafting tools— such as canoe-building—demonstrate how community members use territorial knowledge to secure food, income, and autonomy.

• Traditional Culture centers on the passing down of ancestral knowledge, beliefs, and practices. This includes food preparation, animal care, spiritual traditions, and collective craftsmanship, such as the ceramic production in Itamatatiua. These practices reflect a deep connection to place and a reciprocal relationship with the land.

• Territory speaks to the emotional, ecological, and spiritual connection to the land. It includes the calm and sense of identity drawn from the environment and concerns over land loss and environmental harm, particularly those related to the Alcântara Launch Center and broader ecological threats.

Although Quilombola communities share a common history of resistance and resilience, each community expresses distinct cultural

• Community highlights the importance of collective life, including shared education, social gatherings, community spaces, and the sustainable use of natural resources like Buriti. It emphasizes cooperation, mutual care, and co-stewardship of the land.

Continued collaboration with community partners is essential to validating and expanding upon these themes. Further analysis of photographs and transcripts—paired with community meetings—can help deepen understanding and ensure alignment with local experiences. Future phases of the Photovoice project may also explore opportunities such as community-based tourism, local skill development, and initiatives shaped by residents’ visions for sustainable and culturally grounded development.

ORAL HISTORY

Backing up and Organizing the Data

The biggest data management priority for the Oral History project upon returning from Brazil was to ensure that all interview audio and visual files that solely lived on one of our external hard drives were uploaded to a cloud, in this case Dropbox. This was a time intensive process as uploading video mp4 files onto the cloud could take up to one hour per file. It was therefore crucial to do so on the University wifi service. Other key data management tasks included scanning and storing all 18 signed consent forms, and creating spreadsheets to tally interviewee information (name, age, role, community), uploading relevant photos of the process to the Oral History folder system, and editing the interviewee portraits.

Defining project scope

Knowing that we had about nine or ten weeks to complete all deliverables for our Capstone project, we worked to refine our project scope for the Oral History project in terms of determining what would be possible editingwise for 18 oral histories. Because we did not have the resources to hire additional help for editing video, we decided that there would be two phases to the video editing process. The first phase would involve pulling out raw clips from synched interview files and creating one to three minute unedited videos to embed onto the “Oral History” page of the website.

The second phase would involve working on more elaborate scripts for each interview that highlight key moments throughout each interview and that weave in b-roll from the field with the outcome being 18 polished videos for our partners to exhibit on monitors back at home and on the website as well. This work would be achieved in the future with the help of student videographers.

U-M capstone oral history interview with Irene de Jesus in Canelatiua. Source: Russell Lin

We also decided that the 18 raw clips that would be embedded for phase 1 of the oral history project would be embedded into an ArcGIS StoryMap with short summaries accompanying each interview. To accommodate this new project scope, Cat created an elaborate spreadsheet system to track the team’s progress on getting through the different steps of phase 1 of the project. The spreadsheet also included details for Phase 2 of the project and how many hours this phase would likely take. Transcribing & Synching

Once the data compilation tasks were completed, we began researching AI transcription services to transcribe the 18 interview audio files into both English and Portuguese. We landed on TurboScribe. From there, we contacted Ishan Pal Singh from Taubman’s TVLab to obtain training support for using Premiere Pro to sync all our video and audio files for each oral history interview into raw files, which we would work to edit. After working with a Research Assistant at TVLab for a few hours, we came to the conclusion that since the interviews were taking place in two languages and that often the audio files and video files were not the same exact length, the most efficient way to move forward given our limited time and resources would be to:

1. Only string the different video components of each interview together

2. Identify key moments from the interview transcripts to clip out of the raw video files

3. Synch those combined clips with the relevant audio

After this training workshop, we proceeded

with the synching and transcription clean up processes.

Theme Development & CBT Feedback Compilation

Upon cleaning through interview transcripts and consulting our partner representatives, we decided to organize our 18 oral history interviews into four leading themes, which were approved by one of our partner representatives. These themes are the following:

• Collective Land Ownership & the Struggle for Collective Land Title: that is, how the respective community leaders that we interviewed perceive and understand their response to the lived experience of displacement or to its ever-present threat in face of continued efforts to obtain their collective land title, which is constitutionally recognized from the Brazilian government

• What it Means to be Quilombola, which emerged from the fact that we posed this question to all of our interviewees in order to uplift the way in which they understand their political identity as Afro-descendents and as peoples who have continuously fought for their self-determination on their territories.

• Traditions and Cultures, which revealed themselves to be unique to the different Quilombola communities and revolve around topics of subsistence practices of farming and fishing, as well as crafting and religious festivities.

• Visions for the Future, which similar to Quilombola identity, was a question that was posed to all interviewees about their

hopes, dreams, and aspirations for the future of their community.

Finally, because we wanted oral history interviews to also be an opportunity to learn about Quilombola perceptions of communitybased tourism in their communities, we asked each of our interviewees what they would see themselves sharing with visitors coming into their territories for the first time. We organized their responses into a spreadsheet that was leveraged for the development of the CBT Manual.

WEBSITE DEVELOPMENT

Post fieldwork summary and obstacles

Upon our return from Brazil, we focused on finalizing the mockups for the website, which our project lead, Russell Lin, was putting together on Figma, a collaborative design tool. Firstly, we honed down the final homepage design through a virtual meeting with the clients.

A few obstacles stood in the way, the main one being to enable a donation system on the website. We wanted to ensure the barrier to donate was as low as possible for Brazailians. We therefore opted to use Pix–the Zelle equivalent of Brazil.

Information gathering from Partner Representatives

As most of the work done during fieldwork was to assist in other deliverables, we did not have the chance to fully delve into creating all the components of the website deliverable. We therefore worked to gather data for the

following components of the website:

• Conflict map for which we reached out to the GIS team from Universidade Estadual do Maranhão (UEMA) to acquire the GIS data necessary to create it

• Activities Calendar for which reached out to representatives from Canelatiua, Santa Maria, Itamatatiua, Vista Alegre, São João de Cortes, Marundá, and Cajeiro to get a list of activities they feel comfortable sharing with tourists.

• Annotated timeline for which we reached out to Danilo Serejo at MABE about sharing links to relevant official documents (i.e. decrees, conventions, etc.) to link onto the timeline

Setting realistic expectations, phase 1 and phase 2

As mentioned earlier, due to the relative leanness of the team in regards to the amount of work we had to complete for this project, we had to set expectations with clients on what could be delivered by the beginning of the summer. Phase 1 of the project would ensure that all content is covered in the website, while Phase 2 of the project will involve additional content. For example, Phase 2 will include integrating a PayPal account to enable international donations.

Progression to coding

To ensure a smooth transition from copywriting to website development, we created a comprehensive shared Google document that houses all the content that will be on the website. This method made editing content easier for those not familiar with Figma, and makes sharing the mockup of the website easier.

A previous version of the homepage. Source: Russell Lin

The Pix code generated by the team in Brazil. Courtesy of Fabricio Martins.

Beachside gathering spot in Vista Alegre Quilombo. Photo Credit: Cat Diggs.

PROJECT OUTCOMES

Because our project deliverables were not academic in nature, we developed each of our deliverables with as hands-on an approach as possible by reflecting on the ways that all the materials that were produced for our project partners would be useful to their advocacy efforts in the short and long-term. We therefore did not conduct extensive data

analysis methodologies for the qualitative data (interviews, photographs, fieldnotes, etc.) that we gathered on the field. Instead, we worked to translate these findings into a vibrant Community-Based Tourism Manual and our client partner-commissioned website, both of which we describe below.

Dirt road in Itamatatiua. Photo Credit: Cat Diggs.

Our deliverables for the CBT component of this project, which directly intersects and builds off our Photovoice, Oral History and Website development work, directly responded to needs we identified from our clients during our virtual and inperson interactions with them on the field in Brazil in February and March of 2024. They include:

• A detailed itinerary of sites for tourists to visit when traveling to Alcântara in the form of an interactive ArcGIS StoryMap. These locations include the city of Alcântara and the Quilombo and Agrovila communities we directly engaged with, that is, Cajueiro, Canelatiua, Itamatatiua, Mamuna, Marundá, Santa Maria, and São João de Cortes. By toggling over a location on the map displayed within the StoryMap, visitors can learn about the location’s history and culture and plan their visit to the region. However, to quote our StoryMap, the “map is but a sample of the over 200 communities that call Alcântara their home” and acknowledges that tourists can visit many many more communities during their visit to the area.

• A comprehensive and visual display of activities for tourists to partake in and learn about, which were directly recommended to us by the Quilombola knowledge keepers we engaged with during our field experience. These activities, each of which are accompanied by a brief

description of the time of year and locations that they take place, are grouped into the following five themes on the website that we developed:

◦ Traditional Activities (manioc flourmaking, fruit harvesting, fishing, farming)

◦ Craftsmaking & Artisanship (buriti weaving and ceramics making)

◦ Musical Traditions (Creole drum and reggae music)

◦ Leisure Activities (visiting local beaches, bars, and restaurants)

◦ Festivities (religious and spiritual festivals and local dances)

• A bilingual CBT manual tailor-made for the Quilombos of Alcântara containing recommendations about how to ensure the resources and narratives remain in the control of Quilombola peoples. This manual is aimed at enhancing and expanding Community-Based Tourism functions beyond the existing ad-hoc tourism engagements. The training program aims to increase awareness about the basic readiness areas required for a successful CBT. The manual is divided into three parts:

◦ Part I features definitions, case studies, and approaches to CBT

◦ Part II provides background info on the University of Michigan and Quilombos of Alcântara partnership.

◦ Part III details the fieldwork outcomes (photovoice, oral histories, website) informing Community-Based Tourism (CBT).

◦ Part IV outlines the general insights

for effective CBT planning, which we will discuss further below.

Please reference Appendix B for CBT Manual.

High Level Recommendations

To successfully develop communitybased tourism (CBT) in the Quilombos of Alcântara, the process must begin with inclusive community visioning and goal clarification. Planning should center the perspectives of Quilombola residents and organizations such as MABE and ATEQUILA, identifying tourism not just as an income stream, but also as a tool for cultural affirmation and territorial advocacy. Community members are encouraged to participate in goalsetting activities using SMART (Specific, Measurable, Achievable, Relevant, and Time-Bound) objectives, ensuring that tourism initiatives reflect their collective values and aspirations. Current examples of grassroots tourism—such as cultural performances, ceramics centers, and community museums—can be expanded through structured planning and tools like goal-clarification worksheets (see Appendix A) that foster consensus and direction.

CBT planning must also consider the type of partnerships that support Quilombola autonomy. The most empowering models are those with high community control or collaborative partnerships with aligned external actors. Identifying the desirability,

feasibility, and viability of partnership types is key, as many rural communities face barriers in accessing resources or building business alliances. A strong CBT management structure—with advisory boards, transparency protocols, and FPIC (Free, Prior, and Informed Consent) guidelines—can protect cultural integrity while facilitating tourism that is safe, equitable, and sustainable.

A well-rounded CBT strategy for Alcântara must also address infrastructure, transportation logistics, safety protocols, and environmental sustainability. Offering diverse cultural and naturebased activities—such as artisanal fishing, ceramics, storytelling, and forest hikes— creates rich visitor experiences, while efforts like composting, reforestation, and waste reduction minimize environmental harm. Marketing efforts should target both local and non-local tourists with accessible information, social media engagement, and clear itineraries. Ultimately, CBT in Alcântara offers not just economic opportunity, but a path for cultural stewardship, land rights advocacy, and community self-determination.

Limitations

One key limitation of the CBT planning process led by our team was the short project timeline, which constrained the depth and continuity of community engagement. With only a few months to conduct research and fieldwork, we were unable to establish long-term relationships or engage all Quilombola communities equally. Additionally, limited financial and material resources restricted our team’s capacity to implement broader participatory processes, provide training, or support

infrastructure development beyond foundational tools like the website, oral histories, and photovoice workshops.

Our limitations is what led us to decide that the most feasible and realistic CBT deliverable to provide our clients was a context-specific CBT Manual (a “how to”) rather than a full-fledged plan, which would not have been achievable in such a short timeline, that is 2 weeks, on the field. Moreover, our project constraints highlight the need for sustained, locally led efforts to continue and deepen the work.

From top left to right: Family and friends at a restaurants in Vista Alegre Quilombo, Alcântara, Maranhão (28), Women making ceramics at the Itamatatiua Women’s Association, Alcântara, Maranhão (29), Exterior of the the Canelatiua Knowledge Center, 4) Walking down to the beach in Vista Alegre Quilombo. Photo Credit: Ana Paula Pimentel Walker, Cat Diggs, and @Restaurante Som do Mar.

PHOTOVOICE

The Photovoice workshops and broader activities within this Capstone Studio project offered an understanding of the priorities and everyday realities of Quilombola residents from multiple communities in Alcântara. This initiative brought attention to their spaces, routines, and ways of life. The photography and storytelling training built upon existing efforts to empower emerging leaders capable of documenting and sharing their narratives.

Quilombola residents, educators, and leaders can now adapt and implement the Photovoice approach locally. This offers an opportunity to explore themes and questions of their choosing, which may inform future initiatives such as community-based tourism (CBT). While the collected material revealed important insights, it was not designed to prescribe a tourism development plan. The open-ended nature of the prompts used during the winter 2024 workshops, led by the U-M team, prioritized broad reflection rather than specific planning outcomes.

Still, this community engagement framework via the photovoice methodology can guide future investigations into solidarity tourism when paired with more targeted reflection questions and structured planning. Although tourism was not a central focus during the workshops, several elements relevant to traditional and community-rooted tourism,

such as craft production and artisanal fishing, emerged naturally in discussions and photographs.

The bilingual Photovoice guidebook and five point-and-shoot digital cameras, purchased for and donated to the community, offer long-term tools. These resources enable Quilombola leaders and educators to revisit the four identified themes and conduct further participatory action research. Through this process, communities can express aspirations, anticipate how tourism might affect their lives, and determine what they want to preserve. These tools provide a foundation for active engagement with tourism planning. They help shape future decisions, guide investments, and protect cultural values. Clients, community partners, and local leaders can also use the data gathered to generate new reflection questions, revisit personal and collective insights, and inform long-term community planning.

Limitations

The project’s main limitation was time constraints. Our team had limited availability for fieldwork due to academic obligations and scheduling challenges. Similarly, Quilombola participants and leaders had limited availability. The short timeframe had to accommodate multiple deliverables, which may have affected

the depth of workshop participation and data collection.

Compared to other case studies, where participants had more time to take photographs and reflect on prompts, this compressed schedule may have limited the richness and accuracy of the data. The fourmonth-long academic term also reduced the opportunity for joint planning with clients and community leaders, including co-creating culturally relevant prompts.

Given these factors and the Photovoice method’s emphasis on participant-led exploration, the reflection prompts remained intentionally broad. Nonetheless, the insights collected can still contribute meaningfully to community development and tourism planning discussions.

Photovoice Participants hang their pictures up in the Canelatiua’s Knowledge Center (left); Itamatatiua’s Women’s Ceramics Association (center); Federal Institute of Maranhão, Alcântara campus (right). Photo Credit: Ana Paula Pimentel Walker.

ORAL HISTORY

Because the approach to this project, which began in January of 2024, was not academic in nature, we did not undergo a coding process for the oral history interviews to identify themes and to take on an in-depth analysis of what these interviews reveal about the Quilombola experience in Alcântara. Instead, as explained earlier in this report, our goal for this project was to create a tangible deliverable for our partner organizations and communities: short videos that will be disseminated through digital (e.g. a website) and physical platforms (ex. museums, historical sites, etc.) with the goal of increasing public engagement with the territorial struggle of Quilombola communities of Alcântara and to support their cultural preservation efforts.

Details about our Interviewee Roster

Our interview roster was quite diverse. We interviewed eighteen Quilombola leaders from eight different Quilombo communities in Alcântara. Twelve of them were women, six of them were men. Their ages ranged from 37 to 75 years-old with half of the interviewees being over 50 years-old. Three of those leaders (Inaldo Faustino Silva Diniz, Maria Luzia Silva Diniz, and Maximus Silva do Nascimento) had been on the receiving end of forced displacement from their homelands to Agrovilas during the construction of the Alcântara Space Launch Center in the mid to late 1980s. Five of them are part of communities (Canelatiua, Vista Alegre, Mamuna) that are being directly threatened with displacement by the planned expansion plans for the Alcântara Space Launch Center. All interviewees from Itamatatiua or Morajituba are aware of the forty-year struggle that has been underway in their communities to obtain collective title from the State of Maranhão so as to preserve and protect their lands against private land grabs and for the benefit of current and future generations. All Quilombola leaders we interviewed shared in common the fact that they did not trust the government’s intentions. They were proud to be Quilombola and to be part of a continued struggle to assert their rights to live on the lands they call home.

U-M capstone oral history interview with Angela de Jesus in Itamatatiua. Photo Credit: Russell Lin.

What we learned

From interviewing these eighteen community leaders from diverse Quilombola communities in Alcântara, we learned about:

• their first hand experiences growing up in their respective communities, including the joys and challenges of doing so;

• the history of their homeland, their dayto-day activities of subsisting off the land from fishing, farming, and craftingtheir religious festivities, most of which date back hundreds of years;

• what they would be proud to share with visitors coming to their communities for the first time, such as their subsistence activities, their festivities, their ecosystems, their foodways, which directly helped inform some of our recommendations in the Community-Based Tourism Manual that we produced;

• their diverse but united understandings of what it means to be Quilombola and their pride of being Quilombola and of being part of long lineages of justice warriors;

• their various experiences and understandings of what the struggle for collective title represents for their community, whether they were being threatened with land displacement, had been through the trauma of displacement already, or were continuing to fight to obtain their rightful collective title from the Brazilian government; and

• their vision for the future of the community that often revolved around obtaining collective title, being able to stay on their lands, having better infrastructure to raise their children, and offering their families better opportunities to thrive on their homelands.

It became very clear how deeply connected to their lands the Quilombola leaders we interviewed were because many of them had either never left their homelands, unless they were forcibly displaced, or traveled away

U-M capstone oral history interview with Maria Pereira in Itamatatiua. Source: Ana Paula Pimentel Walker

temporarily for studies. Through our interviews, we came to understand on a much more visceral level just how deeply rooted to their homes and communities they were. No clear distinction can be drawn between Quilombola people and their lands.

Sustainability & Legacy

Our deliverables for this component of the project were designed with sustainability in mind and reflect the diversity of ways in which we leveraged the eighteen testimonies and life stories that we gathered through this project. They include:

• A bilingual facilitator guide on Oral Histories for Quilombola leaders, educators, and youth to know how to carry out their own community-based oral history projects in a way that makes sense to their context and needs.

• Full length oral history interviews to be archived online onto Dropbox or another online platform which our partner organizations will have ownership over.

• Eighteen oral history one to three minute raw video clips in Portuguese with English subtitles.

These clips are woven into an ArcGIS StoryMap that is housed on the Quilombos de Alcântara website on its “Celebrate” page. The StoryMap will contain a map of Alcântara with pins that indicate the Quilombos that the different leaders we interviewed are from. Each oral history clip will be accompanied with a short summary of key highlights from our interview with each respective leader and is organized into the four different themes that we identified during the Data Management phase of the project: Collective

Land Ownership & the Struggle for Collective Land Title; What it Means to be Quilombola; Traditions and Cultures; Visions for the Future.

The next potential phase of this project will involve:

• The production of eighteen polished three-minute videos that highlight key moments from each interview as well as b-roll footage that highlight the locations in which we interviewed varying Quilombola leaders.

• A physical exhibition of oral histories in the ATEQUILA headquarters, as well as in key points throughout the Alcântara region (ex. museums, historical sites, etc.). It will be displayed on monitors, which our Capstone team has raised funds to provide to our partners.

Longer-term, the goal is for the digital and physical exhibitions to increase the community’s income-generating potential through community-based tourism. They can also be leveraged for global diasporic launch events to raise and increase awareness at the regional, national, and international levels about Quilombola peoples continued struggle for freedom, and self-determination in Alcântara and beyond. Finally, these exhibitions can be leveraged to train Quilombola teachers and youth about carrying out oral history projects in their community.

Limitations

Typically, oral history projects are very time intensive and can take place over a period of several years, between preliminary research, interviewing, analysis, etc. They involve a fair amount of relationship-building ahead of actually starting the interview process. Because our capstone project only lasted for a period of about four months, we had a limited amount of time to research the subject matter, meet our partners, prepare for fieldwork, which only last for about 14 days due to the time constraints of traveling in the middle of an academic semester, and process the data. In short, we were complete outsiders who were operating under the constraints of academic

timelines and in a language that was not ours, outside of having Dr. Pimentel Walker as our interpreter.

Typically, while on the field, we often ended up interviewing Quilombola leaders that we met on the spot through personal introductions by our partner representatives. These leaders were learning about our project at that moment as well, which sometimes made asking for their consent and explaining to them the implications of the project a challenge. Ideally, we would have had more time to get to know the individuals that we were interviewing before interviewing them to brief them about our project and its goals.

Screenshot of completed ArcGIS StoryMap. Photo Credit: Cat Diggs and Russell Lin.

Overall, however, because we were being introduced by trusted community leaders, we were being welcomed with open arms and a desire to engage. We learned so much from each of our interviewees and felt humbled by the experience. It would, of course, have been most representative to interview a much larger number of leaders across communities in the region but recognize that 18 interviews in eleven days is quite an accomplishment.

Moreover, some of the ethical considerations for a project such as this one that can’t be ignored include:

• Jeopardizing the safety of participants who partook in this oral history by disseminating their stories in the politicized context of expanding the country’s only Space Launch Center.

• Digitally disseminating the stories of these Quilombo communities, whose internet

access is low or nonexistent, thus not making sure the work benefits them first.

• Reducing people’s life stories into products rather than honoring them as living archives of history and memory.

Fundamentally, the crux of our work was to democratize history-making by uplifting the voices of Quilombola leaders as agents of the process and as lead narrators of their own stories. We hope that this project will have not only helped raise awareness around the still under-documented issue of Quilombola territorial struggles and lifeways in Alcântara, Brazil, but that it will have helped contribute to the preservation and transmission of these ageold cultures from one generation to the next in the region and beyond.

6.4

WEBSITE

Overview

As previously mentioned, the website serves as a platform for showcasing the Quilombola communities of Alcântara, allowing them to share their stories and garner support and recognition from both domestic and international audiences. Additionally, it also functions as a living archive for Oral History and Photovoice stories and a tool for preserving traditional knowledge and informing our Community-Based Tourism (CBT) Manual.

To ensure accessibility to a wider audience, the website will be available in two languages - English and Brazilian Portuguese - and will offer two different views to accommodate the majority of Brazilians who access the web via their mobile devices. However, due to the project duration being one academic semester, the English version of the website will be released first, with the mobile view and Portuguese versions to follow at a later date.

Below, we detail the components of each major page of the website, which you can find at this site: https://aquilombos.org/

Learn – Overview and History

The Learn section comprises two pages. One focuses on contextualizing the Quilombos in Alcântara, while the other delves into their specific history. Additionally, there’s an interactive timeline and a displacement map illustrating the continued struggles for collective title. These pages aim to provide context for the Quilombola struggle to those who may not be familiar with it.

Experience - Tourism

Given that CBT forms the core of our project and serves as an effective means for Quilombola communities to garner recognition and support, we have dedicated a page to provide easily accessible information for potential tourists. We want to acknowledge the potential dissonance that could be caused by blending political and tourism elements on the site. To address this and to honor stakeholders’ wishes, we’ve branded our tourism initiative as ‘Solidarity Tourism,’ which conveys that this form of tourism

offers travelers a unique and meaningful experience beyond conventional tourism that benefits both the community and tourists alike. Secondly, recognizing the lack of tourist infrastructure in the area, we’ve created a calendar-like table detailing the seasons and locations of activities such as açaí picking and babassu harvesting, along with relevant contact details. This empowers tourists to directly engage and plan their trips.

While we envision the tourism plan expanding with increased attention and financial support over time, for now, the website serves as an essential initial step.

Celebrate - Photovoice and Oral History

Mirroring the structure of the Learn section, the Celebrate page will consist of two pages containing thematically similar but differently scoped content. One page will feature Photovoice content presented as an interactive StoryMap, showcasing participants’ photos. Similarly, Oral History will be presented in a StoryMap format, featuring one-minute clips of each interviewee along with detailed writeups.

Support and About Us

The Support Us page outlines various ways individuals can contribute to the Quilombo cause, including a Pix code for Brazilians and a soon-to-be-added Paypal link for international transfers. In the future, this page will also include updated funding goals. Similarly, the About Us page offers detailed explanations of the numerous groups that make up the social movements of the Quilombos de Alcântara, along with contact details for visitors to further engage and gain recognition online.

Limitations

As mentioned earlier, splitting the website into two phases is a result of creating a scope of work that was achievable in the amount of time available to us in a semester to complete it. Although this is not ideal, it had to be done to ensure a timely deliverable. Other limitations regarding the deliverable being a website includes:

• Intermittent wifi environment, in which our partner clients reside, making it challenging to update the website in a timely fashion.

• As most Brazilians access the internet via their mobile devices, lengthy bodies of text that make up the website could deter visitors from engaging in the content in a meaningful way.

• Lastly, combining disparate content to meet our clients’ needs of including political, historical, and touristic content onto one website creates a jarring experience for visitors. If we had more time and resources we would create a separate website for tourism content.

That being said, the limitations mentioned above could mostly be addressed with increased time and resources. Additionally, we would be remiss to assume that this website and or any other deliverable we have produced for this project could single-handedly end all challenges that Quilombola communities face in Alcântara. Instead, this project should be thought of as an important step towards bringing increased digital and international recognition to their struggle.

A section of the homepage. Please refer to Appendix R for more detailed screenshots. Credit: Russell Lin.

The beginning of the Experience page. Credit: Russell Lin.

CONCLUSION

LOOKING FORWARD

There is much at stake, with justice still owed from centuries and decades ago. With over 2,000 Quilombola community members facing displacement from plans to expand the Alcântara Space Launch Center, these planning and awareness efforts to support the fortification of Quilombo self-determination are vital. Currently, nearly 12,000 hectares of Quilombo territory face erasure in the name of scientific advancement, economic development, and international innovation.106

Considering this and the unprecedented and precedent-setting community-led legal battles underway at the Inter-American Court of Human Rights, there is a clear global call to action to support Quilombola community members and their social movements, who are working to preserve and sustain their sovereignty. Through creative methodologies and collaborative planning strategies, like the ones featured in this project, the value of traditional knowledge and ways of living, as well as collective ownership of land, can be strengthened and celebrated on regional, national, and international scales.

The comprehensive strategy co-produced in this project to amplify the voices of Quilombola communities through community-based tourism and cultural preservation in Alcântara, Brazil. It contributed to the creation of a digital platform to provide Quilombola peoples of Alcântara with an online presence that aims to bolster political and social solidarity for this struggle, community-based tourism for sustainable economic development in the region, capacity-building efforts that directly benefit Quilombola community members, and the cultivation of counter-narratives that shed light on experiences that often go unseen.

These methods, findings, and documented firsthand experiences from Quilombos in Alcântara highlight the importance of supporting the scaffolding of the Quilombola community way of life. In doing so, our efforts can further advance social movements and political capital building for the Quilombola communities of Alcântara to ensure their sovereignty, selfdetermination, and well-being in the social and environmental ecosystems of the Brazilian Amazon Forest and beyond.

Group photo at participatory budgeting workshop in Agrovila Marundá. Credit: Ana Paula Pimentel Walker.

ENDNOTES

1. McCoy, T., & Traiano, H. (2021, March 26). A story of slavery — and Space. The Washington Post. https:// www.washingtonpost.com/world/ interactive/2021/brazil-Alcântara-launchcenter-quilombo/

#08

UNIVERSITY OF MICHIGAN TEAM BIOGRAPHIES

Dr. Ana Paula Pimentel Walker Associate Professor in Urban & Regional Planning appiment@umich.edu

Ana Paula Pimentel Walker is an associate professor in urban and regional planning at the University of Michigan’s Taubman College of Architecture and Urban Planning. She teaches graduate courses in participatory planning and community development, comparative housing, environmental planning, award-winning capstones, and comparative planning law.

Pimentel Walker investigates how disenfranchised communities engage with urban governance and evaluates the significance of participatory institutions in planning socially and environmentally just cities. Her research has been funded by

the National Science Foundation and the Foundation for Urban and Regional Studies. Pimentel Walker’s research goal is to identify institutional designs and participatory planning practices that have the potential to produce socially inclusive and environmentally sustainable cities.

Pimentel Walker received a PhD in anthropology from the University of California, San Diego; a Master of Urban Planning and a Master or Arts in Latin American studies from the University of California, Los Angeles; and a law degree from the University of Cruz Alta in Brazil.

Catherine “Cat” Diggs

M.S Environmental Justice and Master in Urban & Regional Planning

catdiggs@umich.edu

Catherine “Cat” Diggs just recently graduated from the University of Michigan (U-M) with a Dual Master’s degree student pursuing an M.S. in Environmental Justice at SEAS and a Master’s in Urban & Regional Planning at Taubman College. Cat has accrued close to a decade of grassroots community work experience during both her seven-and-ahalf years away from academic study and during her time at U-M. Born and raised in Montreal, Quebec by a family of human rights advocates, Cat decided to move to Detroit in 2016 as a dual citizen to become involved with the city’s powerful Afrocentric music communities and culture of grassroots activism.

Over the years, she has worked as a grassroots recycling educator, community-based storyteller and event producer, ESL teacher, and environmental justice nonprofit worker. Through her boots-on-the-ground experience as community worker and cultural organizer, Cat has grown passionate about building the capacity of climate justice movements in their ongoing efforts to address the global plastics crisis and its impacts on EJ communities locally and globally. Cat never ceases to be humbled by the incredible people and communities she has had the privilege of collaborating with over the years. She hopes to continue contributing her community-building and organizing skills to the social and EJ movements and causes that she is striving to work in collaboration with throughout her life.

Russell Lin

Master

of Urban & Regional Planning rlys@umich.edu

Russell Lin is a second-year graduate student at the Taubman College of Architecture and Urban Planning, University of Michigan. His academic focus is sustainability, particularly urban agriculture and real estate development. Russell’s transition from graphic design to urban planning was marked by his involvement in community gardening, composting, and placemaking initiatives in Singapore.

Recognized with the Rackham International Student Fellowship, Russell actively collaborates with urban farmers in Detroit on projects involving placemaking and

mapmaking. His work is driven by a passion to blend his design skills with planning principles, empowering communities and fostering innovative solutions to urban challenges. He aspires to leverage real estate to tackle social inequities and promote sustainable change.

In addition to his academic pursuits, Russell is deeply interested in urban gardening, which reflects his commitment to environmental sustainability and community development.

Fabricio Martins

Ph.D.

Candidate in Urban & Regional Planning

fabricio@umich.edu

Fabricio Martins is a second-year Ph.D. student in Urban and Regional Planning at the University of Michigan with a research focus on governance and policy toward informal wetland occupations, primarily in the Amazon basin. He is interested in understanding how communities, governments and multilateral institutions negotiate, design, and implement large-scale urban interventions in informal wetland occupations.

Before embarking on his Ph.D., Fabricio has over 15 years of experience in the Brazilian public service. He held administrative assistant (2008-14) and senior staff (2014-15) positions at the Amazonas State Public Prosecutor’s

Office (Manaus, Brazil). Since 2015, he has served as a senior staff member at the Pernambuco State Assembly, consulting for state legislators and parliamentary committees, providing policy analysis, and drafting legislative proposals. In 2021, he worked as a policy manager for the Pernambuco State Department of Urban Development and Housing (Recife, Brazil).

Fabricio graduated from the Federal University of Amazonas Law School (Ufam, 2009) and has a Master of Urban Development from the Federal University of Pernambuco (UFPE, 2019), focusing on heritage conservation policy.

APPENDICES

[Atividade de objetivos] Turismo de Base Comunitária como.…

Propósito: chegar a um consenso sobre como seria a estrutura geral de gerenciamento do turismo de base comunitária, critério: conveniência

Participantes: lideranças das comunidades quilombolas e convidados

Legenda

● Vermelho para objetivos indesejados

● Amarelo para objetivos neutros

● Verde para objetivos desejáveis

Marque ao lado dos seguintes objetivos:

Um princípio organizador da atividade turística em que a comunidade mantém o controle total do processo.

Um princípio organizador da atividade turística em que a comunidade mantém o controle total do processo.

Uma estratégia de marketing de turismo padrão que envolve as comunidades, com benefícios que se propagam para estas, mas as comunidades não controlam o processo.

Crescimento econômico com estratégia de redução da pobreza

Uma atividade econômica complementar para suplementar a agricultura, a pesca, …

Uma oportunidade para a afirmação cultural da identidade quilombola.

Uma plataforma de defesa de direitos territoriais, titulação coletiva de terras e autodeterminação.

Uma campanha contra a expulsão das comunidades quilombolas.

Adicione seu próprio abaixo

[Objectives Activity] Community-Based Tourism As…

Purpose: build consensus on the main objectives of CBT, criteria: desirability

Participants: the official leadership of two Quilombola movements and guests

KEY

●Red for undesirable objectives

●Yellow for neutral objectives

●Green for desirable objectives

Place dots next to the following objectives:

● An organizing principle of the touristic activity with community control of the process.

● A marketing strategy of standard tourism that involves communities, with trickle-down benefits.

● Economic growth with poverty reduction strategy

● A complementary economic activity to supplement farming, fishing, …

● An opportunity for the cultural affirmation of the Quilombola identity.

● An advocacy platform for territorial rights, collective land titling, and self-determination.

● A campaign against displacement of quilombola communities.

● Add your own

Follow-up Activity: SMART objectives

Atividades Características do Turismo Rural e Quilombola

Participantes: líderes das comunidades quilombolas de Alcântara.

Objetivo: Identificar atividades, que possam fazer parte de um roteiro turístico de base comunitária

Todo Turismo de Base Comunitária precisa de uma programação e de um roteiro

● Essa atividade pode ser realizada e eu estou entusiasmadado de colocá-la no roteiro turístico

● Essa atividade pode ser realizada eu não tenho preferência sobre colocar no roteiro turístico ou deixar de fora.

●Não é possível realizar essa atividade (Exemplo os pescadores não estão disponíveis)

● É possivel, mas não acho interessante

Atividades rurais típicas

Levar para pescar (turista pesca junto)

Levar o turista para conhecer a roça ou horta (turista aprende sobre plantio)

Levar para pescar (turista pesca junto)

Levar turista para conhecer outras atividades como criação de animais

Levar o turista para conhecer a casa de farinha (turista aprende sobre o processo de fazer farinha e participa do processo).

Atividades Culturais e Religiosas

Levar o turista para conhecer o local do terreiro ou capela

Levar turista para assistir cerimônia religiosa

Levar o turista para festa típica

Insira adesivo

Nome da comunidade ou guias (se for fácil lembrar)

Levar o turista para conhecer o centro de saberes ou outros centros culturais

Levar o turista para roda de conversa (palavra cantada, histórias locais, histórias de fantasma à noite).

Oficina de artesanato ou cerâmica em que o turista participa do aprendizado e leva para casa o que fez

Aula de cozinhar, como fazer um prato tipico. O turista almoça, janta ou leva para casa a comida que cozinhou.

Atividades com a Natureza

Algumas pessoas gostam de observar pássaros. Um passeio com guia que mostre os pássaros nativos

Passeio guiado por floresta contando para o turista sobre plantas e árvores nativas

Passeio na praia ou no rio que seje bonito e bom para nadar ou mergulhar

Caminhada na areia da praia

Caminhada de trilha na floresta

Atividades de Educação sobre a Luta Quilombola

Aula, mini-palestra, curso, ou roda de conversa sobre a história das comunidades e a luta política para titulação do território

Sugira atividades que você ache interessante para o turista fazer

[Management Activity]

Purpose: build consensus on what the general management structure for the CBT might look like

Participants: the official leadership of two Quilombola movements and guests

In a few words, share what comes to mind when you think of the management of the communitybased tourism plan and operations.

What qualities do you hope to see within the management of the community-based tourism plan and operations?

[Atividade de gerenciamento]

Propósito: chegar a um consenso sobre como seria a estrutura geral de gerenciamento do turismo de base comunitária

Participantes: lideranças das comunidades quilombolas e convidados

Em poucas palavras, compartilhe o que lhe vem à mente quando pensa na administração do plano e das operações do turismo comunitário.

Que qualidades você espera ver na gestão do plano e das operações do turismo comunitário?

[Product Activity]

Purpose: Identify potential products for community-based tourism

Participants: the official leadership of two Quilombola movements and guests

What are some of the most common activities that you and quilombola community members participate in?

What activities do you think speak most to the quilombola culture, community, and quilombola way of life?

[Atividade Produto]

Propósito: Identificar produtos potenciais para o turismo de base comunitária

Participantes: lideranças das comunidades quilombolas e convidados

Quais são algumas das atividades mais comuns das quais você e os demais membros da comunidade quilombola participam?

Em sua opinião, quais atividades mais representam a cultura, a comunidade e o modo de vida dos quilombolas?

July 2025

Authored by: Cat Diggs, Fabricio Martins, Russell Lin, and Dr. Ana Paula Pimentel Walker

TABLE OF CONTENTS

PART I - Foundations and Frameworks for Community-Based Tourism (CBT).

1. Definitions

a. Overview

b. CBT as a Means for Cultural Preservation and a Tool for the Quilombola Struggle

c. Considerations for CBT

d. Laying the Foundation for CBT

2. Approaches

3. Case Studies

4. Background about the Quilombos of Alcântara

PART II Background on the University of Michigan and Quilombos of Alcântara Partnership.

1. Preliminary Engagement

2. A Community-Driven, Participatory Approach to Fieldwork

3. The U-M Team’s Travel Itinerary

PART III Fieldwork Outcomes Informing Community-Based Tourism (CBT).

1. Using Oral History to Inform the CBT

2. Oral History as a CBT Product

3. Using Photovoice to Inform the CBT

4. Photovoice as a CBT Product

5. Website as a Means of Dissemination

PART IV General Insights for Effective Community-Based Tourism (CBT) Planning.

1. Community Visioning and Goal Clarification

2. Types of Partnerships and Autonomy

3. The Components of a Tourism Plan

4. Public Health and Safety

5. CBT: Curbing the Environmental Impact

6. Demystifying the non-local tourist

7. CBT Management Principles

8. Additional Resources Endnotes Appendices

1. Appendix A - Oral History CBT Themes and Quotes

2. Appendix B - CBT Engagement Worksheets

PART I

Foundations and Frameworks for Community-Based Tourism (CBT)

Brazil has a rich histor y of domestic tourism; in 2017 alone, tourism brought in over 56 billion USD, with only 6% of tourists from the inter national arena 1 Tourism can also be a process and practice that facilitates cultural exchang e, education, and even empathy building for those lear ning about new experiences and identities in new places 2 With the continued g rowth of tourism globally over the past centur y, there has also been a g rowth in historical-cultural facilities acting as attractions for the booming tourist industr y – leading to an increase in cultural institutions that aim to preser ve aspects of identity and heritag e 3 T hese trends point to the impor tance of tourism as a tool and pathway for cultural exchang e, celebration of cultural heritag e, and preser vation of way of life and traditions

Although these statistics can foster hope for those looking to supplement their income through tourism – tourism can also bring neg ative exter nalities T he potential impacts of tourism, or “over tourism,” can deg rade social and environmental landscapes if not manag ed with care and sustainability in mind.4 T he impacts of over tourism are also rooted in capitalist

frameworks that focus larg ely on economic benefits, which often only reach larg er cor porations or actors that exploit or extract from others for g ain It is therefore no surprise that alter native methods to tourism development, which center on cultural preser vation and community self-deter mination, have been explored for decades around the globe Community-based tourism (CBT) is a for m of tourism that has provided promise for a more sustainable path forward for those often excluded from the benefits of mainstream tourism 5

CBT is a for m of sustainable tourism planning rooted in community ownership, power, and decision-making T his for m of tourism spans across the globe and can var y from being more neocolonial in its approach to rooted in kinship or ethnicity 6 Community-based tourism aims to g enerate social inclusion, economic g rowth, equity, and environmental sustainability through operations directed and manag ed by community members through par ticipator y actions and manag ement 7 T hrough CBT development, social institutions at the local and regional levels can be strengthened, leading to the potential for g reater inclusion of people across classes in the economy and other social systems. Additionally, community-based tourism allows for collaborative solutions and effor ts to develop outcomes and products that would not be possible for individuals to car r y out on their own 8

b CBT as a Means for Cultural Preservation and Tool for the Quilombola Struggle

As it per tains to Quilombola communities specifically, community-based tourism has been implemented in multiple quilombos and places in Brazil as a means of tangible and intangible cultural heritag e preser vation and self-deter mination 9 CBT not only provides oppor tunities to enhance the economic prospects of Quilombola communities, who continue to experience systemic racism, but it also underscores the significance of transfer ring g enerational knowledg e to the youth CBT can facilitate the transfer of ag ricultural, craft, symbolic, and other intangible and tangible identity-based practices that celebrate cultural exchang e and expression while creating employment oppor tunities for youth.10 T his g reater awareness of cultural heritag e with the broader public can also g ar ner solidarity and suppor t for the Quilombola community's cause and str ug gle for sovereignty and collective titling in the face of continued state violence and displacement 11 CBT can also be a political tool to advance land preser vation and for malization 12 As compared to top-down approaches to tourism, bottom-up methods of developing local and sustainable tourism better aligns with the Quilombola way of life, which involves collective extraction of resources, subsistence-based living, and localized systems of production and consumption 13

c Considerations for CBT

Due to each community's unique needs, ter ritories, and experiences, community-based tourism can be diverse and challenging to define in detail – locals adopt and center the aspects that best meet their needs according to histor y, culture, and place 14 T herefore, the ter m “community” in community-based tourism varies across g eog raphies and its definition

is conting ent on how the communities involved define it T his is not, however, a typically seamless and clear process and CBT plans are ver y place-based and responsive to the var ying local cultures in which they embed themselves. Individuals who compose CBT plans also have diverse experiences, desires, and circumstances that should also be considered when developing community-wide plans 15

To ensure broad community par ticipation in the planning of CBT plans, especially by the communities who could be impacted by tourism, it is vital to understand the diversity of and within communities eng ag ed in these processes Embedding strong par ticipation and the adequate time needed for par ticipator y eng ag ement of host communities in the early stag es of CBT development is integ ral to for ming the p athways required for collaboration in the later stag es of the process 16 By building a solid foundation rooted in broad par ticipation and awareness of operations, communities can also ensure that benefits are distributed equitably amongst them. T his will ensure higher access to resources for youth and other members who may have limited training and education on the matter.17

Effective and equitable community development from sustainable CBT plans also requires inter nal community collaboration and outside collaborations to ensure market connection and sustainability of operations It also requires resources and skills such as project manag ement, customer care, marketing, financial manag ement, and product development

To ensure community members have the skills required to sustain CBT operations, non-g over nmental org anizations (NGOs), private tourism companies, and others have worked with communities to foster the inter nal capacity and training facilitation skills necessar y for sustained CBT implementation to be possible 18 Lastly, it is vital that plans intentionally work to preser ve what makes communities unique to tourists and the environmental ecosystems communities live within.

Other key considerations for CBT include:

● identifying who the potential visitor(s) will be;

● detailing the resources or products the community will offer to visitors;

● denoting what the desired outcomes are for community members, tourists, other org anizations involved;

● identifying investment streams and sources to fund development and operations where necessar y;

● selecting and building out manag ement str uctures and securing community buy-in;

● identifying strategies to implement planning effor ts by assigning responsibility and investing funds;

● building the foundation for continued evaluation in the process and operations; and

● marketing and adver tising CBT adver tisements the targ et tourist population previously identified.19

In the earliest phases of this process, qualitative and other research methods can be helpful tools for better understanding community needs and guiding other processes forward

d Laying the Foundation for CBT for the Quilombos in the Alcântara

As a par t of this Capstone Studio project, the U-M Team worked to cultivate the g rounds for f lourishing and sustainable community-based tourism in the client and community par tner quilombo communities of Alcântara T hrough research and fieldwork (more in Par t II), the CBT planning g oals that the U-M Team identified for the clients and community par tners to explore fur ther with Quilombola community members involved the following:

● org anizing tourism manag ement;

● developing the tourist product;

● identifying expected and suitable ser vices for r ural and forested Quilombola communities;

● demystifying the non-local tourist;

● for ming par tnerships; and

● providing resources to suppor t ethnic-based CBT in Latin America

By meeting these g oals, Quilombola communities involved in developing CBT in their communities will hone in on their understanding of:

● what people’s travel patter ns and reasoning for travel are;

● what a travel itinerar y might look like;

● what deliver y of ser vices such as food, transpor tation, and lodging involves;

● what pricing models for tourists could be; and

● what the roles and responsibilities of community members should be in car r ying for th CBT in their ter ritories while ensuring community-wide par ticipation and inclusion in the process

2. Approaches

T here are several approaches to Community Based Tourism (CBT), which shares a considerable overlap with sustainable tourism In recent years, sustainable tourism has g ained significant attention, larg ely due to the emphasis and technical suppor t from inter national org anizations, such as the United Nations and the World Bank. Org anizations like the United Nations World Tourism Org anization (UNWTO) and the World Travel and Tourism Council (WTTC) promote sustainable tourism development through policy refor ms and advocacy

T he UNWTO is the United Nations ag ency responsible for promoting responsible, sustainable, and universally accessible tourism 20 Additionally, the World Research and Resource Centre (WRRC) is a non-profit org anization dedicated to advancing the economic and social impacts of the travel and tourism industr y. T he WRRC produces the Net Zero Roadmap in par tnership with the United Nations T his roadmap is developed through extensive consultations with key global travel and tourism representatives and addresses the cur rent status of climate action in these industries.

Table 1: Reproduction of Table 4 - Differences between Sustainable Tourism (ST) and Community-based Tourism (CBT) in: Dangi, T B , & Jamal, T (2016) An integrated approach to “sustainable community-based tourism” Sustainability, 8(5), 475

3 Case studies

T hrough the Team’s case study research on community-based tourism, they explored examples of how CBT has been implemented in different communities in the Global South, notably in Bali, Indonesia, and in Brazil, specifically in Paraná and the Ig arapé Basin and Valley From these examples, they were able to glean inspiration about how CBT could be leverag ed as a powerful community planning tool for the Quilombos in Alcântara, notably as it relates to their ability to self-deter mine by building their financial autonomy and the domestic and global solidarity networks that suppor t their right to self-deter mination on their ter ritories

Case Study 1 - Host–Guest Orientations of Community-Based Tourism Products: A Case Study in Bali, Indonesia

Fig. 2: A guide in Bali Photo Credits: Togetherness Project Bali, https://images squarespace-cdn com/content/v1/5f4226d73f99c90278d533ab/b0ce03f8-b3d6-4b92-8ab84ca7e270c492/DSC 3315 jpg?format=750w

T his case study on community-based tourism in Bali is impor tant for the U-M Team’s par tners because it outlines the key components of the tourism experience, focusing on both the industr y and attractions T he tourism industr y encompasses ser vices such as transpor tation, accommodations, meals, and souvenirs, while the attractions highlight the natural landscapes and ethnic culture of the area. T he researcher for this case study conducted sur veys with both local community members and to urists to g ain insights into how each g roup evaluates the available touristic products in Bali For instance, both host communities and tourists value the sharing of ethnic culture; however, neither g roup tr uly appreciates tourists par ticipating in religious ceremonies. T he takeaway from this study is that community-based tourism (CBT) should plan for travel ser vices and attractions that are convenient and appealing to both tourists and host communities Scholars, NGOs, and local g over nments are well-positioned to g ather this infor mation

T he caiçaras represent traditional ar tisan fishing communities located in Southeaster n Brazil, predominantly along coastal regions, although some also eng ag e in hunting, ag riculture, and livestock far ming T hese communities are characterized by their unique cultural heritag e, stemming from a historical conf luence of African, European, and Indig enous ancestries. T he caiçaras embody a distinct way of life, ref lecting a deep connection to their environment and traditional practices passed down through g enerations

Fig. 3: Street scene in Paranagua, Brazil July 2006 By Adam Jones Adam63 - Own work, CC BY-SA 3 0, https://commons wikimedia org/w/index php?curid=7395013

Fig 4: Panorama of the old port of Paranaguá waterfront area By Mariordo (Mario Roberto Duran Ortiz)Own work, CC BY-SA 3 0, https://commons wikimedia org/w/index php?curid=24480841

T he Caiçara Network, situated in Paranaguá along the coast of Paraná, Brazil, comprises residents from five distinct communities: São Miguel, Piaçaguera, Eufrasina, Ponta do Ubá, and Ilha dos Valadares. T his initiative underwent a planning phase spanning two years, culminating in the launch of some tourism initiatives by the year 2014 A pivotal advancement occur red in 2018 with the establishment of the do Litoral do Paraná (Hosts of the Paraná Coast network) T his network aims to consolidate and enhance the collective effor ts of community-based tourism (CBT) g roups within the region, fostering collaboration and promoting sustainable tourism practices T he first stag e of the network’s process was to assess attractions and activities within local communities

At the beginning, the projec t moved slowly, and involved testing incremental touristic activities and evaluating them, which is recommended for developing CBT strategies T he 2018 expansion received the suppor t from exter nal ag ents, such as a consultancy fir m in the region (TCP), the Federal University of Paraná (UFPR) and Paranaguá City Hall, through the Municipal Depar tment of Culture and Tourism. To strengthen the Caiçara Network meant to collaborate horizontally among Caiçara communities and their community leaders, and ver tically with g over nment, universities, and the private sector T he region’s tourist itinerar y was designed to ensure that the touristic activities in different communities were diverse and not repetitive T his is a cr ucial consideration for the Quilombos of Alcântara when developing their itine raries

CBefore Brazil abolished the slave industr y in 1888, about 4 million Africans were forcibly brought to Brazil through the por ts of the Recôncavo in the state of Bahia Of those who

F Dendê Q h p q y g p p jpg

escaped, many found refug e in Quilombos T he Rota da Liberdade (Route to Freedom Project) has been established since 2005 by Quilombola communities within the Iguape Basin and Valley, par ticularly in Cachoeira, Bahia. It star ted in 2005 with a social project suppor ted by the federal g over nment, called Ag ente Cultura Viva (Live Culture Ag ent in English), which was directed at young adults and aime d to g ather infor mation about local histor y It then org anically developed into an authentic community-based tourism project, that is collaborative and par ticipator y, with local Quilombos women assuming its leadership.

Today, this initiative encompasses a comprehensive prog ram of cultural presentations, events, and activities that emphasize beekeeping, handicrafts, and palm oil production A prominent cultural event associated with this initiative is the Oyster Festival, which is hosted by the K aong e Quilombo in October, and draws tourists from various regions T his festival plays a significant role in g enerating economic income and creating employment oppor tunities by integ rating local production with tourism effor ts. T hir ty-three women representing their families take the lead on oyster production, which are known as marisqueiras. T hese Quilombola women also manag e and r un most touristic activities K aong e Quilombo has also hosted several capacity building workshops on the issue of sustainable subsistence practices.

T he overarching objective of the communities in question is to reinforce their cultural heritag e while simultaneously valorizing their natural resources In this context, tourism emerg es as a pivotal mechanism for achieving the dual g oals of educating the young er g eneration about their cultural leg acy and ensuring its preser vation A significant initiative in this reg ard is the apprenticeship model, which facilitates the adaptation of traditional knowledg e to the evolving context of the "apprentice" g eneration T his approach embodies the essence of knowledg e transmission, as it emphasizes, through several workshops, events and festivals, a lear ning process that is org anic, allowing the young er g eneration to absorb traditional practices in a meaningful manner

Fur ther more, the dissemination of knowledg e within the tourism frameworks of traditional communities and peoples presents a vital oppor tunity for fostering local sustainable development effor ts and for enhancing an appreciation for local culture Addressing the challeng es inherent in this endeavor necessitates robust collaboration among various stakeholders, including community representatives, g over nmental entities, non-g over nmental org anizations, and the private sector Such cooperative effor ts are essential to for mulating sustainable development objectives that not only honor cultural diversity but also contribute to the conser vation of natural resources in the area

T his case study highlights the need for g oal clarification and setting as par t of any CBT planning process

4. Background about the Quilombos of Alcântara

Fig 6: Aerial view of Alcântara Photo Credits: MoviaFilmes https://img freepik com/premium-photo/aerial-view-alcantara-maranhao-brazil-ruins-historic-city 63135-34 03 jpg

T he municipality of Alcântara, situated in the State of Maranhão, encompasses approximately 200 quilombola communities Collectively, these communities constitute the Quilombola Ter ritor y of Alcântara, along with the Ter ritor y of Santa Tereza and the Ter ritor y of Ilha do Cajual, all located within the municipal boundaries of Alcântara Despite the shared location, the ter ritories are situated in distinct ecosystems, allowing for ecological tourism across the three ter ritories

T he land identified by the local populace as belonging to Santa Tereza de Ávila spans rough ly 55,000 hectares and is positioned 70 kilometers from the historic downtown of Alcântara Notably, while Itamatatiua ser ves as a more tourist-oriented area, the Santa Tereza ter ritor y encompasses 15 villag es, including Mocajituba, Tubarão, Goiabal, Raimundo Su, Buritirana, Mojó, and Bar roso and extends into the nearby municipalities of Bequimão and Peri-Mirim Fur ther more, the Itamatatiua Ceramics Center is situated a mere 21 kilometers from Cujupe Harbor, which ser ves as a fer r y transpor tation hub for rented vehicles T he region is characterized by its diverse ecological features, encompassing f looded fields, mang rove areas, apicuns, streams, and rivers, alongside secondar y forests composed of babassu and buriti palm trees T he soil in this area is notably rich in clay, having been meticulously manag ed by local inhabitants for over a centur y to produce clay potter y and bricks. T his ter ritor y is fur ther distinguished by an abundance of water resources, which

include various freshwater sources such as rivers, streams (ig arapés), wells, and waterholes During the rainy season, the community travels from one quilombo to another by canoe

PART II

Background on the University of Michigan and Quilombos of Alcântara Partnership

1. Preliminary Engagement

Conversations between the faculty instr uctor from the University of Michig an (U-M) and the leadership of MABE and ATEQUILA beg an in August 2023 Local universities and lear ning centers in Alcântara and São Luís do Maranhão have conducted introductor y training sessions on Community-Based Tourism An Urban and Regional Planning Master’s capstone team was tasked with creating an audio-visual presence and a website that would capture, preser ve, and honor the diversity of Quilombola culture in the Alcântara region T his initiative also aimed to advocate for ter ritorial rights, including the collective land title and the rights to self-deter mination and previous consultation and consent T he Quilombos of Alcântara have faced limitations in their ter ritorial rights in the past, and new threats of relocation and land expropriation are imminent

Star ting in Januar y 2024, a student team from the University of Michig an beg an exploring how to navig ate and clarify common aspirations for community-based tourism (CBT) To suppor t this initiative, online conversations were held prior to the fieldwork, which brought tog ether students and community leaders. T he g oal was to collaboratively develop effective strategies for g athering infor mation for a website and a CBT plan

In relation to the CBT plan, the Team beg an researching the region, histor y, and culture of the clients and community par tners to best understand critical considerations for CBT and plan accordingly T his discover y phase also included secondar y data research around CBT in other regions of Brazil with a focus on CBT in the quilombo By doing so, the U-M Team could be best prepared to g ather data and insights on the g round during the fieldwork phase T he elements of this project or deliverables facilitated the fact-finding and building out of the tools necessar y to best understand what impacted Quilombola community members might see as fit for tourism, what they see as impor tant, and their g eneral concer ns reg arding daily life and histor y Combined, this research and exploration of CBT and the Quilombola community way of life has allowed the Team to highlight CBT planning strategies that their community par tners can bring to their Quilombola communities for fur ther discussion and ref lection T hrough Photovoice and Oral Histor y methodologies, where their clients selected the par ticipants for us to hold photovoice workshops and inter views with in Alcântara, the Team were able to fur ther center the community’s needs, voices, and aspirations for community-based tourism in their community

As it relates to the website that the U-M Team was tasked with developing, they star ted to capture three main g oals for it through online conversations before fieldwork:

1 to provide a source of income for the local community;

2 to act as a catalyst for cultural and environmental stewardship and the preser vation of local memories;

3 to educate outsiders about the rights of Quilombola peoples reg arding their ter ritories and ways of life

2 A Community-Driven, Participatory Approach to Fieldwork

Given the nature of this project, which was deeply rooted in ter ritor y, culture, and identity –conducting fieldwork on the g round was integ ral to the work of the U-M Team of and to cultivating the foundation for community-based tourism (CBT), website development, recommendations, and more T he Team spent time on the g round with Quilombola community members, leaders, and their par tner representatives and hosts from Febr uar y 26, 2024, to March 8, 2024. During this time in Brazil, the U-M Team conducted applied ethnog raphy to understand the Quilombola way of life as a tourist might; these experiences also provided the space for ref lection and recommendation development Understanding the physical and social landscapes of the Quilombo was vital for the U-M Team to build culturally relevant and sustainable CBT recommendations for their par tners. During this time in the Brazilian Amazon Forest, they also produced and collected data for deliverables by car r ying out photovoice and oral histor y research methodologies that facilitated democratic data production by Quilombola community members that would directly infor m their CBT recommendations and website development g oals.

Fig 7: Site visit in Vista Alegre Photo credit: Russell Lin

3. The U-M Team’s Travel Itinerary

Figure 8-11 from left to right: Visit to old town in São Luís (8), Site visit in Vista Alegre (9), Russell recording a participatory budgeting session in Cajueiro (10), U-M student capstone team asset-mapping Itamatatuia Quilombo (11) Photo credit: Cat Diggs, Russell Lin, and Ana Paula Pimentel Walker

During their 14 days in Brazil, the U-M Team was ver y mobile to ensure that they covered as much g round as possible. T hey visited coastal Quilombola communities like Canelatuia and Vista Aleg re, as well as Ag rovilas and the forested Quilombo of Itamatatuia, throughout which they car ried out photovoice workshops, oral histor y inter views, site visits, photog raphing, asset-mapping, and relationship-building

Time Range & Destination(s)

Feb 24-25

Ar rival in São Luís

Feb. 26-29

Canelatuia Quilombo and neighboring communities

March 1-3:

Alcântara city & Ag rovilas (par ticipator y budgeting meetings)

March 3-7: Itamatatiua Quilombo

March 7-9:

Retur n to São Luís before traveling back to the U S

Details

The U-M Team star ted their jour ney off in São Luís, the capital of Maranhão located adjacent to Alcântara, during which they visited the city’s historic center - Praia Grandephotog raphed its colonial architecture, visited its museums, and ate its local foods

From there, they traveled to Canelatiua, a small Quilombo on the coastlines of the region, located near the Space Launch Center and nor theast from the city of Alcântara This is where they beg an their fieldwork experience, which included documenting local traditions, like f lour-making and far ming, visiting sites, like a beach, por t, and river, and car r ying out oral histor y inter views and photovoice wo rkshops They also visited neighboring communities like Vista Aleg re and Santa Maria to conduct oral histor y inter views

They then traveled to the city of Alcântara and attended par ticipator y budgeting meetings in sur rounding Ag rovilas and Quilombo communities, notably Ag rovilas Cajueiro and Mar undá, as well as Quilombo San ta Maria, all throughout which they conducted oral histor y inter views with community leaders. During this time, they also retur ned to Canelatuia to finish mapping out and photog raphing its various assets (knowledge center, bars, f lour-making house, church, etc ) for the tourism page of the website they would be working on

On May 3rd in the evening, they traveled to Itamatatuia Quilombo located in the hear t of the Amazonian rainforest In the days following they car ried out several more oral histor y inter views, held two photovoice workshops, and pursued asset mapping, photog raphing, and 3D scanning effor ts. The day before their depar ture, they also traveled back to Alcântara to facilitate a photovoice workshop at the Alcântara Campus of the Federal Institute of Maranhão

They wrapped up their trip in São Luís by visiting the urban Quilombo of Liberdade, the largest urban Quilombo in the Americas21 before traveling back to the U S With over 160,000 inhabitants, many Liberdade dwellers came from Alcântara due to forced displacement or to seek better educational oppor tunities and living conditions

2: U-M Team fieldwork itinerary in February and March of 2024

Table

While in the Quilombos to car r y out their fieldwork and build relationships with their par tners, it quickly became clear that infor mal conversations about which cultural practices, traditions, and sites to share with visitors in the context of a CBT initiative would be more effective than traditional planning approaches toward developing a CBT Manual, such as priority mapping and Specific, Measurable, Achievable, Relevant, and Time-Bound (SMART) g oal-setting. T his can be explained by a number of factors, including, but not limited to, the fact that:

● Quilombola communities harbor strong oral traditions, by which knowledg e g ets exchang ed and passed on orally from g eneration to g eneration rather than in written for m.

Fig 12-15 from left to right: Map of U-M Team’s fieldwork itinerary between February 24th and March 9th, 2024 - produced by Russell Lin (12) & Ana Paula, U-M Team faculty lead, chatting with ATEQUILA leadership and local community members (13, 14, 15) Photo credit: Cat Diggs

● Limited to no access to signal and stable wifi on Quilombola ter ritories of Alcântara making eng aging verbally much more accessible than in writing.

● Quilombo communities of Alcântara are far ming communities and most of their time is devoted to subsistence activities and crafts-making, not completing written questionnaires

● T he Quilombola leaders they stayed with and who took charg e of guiding them through their ter ritories had work and other daily oblig ations to tend to

Due to the nature of tourism and the need to market places and experiences, one of the U-M Team’s key g oals was to g ather as many field notes and visual materials as possible on the vibrant and varied traditions of the region to build out a robust CBT web pag e for Quilombola communities in Alcântara, which they can use to draw visitors to their ter ritories and increase their financial resources and autonomy T he U-M Team’s fieldwork therefore activities included:

● Conducting infor mal inter views about ar tisanal traditions like manioc f lour-making, ceramics-making, far ming, fishing, babassu oil-making, fishnet weaving, buriti palm fiber weaving, festivals, and celebrations.

● Building out a draft calendar of events for tourists to access on the website when it g oes live to lear n about what activities to par take in and when

● Par taking in guided tours of culturally significant sites, such as the f lour-making house, the local bars, the beach, the fishing por t, the local restaurant, the ceramics-making center, the river, the church, the knowledg e center, someone ’ s backyard, etc

● Asset-mapping during these tours by adding pins to Google maps and by consistently g athering photog raphs and b-roll to be used for website and video-making purposes

● Leveraging their photovoice workshops and oral histor y inter views to g ather direct input from community members about what their vision would be for CBT in their ter ritories. What makes them proud to be from where they are? What would they be willing to share with visitors coming to their ter ritories for the first time? Why?

Finally, the U-M Team had the privileg e of directly eng aging with the rich and storied cultures that make up the Quilombola communities that welcomed them in as guests T hey experienced firsthand what it would feel like to be a tourist in the area. T his meant eating the local foods being g enerously cooked and prepared for them (i.e. freshly caught fish, far m fresh eg gs, locally made manioc f lour, rice, g rilled meats, freshly pressed juices, etc ), living in the homes of their pr oject par tners with their family members, setting up hammocks for sleeping, and the list g oes on During their last night in São Luís, they had the privileg e of par ticipating in a reg g ae musical g athering in a community-r un venue in Liberdade, the city’s larg e urban Quilombo settlement. São Luís is known as the second reg g ae capital of the world and this g enre of music represents a central par t of Quilombo communities’ cultural identities

Fig 16 - 19 from top left to right: Neta Serejo Morais helping us photograph a canoe (16), Danilo Serejo guiding us to the Canelatiua beach (17), Neide de Jesus guiding us through Iatamatuia (18), Novo Quilombo Reggae venue in Liberdade urban Quilombo (19) Photo credit: Cat Diggs and Ana Paula Pimentel Walker

PART III

Fieldwork Outcomes Informing CBT

1. Using Oral History to Inform the CBT

a Overview

T he purpose of the Oral Histor y project was to provide a platfor m for Quilombola leaders in Alcântara to share their unique cultures of resistance, collective ownership of land, and traditional lifeways, as well as to speak to their ong oing str ug gle for land titling in the face of ever-present threats of land displacement posed by the Alcântara Space Launch Center (CLA) and private developers A bilingual guidebook was produced to discuss the purpose and useability of Oral Histories in the Alcântara context. A key aspect of this project was to g ain insights as to how CBT could be meaningfully car ried out in Quilombola communities of this region

Fig. 20: Oral history interview with Neide de Jesus in Itamatatuia Photo Credits: Cat Diggs

b Fieldwork

Upon ar riving in Alcântara, the U-M Team collaborated closely with their par tner liaisons, who selected the community leaders whom they wanted us to inter view, most of whom were elders and knowledg e keepers in their respective communities T he U-M Team also inter viewed three of their par tner liaisons T hroughout the process, they kept the tenets of oral histor y work top of mind, notably the idea of sharing authority with the inter viewee, who, in sharing their stor y, also guided the direction in which the conversation went Building as much tr ust as possible with their inter viewees by fostering spac es of safe and open communication was also key to their project approach, despite the limited amount of time they had to g et to know inter view par ticipants before and after inter viewing them It is impor tant to note that because the U-M Team were being introduced by tr usted Quilombola leaders to community leaders for inter views, they were being welcomed with open ar ms and a desire to eng ag e

Moreover, the U-M Team was lucky to ar rive in the Quilombos during a par ticularly busy political time for them During their first day in Canelatiua on Febr uar y 26th, 2024, they witnessed several Brazilian Ministers paying the Quilombos of Alcântara a visit to officially invite them back to the neg otiating table to discuss their demand for collective title and the 30 million real that the federal g over nment was g oing to provide them as a for m of reparations for the histories of injustices they had faced as a peoples. T he U-M Team lear ned that the Brazilian g over nment stag ed this event as a response to the pending decision, at the time, that the Inter-American Cour t of Human Rights was scheduled to render later in 2024

Fig 21 and 22 from left to right: Oral history interviews with Maria Luzia in Marunda (21) and Davi Pereira Júnior in Itamatatiua (22) Photo credit: Cat Diggs and Russell Lin

T hat day, the U-M Team interacted with a number of the leaders from the social movements that their project aims to ser ve, many of whom they ended up inter viewing for this project T he U-M Team later came to realize that these types of g atherings across Quilombos were not that common due to poor road quality and limited access to automobiles. T he U-M Team also met a number of the faculty from the Universidade Estadual do Maranhão in São Luís, who had been working in close par tnership with the Quilombos of Alcântara for many years on their land titling and advocacy effor ts

A few days later, the U-M Team was able to attend three community-based par ticipator y budg eting workshops in Ag rovilas and Quilombos During these workshops, Quilombola community members discussed how they would like to allocate the BRL 30 million to infrastr ucture development (schools, roads, etc ) and other community development projects Because Quilombola leaders from different communities across the region were attending these meetings, they were able to sit in for spontaneous oral histor y inter views with them.

T heir inter view roster was quite diverse T hey inter viewed 18 Quilombola leaders from eight d ifferent Quilombo communities in Alcântara Twelve of them were women, six of them were men T heir ag es rang ed from 37 to 75 years-old with half of the inter viewees being over 50 years-old. T hree of those leaders (Inaldo Faustino Silva Diniz, Maria Luzia Silva Diniz, and Maximus Silva do Nascimento) had been on the receiving end of forced displacement from their homelands to Ag rovilas during the constr uction of the Alcântara Space Launch Center in the mid to late 1980s Five of them are par t of communities (Canelatiua, Vista Aleg re, Mamuna) that were being directly threatened with displacement by the planned expansion plans for the Alcântara Space Launch Center. All inter viewees from Itamatatiua or Morajituba were aware of the 40-year str ug gle that has been underway in their communities to obtain collective title from the State of Maranhão so as to preser ve and protect their lands ag ainst private land g rabs and for the benefit of cur rent and future g enerations All Quilombola leaders they inter viewed shared in common the fact that they did not tr ust the g over nment’s intentions. T hey were proud to be Quilombola and to be par t of a continued str ug gle to asser t their rights to live on the lands they call home

c Key Takeaways

From inter viewing these 18 community leaders from diverse Quilombola communities in Alcântara, they lear ned about:

● their first-hand experiences g rowing up in their respective communities, including the joys and challeng es of doing so;

● the histor y of their homeland and their day-to-day activities of subsisting off the land from fishing, far ming, and crafting;

● their religious festivities, most of which date back hundreds of years;

● what they would be proud to share with visitors coming to their communities for the first time, such as their subsistence activities, their festivities, their ecosystems, their foodways, which directly helped infor m some of their rec ommendations in the Community-Based Tourism Manual that they produced.

● their diverse but united understandings of what it means to be Quilombola and their pride of being Quilombola and of being par t of long lineag es of justice war riors

Fig 23: Oral history interview with Maria Pereira in Itamatatuia

Photo credit: Ana Paula Pimentel Walker

● their various experiences and understandings of what the str ug gle for collective title represents for their community, whether they were being threatened with land displacement, had been through the trauma of displacement already, or were continuing to fight to obtain their rightful collective title from the Brazilian g over nment

● their vision for the future of the community that often revolved around obtaining collective title, of being able to stay on their lands, of having better infrastr ucture to raise their children, and of offering their families better oppor tunities to thrive on their homelands.

It became ver y clear how deeply connected to their lands the Quilombola leaders they inter viewed were because many of them had either never left their homelands, unless they were forc ibly displaced, or traveled away temporarily for studies T hrough their inter views, the U-M Team came to understand on a much more visceral level just how deeply rooted to their homes and communities they were. No clear distinction can be drawn between Quilombola people and their lands

Please reference Appendix A for themes and quotes that emerged from the U-M Team’s oral histor y inter views whil e on the field.

Fig 24: Oral history interview with Maria Pereira in Itamatatuia Photo credit: Ana Paula Pimentel Walker

2. Oral history as a CBT product

Because the approach to this project, which beg an in Januar y of 2024, was not academic in nature, the U-M Team did not underg o a coding process for the oral histor y inter views to identify themes and to take on an in-depth analysis of what these inter views reveal about the Quilombola experience in Alcântara Instead, the g oal for this project was to create a tangible deliverable for their par tner org anizations and communities: shor t videos that will be disseminated through digital (e g a website) and physical platfor ms (ex museums, historical sites, etc.) with the g oal of increasing public eng ag ement with the ter ritorial str ug gle of Quilombola communities of Alcân tara and to suppor t their cultural preser vation effor ts

a. Oral History Theme Identification

Upon cleaning through their inter view transcripts and consulting their par tner representatives, the U-M Team decided to org anize their 18 oral histor y inter views into four leading themes approved by one of their par tner representatives. T hese themes are the following:

● Collective Land Ownership & the Str ug gle for Collective Land Title: that is, how the respective community leaders inter viewed perceive and understand their response to the lived experience of displacement or to its ever-present threat in face of continued

Fig 25: Oral history interview with Danilo Serejo in Canelatiua Photo credit: Cat Diggs

effor ts to obtain their collective land title, which is constitutionally recognized from the Brazilian g over nment

● What it Means to be Quilombola, which emerg ed from the fact that the U-M Team posed this question to all of their inter viewees in order to uplift the way in which they understand their political identity as Afro-descendents and as peoples who have continuously fought for their self -deter mination on their ter ritories.

● Traditions and Cultures, which revealed themselves to be unique to the different Quilombola communities and revolve around topics of subsistence practices of far ming and fishing, as well as crafting and religious festivities

● Visions for the Future, which similar to Quilombola identity, was a question that was posed to all inter viewees about their hopes, dreams, and aspirations for the future of their community

Finally, because the U-M Team wanted oral histor y inter views to also be an oppor tunity to lear n about Quilombola perceptions of community-based tourism in their communities, they asked each of their inter viewees what they would see themselves sharing with visitors coming into their ter ritories for the first time T hey org anized their res ponses into a spreadsheet that was leverag ed for the development of the CBT Manual

b Oral History Project Outcomes

T heir deliverables for this component of the project were designed with sustainability in mind and ref lect the diversity of ways in which they leverag ed the 18 testimonies and life stories that they g athered through this project. T hey include:

● A bilingual facilitator guide on Oral Histories for Quilombola leaders, educators, and youth to know how to car r y out their own community-based oral histor y projects in a way that makes sense to their context and needs

Fig 26: Screenshot of the interactive Oral History, available here Credit: Cat Diggs and Russell Lin

● Full length oral histor y inter views to be archived online onto Dropbox or another online platfor m which their par tner org anizations will have ownership over.

● Eighteen oral histor y one to three minute raw video clips in Por tuguese with English subtitles

● T hese clips are woven into an ArcGIS Stor yMap that is housed on the Quilombos de Alcântara website on its “Celebrate” pag e. T he Stor y Map will contain a map of Alcântara with pins that indicate the Quilombos that the different leaders they inter viewed are from Each oral histor y clip is accompanied with a shor t summar y of key highlights from their inter view with each respective leader and is org anized into the four different themes that they identified during the Data Manag ement phase of the project: Collective Land Ownership & the Str ug gle for Collective Land Title; What it Means to be Quilombola; Traditions and Cultures; Visions for the Future

T he next phase of this project will involve:

● T he production of a documentar y shor t that highlights key moments from each inter view as well as b-roll footag e showcasing the locations in which the U-M Team inter viewed var ying Quilombola leaders.

● A physical exhibition of oral histories in the ATEQUILA headquar ters, as well as in key points throughout the Alcântara region (ex museums, historical sites, etc ) It will be displayed on monitors, which the U-M Team has raised funds to provide to their par tners.

In the long ter m, the g oal is for the digital and physical exhibitions to enhance the community’s income-g enerating potential through community-based tourism T hey can also be leverag ed for global diasporic launch events to raise and increase awareness at the regional, national, and inter national levels about Quilombola peoples' continued str ug gle for freedom and self-deter mination in Alcântara and beyond Finally, these exhibitions can be leverag ed to train Quilombola teachers and youth about car r ying out oral histor y projects in their community.

Fundamentally, the cr ux of this oral histor y work was to democratize histor y-making by uplifting the voice of Quilombola leaders as ag ents of the process and as lead nar rators of their own stories. T he U-M Team hopes that this project will not only have helped raise awareness around the still under-documented issue of Quilombola ter ritorial str ug gles and lifeways in Alcântara, Brazil, but that it will have helped contribute to the preser vation and transmission of these ag e-old cultures from one g eneration to the next in the region and beyond.

3. Using Photovoice to Inform the CBT

Photovoice, a par ticipator y visual methodolog y rooted in visual anthropolog y, offers a compelling way to surface community priorities and assets that are often overlooked By placing cameras in the hands of local resid ents, Photovoice shifts the power of representation and data collection, making the research process more inclusive and

democratic T his approach has been effectively used in Brazilian Quilombola communities to strengthen community-based tourism (CBT) initiatives For instance, in the nor th coastal districts of Rio Grande do Nor te, researchers found that "Photovoice fulfills[s] the role of identifying tourism potential, as well as can become a tool for enhancement of local culture, through recognition and ownership of the imag es captured " 22 In this context, community members were encourag ed to document their sur roundings through the lens of a visitor, helping to reveal valuable endog enous tourism resources. T hrough this process, elements deemed most “precious” by residents such as the natural beauty of Galos and Acauã emerg ed as central to both community identity and potential tourism nar ratives23

Similarly, in the Quilombos of Alcântara, Photovoice has been utilized not only to identify cultural and environmental assets, but also to foster a sense of ownership among residents Quilombola community members from Canelatiua, Itamatatiua, São João Côr tes, Santa Maria, and São Mauricio actively shaped the creation of locally g rounded data through two photovoice workshops held in both Canelatiua and Itamatatiua. A total of 26 par ticipants eng ag ed in these sessions, collectively selecting 35 photog raphs as their favorites Using these selected imag es, par ticipants were guided through prompts and ref lective questions discussing not only their own photos but also those taken by fellow community members T hese conversations fostered individual and collective ref lection, surfacing shared experie nces and insights

Audio from g roup ref lection sessions was recorded and transcribed, and commonly used words were analyzed to help surface key themes While the condensed workshop timeline limited deeper exploration, this initial analysis revealed four overarching themes Subsistence, Traditional Culture, Ter ritor y, and Community T hese themes ser ve as broad umbrellas that recognize both the commo nalities and diverse expressions found across the par ticipating Quilombos, shaped by their distinct histories and g eog raphies

Below are details by theme of what each photovoice theme identified throughout this process refers to:

● Subsistence points to daily practices that sustain individuals and communities through the land’s resources, including canoe-making and ar tisanal fishing in the Quilombola context of Alcântara Traditional culture encompasses g enerational knowledg e, shared beliefs, foodways, animal care, and communal spaces like the Itamatatiua Ceramics Center

● Traditional Culture highlights Indig enous and sovereign lifeways rooted in har mony with the land and communal relationships

● Ter ritor y ref lects the serenity and ecological richness of Quilombola landscapes, while also acknowledging disr uptions to environmental and community health such as those caused by the Alcântara Space Launch Center

● Community centers on collective practices like attending school, g athering in shared spaces, eng aging in co-production, and sustainably har vesting resources like Buriti palm

To ensure the continued relevance and depth of these findings, fur ther eng ag ement is encourag ed with community leaders, teachers, and residents T his ong oing dialogue can help expand understanding of how these themes intersect with cultural preser vation and community-based tourism (CBT), while also building capacity for sustained, community-led research and planning Some key takeaways from the e xperience include:

● While Photovoice didn’t explicitly define what Quilombola members want to share with tourists, it opened the door for ong oing dialogue about community-based tourism (CBT)

● T he workshop process on the g round equipped community members with skills, tools, and experience to continue using photog raphy for personal and collective ref lection

● T hemes that emerg ed like ar tisanal fishing highlight aspects of daily life that could shape future tourism itineraries

Photovoice is a replicable, community-led method that can be car ried forward by local leaders and educators

● T he approach suppor ts future solidarity tourism planning through self-directed research and locally driven inquir y.

4. Photovoice as a CBT Product

Photog raphs and personal nar ratives created by Photovoice par ticipants have been curated and shared in the for m of an ArcGIS Stor yMap on the Quilombos of Alcântara website, creating a digital platfor m that ref lects community voices and lived experiences T hese imag es capturing ever yday life, landscapes, and cultural practices offer more than documentation; they ser ve as a powerful visual languag e that invites ref lection, connection, and solidarity While not designed to define a tourism strateg y, the content offers insights into potential elements for community-based tourism (CBT), such as ar tisanal fishing and cultural craftsmanship.

Impor tantly, the Photovoice process also contributed to capacity building by equipping par ticipants with photog raphy and stor ytelling skills T his training aimed to suppor t the development of future leaders who can continue to represent their communities through visual and nar rative media With tools and knowledg e now in the hands of residents, educators, and local leaders, the methodolog y can be adapted and replicated, enabling communities to explore themes that matter to them and shape tourism planning on their own ter ms. T hrough photog raphy, written nar ratives, and audio ref lections, Quilombola communities can continue to define how they are seen and understood laying the foundation for tourism that is g rounded in dignity, self-representation, and mutual respect

5. Website as a Means of Dissemination

a Overview

Fig 27: Screenshot of the “Experience” page, available here

T he website also contains an interactive tourism web pag e with a guided map, a calendar of activities, and 3D scans of ar tifacts, as well as the photovoice and oral histor y project outcomes in the for m of a digital living archive. On this website, tourism is framed as "solidarity tourism” i e tourism that directly benefits host communities, thus reinforcing the Community-Based Tourism (CBT) approach

T he site will be updated by Quilombola leadership now that the U-M Team has built up its foundations. T he Team paid special attention toward selecting a web builder with a simple content manag ement system (CMS) that is easy to update. For this reason, WordPress, the website builder was selected

b Identity/Logo

T he U-M Team acknowledg ed the significance of the website's identity in conveying the unity and solidarity of the movement underlying the Quilombola ter ritorial str ug gles in Alcântara Instead of star ting from scratch, they decided to adopt a similar design to the one that was used for ATEQUILA’s log o T he color palette; yellow, g reen, red, and blue, was chosen to resonate with the Quilombola communities' sense of identity. In pursuit of inclusivity, the Team adopted the name 'Quilombos de Alcântara, ' encompassing all affected communities in Alcântara

c Client Feedback

T hrough the numerous interactions with the clients, the U-M Team scoped out client needs early on and devised a method to translate these needs onto the website For instance, Danilo Serejo, a lawyer and Quilombola leader, expressed his desire for the website to be political in nature, encompassing an interactive timeline to contextualize their land str ug gles by featuring significant historical events and documents. A core hurdle the Team had to overcome was to balance between the client’s needs to include both strong political messag es on the website with infor mation per taining to community-based tourism T he result was to split the website into five main call to actions (CTA’s):

● Lear n, where infor mation per taining to demog raphic and histor y of the Quilombos in Brazil and Alcântara more specifically will be housed

● Experience, where tourism-re lated content lives

Fig 28 - 32: Previous version of the logo (top) and the current version with an alternative version (bottom) Credit: Russell Lin

● Celebrate, where content from the Photovoice and Oral Histor y projects live

● Suppor t, where a link for visitors to donate to the cause

● About us, where descriptions of the org anizations that lead the social movements of the Quilombos of Alcântara are

d. Website Page-by-Page Summary

To ensure accessibility to a wider audience, the website is available in two languag es - English and Brazilian Por tuguese - and offers two different views to accommodate the majority of Brazilians who access the web via their mobile devices Below, are key components of each major pag e of the website (linked below):

● Lear n – Over view and Histor y: T he Lear n section comprises two pag es. One focuses on contextualizing the Quilombos in Alcântara, while the other delves into their specific histor y Additional ly, there's an interactive timeline and a displacement map illustrating the continued str ug gles for collective title T hese pag es aim to provide context for the Quilombola str ug gle to those who may not be familiar with it

● Experience - Tourism: Given that CBT for ms the core of their project and ser ves as an effective means for Quilombola communities to g ar ner recognition and suppor t, the Team d ecided to have dedicated a pag e to provide easily accessible infor mation for potential tourists Additionally, recognizing the lack of tourist infrastr ucture in the area, the Team created a calendar-like table detailing the seasons and locations of activities such as açaí picking and babassu har vesting, along with relevant contact details. T his empowers tourists to directly eng ag e and plan their trips. While the g oal is for the tourism plan to expand with increased attention and financial suppor t over time, for now, the website ser ves as an essential initial step

● Celebrate - Photovoice and Oral Histor y: Mir roring the str ucture of the Lear n section, the Celebrate pag e consists of two pag es containing thematically similar but differently scoped content. One pag e features Photovoice content presented as an interactive Stor yMap, showcasing par ticipants' photos. Similarly, Oral Histor y is presented in a Stor yMap for mat, featuring few-minute clips of each inter viewee along with detailed write-ups

● Suppor t: T his pag e outlines various ways individuals can contribute to the Quilombo cause, including a Pix code for Brazilians and a soon-to-be-added Paypal link for inter national transfers. In the future, this pag e will also include updated funding g oals. Similarly,

● About Us: T his pag e offers detailed explanations of the numerous g roups that make up the social movements of the Quilombos de Alcântara, along with contact details for visitors to fur ther eng ag e and g ain recognition online

APPENDIX B - CBT MANUAL (ENG)

PART IV

General Insights for Effective CBT Planning

1. Community Visioning and Goal Clarification

T he first three steps of planning for Community-Based Tourism (CBT) are: a g oal setting and clarification, b consensus building on the level of community control envisioned, and c. establishing par tnerships. All these steps should involve as many community members as possible

Before any planning begins, it is essential to g ather community input through visioning sessions. As explained in Par t II, the U-M Team eng ag ed with the leadership of MABE (People Affected by the Space Base), ATEQUILA (Association of the Ethnic Ter ritories of Alcântara), and the Itamatatiua quilombo through infor mal conversations and field visits T hey identified multiple purposes for CBT, including cultural preser vation, g rassroots advocacy for ter ritorial rights, and income g eneration for the local community.

Some tourism activities are already in place; these are planned through direct contact between prospective tourists and residents or associations. T he emphasis of these touristic eng ag ements varies. For example, Quilombo Vista Aleg re suppor ts inter nal tourism (tourism from one quilombo to another and from local towns), allowing visitors to enjoy a day at the beach and dine at local restaurants T he primar y g oal is to g enerate income through leisure activities. Another example is visits scheduled via Instag ram to Quilombo Itamatatiua, where visitors can attend traditional music and dance perfor mances and visit the Ceramics Center. Likewise, Quilombo Canelatiua receives visitors for cultural and educational exchang es that include a visit to the Canelatiua Knowledg e Center, a small museum containing a variety of ar tefacts and tools from Quilombola communities across Alcântara. T he museum, curated by Quilombola people, received suppor t from the Universidade Estadual do Maranhão

T hus, these activities demonstrate isolated instances of touristic activities with the g oal of both cultural dissemination and income g eneration. With this in mind, activities that include a g oal clarification worksheet can be used by community members to g ather feedback from the community or to g ain perspective across stakeholders and local org anizations Several visioning and g oal clarification activities can take place Once consensus over the vision is established through g oal-setting, the second step would be to establish action steps to achieve the vision In planning circles, practitioners highlight that the selected g oals must be SMART: Specific, Measurable, Achievable, Relevant, and Time-bound (SMART)

Please reference Appendix B for examples of community-enga gement worksheets that can be levera ged during the visioning and consensus-building phase of the planning process for CBT.

Fig 28-31 from left to right: Family and friends at a restaurants in Vista Alegre Quilombo, Alcântara, Maranhão (28), Women making ceramics at the Itamatatiua Women's Association, Alcântara, Maranhão (29), Exterior of the the Canelatiua Knowledge Center, 4) Walking down to the beach in Vista Alegre Quilombo Photo credit: Ana Paula Pimentel Walker, Cat Diggs, and @Restaurante Som do Mar

Caption

● Red for unwanted g oals

● Yellow for neutral objectives

● Green for desirable g oals

Add a colored mark next to the following objectives:

Community-Based Tourism in Alcântara quilombos should be: Mark

Org anized to promote income generation as a pover ty reduction strateg y

A complementar y economic activity to supplement ag riculture, fishing,

Caption

● Red for unwanted g oals

● Yellow for neutral objectives

● Green for desirable g oals

Add a colored mark next to the following objectives:

Community-Based Tourism in Alcântara quilombos should be: Mark

A main investment that will bring large companies and resor ts and change people’s livelihoods

An oppor tunity for cultural affir mation of quilombola identity

An advocacy platfor m for the defense of ter ritorial rights, collective land titling, and self-deter mination

Add your own below

Table 3: CBT goal-setting and goal-clarification

2. Types of Partnerships and Autonomy

T he levels of par tnership and autonomy in CBT can illustrate how involved different stakeholders are, from the g over nment and private sector to local communities

T he CBT org anization’s g oals are impor tant in deter mining the levels of par tnerships with different actors T he table below outlines the primar y characteristics of various types of community par ticipation and collective control of the CBT enter prise

Types of Community Par ticipation in Tourism

1) Collective management of the entire CBT enterprise

2) Business par tnership with a private, for-profit business

3) Business par tnerships with existing tourism agencies and enterprises

4) Use concession contracts for community resources

5) Hired workers

6) Hybrid for ms

Main Characteristics

The community org anizations control each stage, from planning to deliver y

A business establishes a commercial contract with community org anizations, investing in the business and benefiting from th e profits, e g patient capital investment funds

The agency brings the tourists and the community provides the touristic ser vices and is paid for these ser vices on a fee basis The agency controls the f lux, adver tising, and contracting.

The community provides access to nat ural and cultural assets upon compensation and the private tourist agency delivers the tourism experience

Some community individuals and families independently provide touristic ser vices without a community project, hired by an outside tourism agency.

Community rotation system in contract with touristic agency

For numerous r ural and forest communities, the CBT options delineated in the preceding table are significantly inf luenced by the local context. Factors such as inter nal org anizational capacity, the extent of available funding for product development and infrastr ucture enhancements, the existence of local markets (e g transpor tation companies, travel ag encies), and the willingness of the private sector to invest in the CBT play critical roles in shaping these choices. Moreover, community org anizations frequently encounter challeng es related to the lack of accessible par tnerships and are often confronted with a limited capacity to unilaterally establish such collaborations Consequently, an initial understanding of existing market dynamics, alongside an awareness of the resources offered by both g over nmental and private entities, is imperative for fostering infor med decision-making reg arding realistic and desirable types of par tnerships.

Table 4: CBT ownership and community participation typology

Desirability in CBT par tnerships involves evaluating various factors to deter mine whether a CBT initiative aligns with the community's g oals, needs, and resources, and whether it can be effectively manag ed under the desired par tnership model, which ensures that the g oals of both private and g over nment sector par tners are also met. Feasibility in CBT par tnerships refers to the assessment of whethe r a CBT project is viable and likely to succeed under the proposed par tnership model T his includes questions about whether the par tners complement each other's skills and resources, and whether they avoid duplication Viability refers to the long evity, financial stability, and sustainability of the CBT par tnership with various companies and g over nment offices.

Par tner ship and Autonomy

High Community Autonomy

Collaborative Par tnership

The community independently manages and controls all aspects of the tourism initiative with minimal exter nal input Local stakeholders primarily handle funding, planning, and operations

A balanced par tnership is one in which the community collaborates equally with g over nment or private sector entities. Decision-making, funding, and resource management are shared responsibilities

Community-Led with Exter nal Suppor t

Private Sector Par tnership

The community leads the tourism initiatives while receiving g over nment or NGOs' strategic suppor t, funding, or training The private sector may provide marketing assistance

Involves significant collaboration with private businesses, where the community plays a central role in operations but relies on the private sector for investment and operational exper tise, resulting in shared profits.

Gover nment-Led Initiatives

The g over nment plays a leading role, often providing funding, regulator y frameworks, and infrastr ucture The community is actively involved, but decision-making may be more top-down

Limited Community Involvement

The g over nment or private sector primarily drives initiatives with limited input or inf luence from the community Projects may focus more on economic outcomes than social or cultural ones Communities receive compensation for delivering cer tain activities, such as guided visits or meals for which they are compensated

Table 5: CBT levels of autonomy and partnership where participants are asked to rank each category between 1 and 10, where 1 is low and 10 is high, according to its desirability, feasibility and viability

T his table illustrates var ying deg rees of community involvement and control, highlighting the potential for autonomy or collaboration depending on the specific CBT context T he effectiveness of each level can depend significantly on local circumstances, the community's capacity, the private sector's market prospects, and the availability of g over nment prog rams or the presence of NGOs

3. The Components of a Tourism Product

T he components of a tourist product aim to meet the needs and expectations of travelers at a destination T his includes attractions, accessibility, accommodation, and various ser vices, such as transpor tation, food, and enter tainment, that enhance the overall travel experience

Tourism products can var y widely; for example, a travel packag e might include a beach vacation with accommodation, meals, and activities like a two-day packag e to Vista Aleg re On the other hand, a tourist product could also be a shor ter experience, such as a two-hour guided tour of a historical site in the city, which may not include food or transpor tation but focuses on impar ting knowledg e about the site through the guide

Another example of a tourist product is a cultural festival or event For instance, a day trip to a Quilombo festival could include transpor tation, food, and a guided tour, although it may not cover transpor tation to the event itself

a Transportation To and From the Destination

A clear plan should be established for tourists traveling from major airpor ts to the Quilombos of Alcântara tourist destination It is essential to provide detailed written infor mation to tourists about what they need to do independently and what the CBT org anization will facilitate

For example, the plan could specify a meeting point or a pickup option at the air por t or hotels in São Luís A tourist guide from the Quilombos, or a reliable designated representative in São Luís, will then escor t tourists to either Cujupe por t or Ponta da Espera pier. T his ser vice could include a pickup in São Luís using a van or ar ranging for a local company to provide transpor tation on behalf of the CBT entity

Alter natively, the CBT org anization could implement a system where tourists ar rive in Alcântara independently, with a community guide waiting for them upon ar rival. T he CBT org anization should provide detailed written infor mation on the various options available It is impor tant to highlight the advantag es and disadvantag es of depar ting from Ponta da Espera pier, which is 12 km from the historic center, compared to Cujupe, a por t that is 60 km from Alcântara. Sufficient time must be allocated to reach Cujupe, especially on rainy days

Boats to Alcântara depar t from Praia Grande pier, which is located next to the historic center. While the distance to the historic center of São Luís is relatively shor t, the sea can often be rough, causing seasickness for some passeng ers T he CBT org anization should infor m tourists that the jour ney may feel dang erous and uncomfor table for many Some

Fig 32: Ponta da Espera Pier, the port linking São Luís to Alcântara https://www youtube com/watch?v=tCSCCH5yJ Q

travel sites recommend that passeng ers take Dramamine half an hour before depar ture and upon retur n

When deciding which options to offer to tourists, consider the costs of each option for both the tourist and the CBT org anization No matter the chosen path, infor mation f lyers and cards are essential Once a plan is in place, tourists should always car r y a few phone numbers for local guides to reach out to. Conversely, the CBT org anization should also have a few phone numbers and ways to contact the tourists in case the guides need to g et in touch with them

b. Infrastructure and Equipment

T he conditions of hiking and walking trails, view points, rest areas, bridg es, and lodging accommodations must be carefully considered T he CBT org anization should focus on creating, improving, and maintaining this infrastr ucture, with public safety as the top priority It's impor tant for the CBT to use signag e such as “Watch Your Step,” “Risk of Mudslides,” “Area with High Concentration of Mosquitoes,” and “Limited Shade in the Picnic Area ”

In addition to ensuring the physical safety and functionality of the infrastr ucture, aesthetics also play a cr ucial role in enhancing the tourist experience. Simple, r ustic decorations or signag e can significantly improve the overall ambiance Some investments and improvements will likely be necessar y to achieve these g oals

Lodging amenities may include a small librar y with a handful of g eneral books, including some about quilombos, and simple g ames, such as Monopoly Additionally, a cour tesy tray with coffee and tea facilities and a water filt ration system can ensure that guests have access to potable water. It is also impor tant to provide mosquito nets for sleeping and a first aid kit for emerg encies

Heavier equipment that facilitates mobility and accessibility to nearby tourist activities includes cars, vans, car ts, horses, bicycles, canoes, and boats. Recreational equipment can be as simple as a ball and makeshift g oalkeepers, a volleyball net, bamboo, and basic outdoor enter tainment

APPENDIX B - CBT MANUAL (ENG)

Here are some equipment safety and hygiene tips to consider below:

Moder n living necessitates that the CBT org anization clearly communicates the availability and reliability of Wi-Fi at various destinations, par ticularly at lodging places in the different quilombos that welcome over night guests Additionally, it should provide sug g estions for exter nal por table ser vices available for purchase.

c Tourist Activities

Fig 33: Equipment safety and hygiene tips

Fig. 34: Screenshot of website calendar of activities with a focus on artisanal fishing, fishnet crafting, and canoe-making Credit: Cat Diggs and Russell Lin

Culturally-based activities include music and dance presentations or lessons, such as "Dança do Neg ro " Par ticipants may visit quilombola museums, take ar ts and crafts classes or view exhibitions examples include ceramics-making in Itamatatiua and basket-weaving in the Santa Maria quilombos Cooking demonstrations and classes, as well as obser vations of food production like cassava f lour production, can also be par t of the experience In the evening, activities may include a bonfire featuring stor ytelling or singing

Additionally, attending festivals in quilombola communities fosters community building among family and friends It’s impor tant to infor m prospective tourists that these festivals are not designed as tourist attractions but are tr uly long-standing community traditions As a result, the CBT org anization may consider minor adaptations to car ve out a por tion of the day, during festivities, to cater to the tourist experience

Nature-based activities include enjoying beaches, hiking on trails, canoeing, swimming, exploring ig arapés, fishing, collecting fr uits, and obser ving birds and animals. Here, the role of guides explaining local names of remedies, teas, birds, and animals can be balanced with free time

Fig 35: Screenshot of website calendar of activities with a focus on juçara berry-gathering and subsistence farming Credit: Cat Diggs and Russell Lin 41

APPENDIX B - CBT MANUAL (ENG)

d Services

CBT is a paradigm that emphasizes the active eng ag ement and equitable benefit of local communities while facilitating immersive cultural experiences for travelers T he rang e of ser vices provided in the context of CBT can var y considerably, ref lecting the distinctive characteristics and resources of each community Typical offerings may encompass homestays, guided cultural tours, local cuisine experiences, and par ticipation in traditional crafts, all designed to enrich the traveler's understanding of the community's heritag e and daily practices T his approach not only fosters a deeper connection between visitors and host communities but also promotes sustainable development and cultural preser vation

Ser vice Type

Lodging ser vices

Food and Meal Ser vices

Description

CBT usually includes homestays, far m stays, and eco-lodges managed by community members, which offer visitors a chance to experience local life firsthand

Training those who provide food ser vices on dietar y restrictions is essential These restrictions may arise from allergies, such as allergies to fish, seafood, and peanuts, as well as religious prohibitions ag ainst consuming pork and pork-derived products Additionally, lifestyle choices, such as vegetarianism and veg anism, must be considered Nowadays, it is easy to find substitutes and recipes online for veg an and vegetarian versions of most traditional meals

Tourists like to know about the variety of food options available as par t of the CBT experience and for sale commercially Among these travelers, some identify as vegetarians and do not c onsume any meat, including fish, while others identify as veg ans and avoid all animal-derived products, such as eg gs and dair y It is impor tant to ensure that no animal-derived cooking oils, including those from pork, are used. Additionally, some tourists may have food allergies, with nuts being among the most common allergens It's cr ucial to be aware that some individuals have severe allergies To prevent cross-contamination when cooking, separate utensils, pots, pans, and cooking surfaces must be used for preparing food that contains nuts and for those that do not When a tourist trip is booked, it is impor tant to ask ahead of time about any allergies,

Volunteer Oppor tunities

Transpor tation Ser vices

Retail and Souvenirs

Educational Ser vices

but the cook should also confir m before preparing the meal, as the person booking the travel may not be aware of allergies and food restrictions CBT tourists may be par ticularly interested in local, quilombola, and Indigenous food and fr uits available and the way they are prepared Meals are par t of the tourist experience Be ready to provide receipts upon request and to introduce the meals with a few words

Eng aging in projects that benefit the community, such as conser vation effor ts, education, or infrastr ucture development

Local guides might provide transpor t options that are environmentally friendly and owned by community members

Shops or market stalls where tourists can purchase locally made products, suppor ting ar tisans and entrepreneurs

These can be provided through venues that provide infor mation about the region's histor y, culture, and environment, often with interactive exhibits or talks

CBT seeks to create sustainable economic oppor tunities for locals while ensuring the sustainability of cultural and environmental resources It promotes responsible tourism practices anchored on pedag ogical interactions between tourists and the host community

e Safety Plan

A safety plan in CBT is a str uctured framework designed to ensure the safety and well-being of tourists, local community members, and the environment in which they interact Given the often intimate and immersive nature of CBT, such safety plans are cr ucial

Table 6: Tourist services

APPENDIX B - CBT MANUAL (ENG)

4. Public Health and Safety

Safety and public health are major concer ns for most tourists, while a smaller g roup is more focused on minimum comfor t levels and the environmental impact of their travel activities When it comes to public health, inter national visitors often express concer ns about water quality, mosquito-bor ne diseases, and other communicable diseases and outbreaks prevalent in their areas of stay. It is advisable to consult the local public health depar tment to g ather infor mation on the initial symptoms of these illnesses and best practices for prevention T his essential infor mation should be effectively communicated to tourists While not ever ything needs to be communicated, tourist guides must know the proximity of the nearest health clinics.

Public health and safety g uidelines ought to be documented so that all tour guides are familiar with them and can share this infor mation with tourists, even if they prefer not to provide verbal explanations. For long er day trips, recommendations reg arding the need to bring water, appropriate footwear, and snacks are always welcomed All tourist guides should receive training on responding to emerg encies, including accident s, hear t attacks, and severe weather events. A safety plan must be prepared for implementation at villag e centers and during field trips. Guides should car r y emerg ency aid kits and have the phone numbers of nearby nurses and community health workers T hese safety plans need to be documented and par t of regular training A balance must be achieved between providing too much and too little infor mati on.

Here are the key components typically included in a safety plan for CBT:

1. Risk Assessment: A thorough evaluation of potential risks specific to the community and activities offered, such as natural hazards, health risks, or accidents related to activities like hiking or craft-making.

2 Emergency Procedures: Clearly defined actions to take in emerg encies, including natural disasters, medical situations, or security incidents T his includes evacuation routes and assembly points.

3 Communication Plan: Established channels for effective communication among stakeholders, including tourists, local guides, emerg ency ser vices, and community leaders Provide clear instr uctions on how to contact authorities or seek help

4. Health and Sanitation Protocols: Guidelines to ensure proper hygiene and sanitation are fundamental after global health crises T hese might include access to clean water, sanitar y facilities, and first-aid kits, along with plans to handle health emerg encies

5. Training and Capacity Building: Regular training for community members involved in tourism on safety measures, first-aid, conf lict resolution, and customer ser vice to ensure they are well-prepared to han dle incidents

6. Visitor Guidelines: Infor mation provision to tourists on how to stay safe within the community, including cultural nor ms, environmental awareness, and behavior expectations

7. Insurance and Liability: Guarantees that appropriate insurance policies are in place to cover accidents or emerg encies, protecting both visitors and the community

8. Par tner ships and Coordination: Collaborations with local authorities, health ser vices, and other relevant org anizations to enhance safety infrastr ucture and response capabilities

9. Monitoring and Evaluation: Regular reviews and updates of safety plans based on feedback, new risks, or chang es in the environment to improve the effectiveness and efficiency of safety measures

Fig 36-38: Caribbean Tourism Organization

Health, safety and service standards & guidelines for CBT Available at https://ourtourism onecaribbean org, page 30

By integ rating these elements, a safety plan in CBT aims to create a secure and enjoyable environment for tourists while safeguarding the interests and well-being of the local community

(2022)

5. CBT: Curbing Environmental Impacts

Besides public health and safety, tourists interested in Community-Based Tourism (CBT) often care about the environmental impact of their touristic activities CBT should have minimal or no impact on water pollution and solid waste accumulation Both low and high-hanging fr uit actions can be taken to promote sustainable CBT T he steps that individuals, businesses, or g over nment sectors can implement with little effor t are refer red to as low-hanging fr uit, while those that require significant effor t and resources to accomplish are called high-hanging fr uit

Low Hanging Fr uit

● Restrict the use of super market plastic bags, cups, silverware, and plates as much as possible, as this practice may alienate some tourists

● Provide trash bins to collect waste during hiking and canoeing activities

● Reduce, Reuse, Recycle by providing bins for recycling and composting, and by encouraging practices that minimize waste generation

● Protect local f lora and fauna by creating buffer zones and limiting access to sensitive areas

6 Demystifying the non-local tourist

High-Hanging Fr uit

● Reforestation: consult with exper ts and plan a reforestation initiative Eng age tourists in tree planting activities to restore natural habitats

● Water Conser vation: install low-f low fixtures, rainwater har vesting systems, and g reywater recycling

● Rural Community Composting: half of the household waste generated is org anic and can be composted

During the UM fieldwork in the Quilombos of Alcântara, they obser ved that local tourism is vibrant among quilombola communities. Residents from inland quilombos often travel to coastal quilombos for vacations, while community members also visit the iguarapés (streams) for canoeing and to see friends Tourism is par ticularly active during the various saints' festivities when relatives who have moved away retur n home to spend time with friends and family.

Reg arding non-local tourists, it is essential to reach out to them through adver tising, the website, and social media Social media and WhatsApp can facilitate both adver tising and ar ranging visits. Marketing and outreach are cr ucial for attracting out-of-state tourists, as they may not be familiar with the area and the histor y of quilombos in Alcântara Here are some characteristics of the out-of-the-state tourist who responds to adver tisements about CBT

Table 7: List of low and high-hanging fruit to curb the environmental impacts of CBT

a. When do people travel?

Families with school-ag ed children frequently travel during vacation periods In Brazil, these vacations usually span two weeks in July, as well as from Januar y until late Febr uar y or March In many other countries, including several in Latin America, the long est vacation period extends from June to August, while the December holidays are shor ter.

b Why do people travel, and what do different tourists like to do?

People travel for various reasons, and often individuals within a single g roup have multiple motivations for their jour neys T hese reasons may include resting and relaxing, seeking health treatment, lear ning and exchanging experiences, sightseeing, connecting with nature or urban centers, par tying and having fun, or eng aging in adventures

A CBT plan must consider the desires and aspirations of each g roup However, it is equally impor tant to decide which activities the Quilombos can offer and to promote only those that can be delivered safely Safety is a significant concer n for Alcântara, especially due to the distance from specific locations to hospitals. Balancing a space for par tying and a space for resting can be challenging Noise during late hours or after lunch may be appealing to some travelers but not to all

c Building flexible Itineraries

On the website developed by the U-M Team with the Quilombos of Alcântara, several itineraries are sug g ested T hese itineraries should balance the amount of time, the type of activities, and the distance tourists would travel between different quilombos. T he itinerar y should be clear a nd include detailed pricing, as well as a breakdown of what is included and excluded from the price Fair pricing should be established, ensuring that Quilombola individuals are charg ed less than other tourists, but without falling into exploitative practices Additionally, researching tourists' willingness to pay for specific CBT experiences can help identify attractive and sustainable price points T he CBT org anization should emphasize several key factors: the uniqueness of the experience, the adherence to safety standards, and the oppor tunity to lear n about the local culture Additionally, the social value of small-scale, locally manag ed CBT initiatives that provide direct benefits to the community can positively inf luence people's willingness to pay

d. Advertisement and outreach strategies

Maranhão attracts many tourists to the Lençóis Maranhenses Visitors need to have access to f lyers with infor mation on how to book a visit to the quilombos in Alcântara T hese f lyers should be available not only at the air por t and municipal visitors and welcome centers in Alcântara and São Luís, but also in hotels and restaurants. Travel ag encies can assist with this adver tising, although refer rals may sometimes incur a small commission

APPENDIX B - CBT MANUAL (ENG)

7. CBT Management Principles

a FPIC Protocol

Quilombola communities in Brazil, which are protected by Convention No 169 of the Inter national Labor Org anization, have developed their own protocols for Free, Prior, and Infor med Consent (FPIC) reg arding any activities on their ter ritories Creating a protocol that includes guidelines for tourism businesses wishing to collaborate with the Quilombos of Alcântara can be beneficial

b

Management Council and Advisory Board

T he CBT org anization org anizeS a manag ement council to conduct the planning, and control of the tourist activities. T he manag ement decisions are discussed in weekly meetings, with the par ticipation of all members T he g roup prioritizes equal distribution of income among the org anizations represented

Meanwhile, the advisor y board, made up of community members, private sector representatives, academia, non-profits, and g over nment officials, provides recommendations on tourism-related policies, plans, and strategies to ensure they align with the values and needs of the community

Manag ement is responsible for overseeing all insurance matters related to the tourism industr y and ensuring compliance with zoning and other regulations Additionally, manag ement holds financial responsibility for the overall financial manag ement of the Community-Based Tourism (CBT) enter prise. It is essential to conduct periodic transparency meetings and maintain dialogue about the equitable distribution of CBT benefits

8. Additional Resources

For additional infor mation, please refer to the resources listed below:

● 43 ABNT NBR technical standards for adventure tourism (2024): https://abeta tur br/w p-content/uploads/2024/01/ABNT-CB-054-Nor mas-Turism o-de-Aventura-Lista-Jan2024.pdf

● Companies associated with Coletivo MUDA, “ a collective of initiatives and enter prises that believe in the potential of travel to promote positive impacts, har mony and sustainability in Brazilian destinations”: https://coletivomuda tur br/ (@coletivomudar tur)

● Community Protocols Obser vator y, which features “community protocols for prior, free and infor med consultation and consent, also called autonomous protocols, that refer to documents drawn up by Indig enous Peoples, quilombolas and other traditional peoples that establish the r ules for the procedure of prior, free, infor med

and g ood faith consultation, so that cultural specificities, their own leg al systems, for ms of social org anization and collective deliberation are respected”: http://obser vatorio.direitosocioambiental.org/

● SEBRAE (“Brazilian Suppor t Ser vice for Micro and Small Businesses”)

Thematic Communities, through which you can join the thematic communities that Sebrae created on Whatsapp and Teleg ram to bring tog ether entrepreneurs by areas of activity (beauty, fashion, tourism, bars and restaurants, food and beverag e retail, home and constr uction, etc ): https://sebrae.com.br/sites/Por talSebrae/ar tig os/ar tig osEmpreendedorismo/comu nidades-do-sebrae-no-teleg ram-reunem-empresarios,2462950ee41ae710VgnVCM100 000d701210aRCRD

APPENDIX B - CBT MANUAL (ENG)

Endnotes

1 Lusby, C , & Pinheiro, T (2019) Case study: Tourism in traditional Brazilian Quilombo communities – from theor y into practice Jour nal of Global Business Insights, 4(2), 119–124, 120 https://doi org/10 5038/2640-6489 4 2 1052

2 Oliveira, A F B , Medeiros Santana, C S C , & Freitas, I N F (2023) Patrimônio Cultural E Turismo De Base Comunitária Em Comunidades Quilombolas: Desafios E Opor tunidades Revista Turismo: Estudos & Práticas (RTEP), 12(2), 1–19

3 Oliveira, A F B , Medeiros Santana, C S C , & Freitas, I N F (2023) Patrimônio Cultural E Turismo De Base Comunitária Em Comunidades Quilombolas: Desafios E Opor tunidades Revista Turismo: Estudos & Práticas (RTEP), 12(2), 1–19, 7

4 Lusby, C , & Pinheiro, T (2019) Case study: Tourism in traditional Brazilian Quilombo communities – from theor y into practice Jour nal of Global Business Insights, 4(2), 119–124, 120 https://doi org/10 5038/2640-6489 4 2 1052

5 Oliveira, A F B , Medeiros Santana, C S C , & Freitas, I N F (2023) Patrimônio Cultural E Turismo De Base Comunitária Em Comunidades Quilombolas: Desafios E Opor tunidades Revista Turismo: Estudos & Práticas (RTEP), 12(2), 1–19

6 Rosa, F J , Tur, A A , & Andreu, H G (2017) Community-based tourism and the political instr umentalization of the concept of community - a new theoretical approach and an ethnog raphical case study in nor theaster n Brazil Anthr opos, 112(2), 467–486, 468-470 https://doi org/10 5771/0257-9774-2017-2-467

7 Rodrigues, C B , & Prideaux, B (2017) A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon Jour nal of Ecotourism, 17(1), 1–19 https://doi org/10 1080/14724049 2017 1309045

8 Burg os, A , & Mer tens, F (2017) Par ticipator y management of community-based tourism: A network perspective Community Development, 48(4), 546–565 https://doi org/10 1080/15575330 2017 1344996

9 Rodrigues, C B , & Prideaux, B (2017) A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon Jour nal of Ecotourism, 17(1), 1–19 https://doi org/10 1080/14724049 2017 1309045

Ullán de la Rosa, F J , Aledo Tur, A , & García Andreu, H (2017) Community-based tourism and political communitarianism in Prainha do Canto Verde, Brazil Latin American Perspectives, 46(4), 210–229 https://doi org/10 1177/0094582x17702359

Burg os, A , & Mer tens, F (2017) Par ticipator y management of community-based tourism: A network perspective Community Development, 48(4), 546–565 https://doi org/10 1080/15575330 2017 1344996

10 Rodrigues, C B , & Prideaux, B (2017) A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon Jour nal of Ecotourism, 17(1), 1–19 https://doi org/10 1080/14724049 2017 1309045

11 Oliveira, A F B , Medeiros Santana, C S C , & Freitas, I N F (2023) Patrimônio Cultural E Turismo De Base Comunitária Em Comunidades Quilombolas: Desafios E Opor tunidades Revista Turismo: Estudos & Práticas (RTEP), 12(2), 1–19

12 Rosa, F J , Tur, A A , & Andreu, H G (2017) Community-based tourism and the political instr umentalization of the concept of community - a new theoretical approach and an ethnog raphical case study in nor theaster n Brazil Anthr opos, 112(2), 467–486 https://doi org/10 5771/0257-9774-2017-2-467

13 Lusby, C , & Pinheiro, T (2019) Case study: Tourism in traditional Brazilian Quilombo communities – from theor y into practice Jour nal of Global Business Insights, 4(2), 119–124 https://doi org/10 5038/2640-6489 4 2 1052

14 Burg os, A , & Mer tens, F (2017) Par ticipator y management of community-based tourism: A network perspective Community Development, 48(4), 546–565 https://doi org/10 1080/15575330 2017 1344996

15 Rosa, F J , Tur, A A , & Andreu, H G (2017) Community-based tourism and the political instr umentalization of the concept of community - a new theoretical approach and an ethnog raphical case study in nor theaster n Brazil Anthr opos, 112(2), 467–486 https://doi org/10 5771/0257-9774-2017-2-467

16 Burg os, A , & Mer tens, F (2017) Par ticipator y management of community-based tourism: A network perspective Community Development, 48(4), 546–565 https://doi org/10 1080/15575330 2017 1344996

17 Rodrigues, C B , & Prideaux, B (2017) A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon Jour nal of Ecotourism, 17(1), 1–19

https://doi org/10 1080/14724049 2017 1309045

Rosa, F J , Tur, A A , & Andreu, H G (2017) Community-based tourism and the political instr umentalization of the concept of community - a new theoretical approach and an ethnog raphical case study in nor theaster n Brazil Anthr opos, 112(2), 467–486 https://doi org/10 5771/0257-9774-2017-2-467

18 Rodrigues, C B , & Prideaux, B (2017) A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon Jour nal of Ecotourism, 17(1), 1–19

https://doi org/10 1080/14724049 2017 1309045

19 Rodrigues, C B , & Prideaux, B (2017) A management model to assist local communities developing community-based Tourism Ventures: A case study from the Brazilian Amazon Jour nal of Ecotourism, 17(1), 1–19

https://doi org/10 1080/14724049 2017 1309045

20 https://www unwto org/about-us

21 Mar tins C Liberdade: conhecendo o maior quilombo urbano das Américas Cor reio Braziliense (Opinião) Available online https://www cor reiobraziliense com br/opiniao/2023/11/6659535-liberdade-conhecendo-o-maior-quilombo-u rbano-das-americas html

22 Gehrke, B -M , Júnior, J D , & Milito, M C (2015) Photovoice E Identificação de Recursos Turísticos Endógenos no Litoral do rio g rande do nor te brasil PASOS Revista de Turismo y Patrimonio Cultural, 13(5), 1003–1017 https://doi org/10 25145/j pasos 2015 13 069

23 Gehrke, B -M , Júnior, J D , & Milito, M C (2015) Photovoice E Identificação de Recursos Turísticos Endógenos no Litoral do rio g rande do nor te brasil PASOS Revista de Turismo y Patrimonio Cultural, 13(5), 1003–1017 https://doi org/10 25145/j pasos 2015 13 069

APPENDICES

Appendix A - Oral History CBT Themes and Quotes

CBT PDF - OH Inter view CBT Findings pdf

ORAL HISTORY INTERVIEW FINDINGS ON QUILOMBOLA PERSPECTIVES ON COMMUNITY-BASED TOURISM IN THEIR COMMUNITIES OF ALCÂNTARA

During their oral history interviews with Quilombola leaders in Alcântara, the U-M team asked all interviewees at the exception of three, due to the context of the interview, the following question or two:

- If there were a place that you hold close to your heart or means a lot to your community that you would show a visitor, what would it be?

- What about aspects of your culture that you would want to share with visitors - food, dance, music?

Below are some key quotes from our interviews with these leaders about their perspectives on community-based tourism (CBT) in their communities.

Interviewee Name CBT Notes

- The day-to-day: "the farm activity, which is the production of cassava, in this period that is here now, which is the rainy period, here, more or less, in a month, 15 days, there will be a lot of watermelon, then corn, peanuts, water, and then, when the rainy period passes, there is only cassava, and fishing. Fishing, right? And then, also, the women have a lot of the extractivism of the cassava."

-Traditions: "I like to work with rice, something that my mother did a lot in the future, embroidery, music."

- Festivities: "Yes, we have some festivities in the community. The main one is the inauguration of Conceição, which this year completes 104 years of festivities. It was made on April 10, 1919, by a man called Angelo, known here as the old angel. He did it for a few years. Then my grandfather's family did it for a few years. And some people started doing it."

- What to show to a tourist: "The beach, the port, and the community, the houses, and our center. // The production, to show how we survive, and from what."

-Traditions + day-to-day: "But this is the life we have lived. Our life has always been this one. Fishing, working in the fields, eating, selling the surplus, which is part of our livelihood, to Alcântara, to São Luís, and so on."

- Culinary: "Our culinary itself is based on the sea. It's the sea fruits, like the fish, the shrimp, or some seafood that people want, right? We have the crab, in abundance. We have the siri, which now in winter is also a lot. The fish, which is the main dish that people like, right? It's all from here. And the most, everyone already knows, which is rice and beans, right?"

- What to show a tourist: "Here, what we have of the most important, the most beautiful, is the beach, our food, and these things, as I want to say, monuments, these things, we don't have any of that. What we have of beautiful, of good here, is the beach from where we get our sustenance, it's our struggle, from day to day, and so on. I mean, because tourism needs a lot of incentive, and we don't have that. The tourist doesn't want to come to Pedra Culada stepping on mud, right? And what we have on the road are mud and holes."

- Visions for the future: "Well, I hope that we are preserved from this system, and that our younger population continues to develop a small tourism, a little bit of agriculture. Everything that was done before, everything that is done now, is complemented with some tourism that they want to see, and that we, the younger people, are developing on this. I'm just here to help someone in something."

- The value of community-based tourism: "They demolished the inn. They used artificial arguments that I was a businessman. They gave the idea that I was a great businessman. That a millionaire came and built a territory that belonged to the Union. While in fact I was a quilombola. I was in the perspective of a better life. It's a constitutional right. I can't fight for a better life. And they came, violently. They demolished it. Why? Because we called the attention of people who were interested. Because we were able to show people that in Vista Alegre you can practice tourism. And that tourism can bring very real benefits. Without modifying our truth, our culture, our centrality. Without changing our ways, our origins."

- "Community tourism, I believe that it brings the means so that we can have a more dignified life, because if you approve the public power, it is omissive. The city hall, the state government, they are omissive. You see the roads, the roads are in terrible condition. My son studies, and sometimes the bus can't get in to take my son to school. We can bring tourism, we can do it ourselves, because we have income to do it. And if you look from Mamuna to here, as I said, there is an absurd potential. I believe that if we are not against technology, but if in our territory we could explore tourism in this understanding, not to explore tourism itself, but to practice tourism, community tourism, community-based tourism, we would have a more dignified life than the one we have now. I say this because I had this experience here. Eighteen people from my community worked here, eighteen families from my community, all together. So we were able to support, let's say, eighteen families. In other words, we were able to grow with dignity, with more dignity. We have the sea, of course."

– "But the sea, you have to fish every day, take the fish in these bad states, and have more difficulty in tourism, but this is also true. He learns from our culture, he learns from what we have, he will buy our fish that we fish, he will enjoy what is ours, and he will leave the income to the community, because this income is distributed within the community itself, and this brings infrastructure to the community, this brings possibilities for a more dignified life. I see tourism as a possibility of ascension for quilombos. I believe that the quilombo can ascend with tourism."

- "Most of the tourists who came, they came from Baixada, here. We have a group called Baixada, Baixada Maranhense. Our biggest tourist group is Baixada Maranhense + promotion happens through Instagram."

- "The government wanted to prevent tourism from happening because they feared it would spread to other communities".

- Touistic attractions: "The thing that is most shown to tourists is the art craft, the Buriti fiber art craft. But the tourists don't come here, they bring the art craft to the city. We have also offered, not inside the community, because we have never had this attraction in the community. But outside of it, in the city we have already offered the Buriti candy, the Buriti coca. All the Buriti extracts, the bags that are made, the bracelets, everything is made with Buriti extracts."

Dorinete Serejo Morais, 49, CanelatiuaCoordinator of ATEQUILA, Community Health Worker and Community Leader

Francisco Martins de Brito, Vista AlegreFisherman, Fishing Net Weaver, Elder and Knowledge Keeper

Moises Costa Santos, 37, Vista AlegreCommunity-Based Tourism Entrepreneur and Community Leader

Gaudencia Rodrigues Nogueira, Santa MariaRetired School Teacher, Elder, Community Leader

-

Inaldo Faustino Silva Diniz, 64, São Raimundo (displaced to Agrovila Marundá) - Community Leader and Elder

Maria Luzia Silva Diniz, 69 (displaced to Agrovila Marundá) - Community Leader, Co-founder of MABE, and Elder

- Natural heritage of the region: "I think there are some things, some axis, let's say, that I consider important for community-based tourism. There is an axis, which is a more common axis, which is the issue of ecological and environmental resources, the use of this, which I consider important, such as trails, lakes, beaches. I think this is a natural heritage that we have in this region, which has a lot of potential that is not used, and which, depending on the use, can impact the community economy of the region."

- Valorizing memory: "Another thing is the immaterial heritage, which is the issue of memory and the trajectory of the community. This space here is a space, it is an equipment that can contribute to this, with the valorization of memory."

- Concern with protection of traditional knowledge and knowledge sovereignty: "These communities, almost all of them, even if unconsciously, protect, depend on traditional knowledge, of ecological resources, of the use of leaves to make tea, of the use of roots to make baths, leaves to make baths, bark to make ink, the fiber that is used to make bags, these things. This ink is a genetic knowledge that only these communities have. So, how is community tourism going to access this without transferring this knowledge, or how to transfer this knowledge? You have to be careful with the community tourism, it can't take away the safeguard or the protection of this knowledge (...) I have a certain concern, a certain caution, to what extent this should be protected or not. But this is an internal discussion, and this cannot prevent community tourism. But there is knowledge that cannot be transferred. When you receive someone, there is knowledge that cannot be transferred. It's a matter of preserving the community itself. The memory of the community cannot be totally unprotected, to the detriment of tourism, free and totally open, as it is."

- Given that most of our interview focused on Inaldo and his community's experience of displacement from the Brazilian Air Force to unproductive lands and military-built villages called Agrovilas, it was difficult to engage in a meaningful discussion about CBT. While the Agrovila communities have been fighting to preserve their cultures, they have also experience a loss of their cultural ties through displacement, thus making it challenging to uplift the importance of tourism in their communities for the time being. Their fight revolves around making sure that their human rights are honored and that they can rekindle their connection to the land that they call home.

- The same dynamic applied to our interview with Maria Luzia, who also experienced displacement from her homeland at a young age.

- Natural wonders, like the beaches, to enjoy: "And who comes to our community can be a tourist, you can walk with your camera to go to the beach, have your cell phone, everything you want. You go and come and no one messes with you. And in the summer, which is very well ventilated, the people who come to visit sometimes, like my house, there is a very big tree on the side, so people sometimes want to sleep on the grass, they can."

Maria José Lima Pinheiro, 50, MamunaHomestead Farmer, Knowledge Keeper and Community Leader

Máximo

Sueli, 46, Santa Maria - Artisan at the Quilombola Associaiton of Santa Maria Artesans (Associação Quilombolas dos Artesãos de Santa Maria)

Neide de Jesus, 76, Itamatatiua - Manager of the Land of Itamatatiua, Community Leader, Elder & Knowledge Keeper

Angela Cristina de

- What to show a tourist: "I would show the entire community, our oven house, the place where they pick up the crabs at the ocean, where they go to catch the seafood. She would show the rivers, the igarapés (...) Besides that, I would show the association, the headquarters, the church, the community in itself, the quilombo in itself. It should also show the paliodunas, which are sand dunes that have vegetation that are fruits. So the Gajuru, Murici, these make paliodunas. These are low, on the ground kind of vegetation that produce fruits. And they used to sell these fruits to people in the urban quilombos of São Luís. People that left the rural area of Alcântara, the quilombos of Alcântara, and they formed quilombos in the city of São Luís. And they would buy these fruits because they knew them very well. They grew up with them. They would bring those fruits for sale in these areas through the boat that they had. But they no longer have that boat. So they can no longer sell those. But you would bring a tourist there because it's just very beautiful."

- What to show a tourist: "If there were any tourists here in the community, we would like to show them, for example, we have here the casino club, which is a party club, we have two evangelical churches, we have a Catholic church, so these are our goals here in the community, and here is the school of the community as well. These are the things we like here."

- Sharing the craftsmaking work and buriti weaving with tourists: "We would continue to work together, and open every day. We would have to open the house for the tourists to pass by and look at our work, to show it outside."

- What local cusoms to share with tourists: "I would teach them and if they did a dance, I would call them and ask them to dance with me so they can see here that there are crafts, or if the tourist wants, they can call ahead, if they want to see Forró de Caixa or Dança do Negro, then they will arrange that for a visitor or a tourist to see that."

- The places that people come to buy ceramics from Itamatatiua: "It's the people from outside. São Luís, São Bento, São Gilês, Pinheiro. They come from everywhere to buy. People from Italy, France, Germany. They all come here to buy. They come from Alcântara".

-What to share with tourists: "To show everything that is here in the place. Sometimes when it is possible, we show our work here. Then we show the fields. Sometimes they want to know the well where we get water to drink. Sometimes someone comes and wants to know the forest, wants to see how it is, how it works. Sometimes someone wants to see the forró or the dance. It depends on the taste of each one. Sometimes everyone wants to see and is curious to know something."

Danilo da Conceição Serejo Lopes, 39, Canelatiua

Staff at Justiça Global, Lawyer, and Community Leader

Silva do Nascimento, 63, Jabaquara (displaced to Agrovilla Marundá) - Community Leader & Elder

Jesus, 54, ItamatatiuaCeramics Maker, Community Leader & Knowledge Keeper

- How tourism supports the community of Itamatatiua: "It helps. It helps a lot. Now, this year was a year that wasn't very good. From January to here, the schedule wasn't very good. But all the time we were here, from all over the world, we were very well known. Because it's good to have this promotion, because it promotes things to bring people here."

- Ceramics training to cator to tourists: "Yes, because in the past we used to make a lot of pots to store water, right? We used to make pots, plates, bowls, we used to make a lot of pieces. Then, after this training, to teach how to make the dolls, things like that. We didn't have the custom of making the dolls and the better finishes. Some paintings, sometimes there are people who don't like painted dishes, but sometimes we paint some things, there are people who prefer rustic. That's what the training was for."

- What cultural practices to share with tourists: "The ceramics, the viola drum, the sandateira party, the mass, which is beautiful, and things like that. And we also have the source of the chora, which was also made by the slaves. It's a very old source.

- About the community hotel in Itamatatiua: " So I asked about the community hotel that they have there, so this project started, they went to Brasilia, to the capital, and asked for money for a community hotel, because their father was an important community leader, and tourists always stayed at his house. (...) [They would ask] 'So why are visitors everywhere in our lives?'. [Then they said], 'let's put the visitors somewhere else', and then [the community] would run away when they saw people, strange people. Then came this idea that they would have a place to stay out of the way, and then that was the place, and then they charge money, and they use the money, then the government gave the money to build that, it has water, it has food, and then the association cooks for the tourists when they stay there, and then they use the money to improve the living conditions here, so no one gets to have to worry about improving the living conditions."

- Sharing the craft of ceramics-making: "I like to show my work. I like to make dishes, crosses, and jars. I like to make all the pieces. I like to make all the pieces, the large ones."

- Quilombola pride and tourism:" Irene is a proud Quilombola woman and a cultural leader in her community. She would be proud to share the local festivities, dances, drum performances that are deeply rooted in the culture of her community with local tourists."

- Organizing dance and musical performances for tourists: "They [local performers] would play and dance because it already happened. We made a schedule and asked. And when [tourists] arrive, everything is ready and they come."

- The need to create an online catalogue of ceramics to cater to their growing market of interested buyers: "The difficulty, I think there should be an online catalogue, which we don't have, but the advertisement, especially now on social media, because now the sales are mostly on social media. We don't have a catalogue to make this advertisement. Here the typical buyer is for restaurants, tourists and for trips, but also restaurants. They ask for many dishes, plates, bowls, spoons, flours, they ask a lot for this."

- What is hoped a tourist would feel after their visit to Itamatatiua: "Since arriving here, you have welcomed me well. And I met the whole community. I can say that I liked it and that I will come back."

- Talking about CBT in the context of the interview did not make a lot of sense, given the emphasis that Dona Pereira was placing on her concerns about private land grabs taking place in the region and outsiders moving onto Quilombola land without consent from the community or their cultural traditions, norms, and values.

- How CBT can contribute to the territorial struggle of Quilombola peoples: "Tourism adds to the possibility of political struggle. Tourism, when we talk about community-based tourism, it's also an expression of struggle, because it's a chance for you to tell your story, it's a chance for you to show your territory from your point of view. So, from the moment you take control of your narrative, of how you want to tell your territory, how you want to tell your story, how you want to tell the story of your ancestors. It's how you want to allow another person to enter your territory. It's how you want to do it. It's not how you are determined to do it. I think this is a fundamental difference. That's why this is a process that also requires political struggle (...) So, as long as the community retains the narrative, controls the narrative and is the community's narrative, CBT can be important because the communities live under a lot of pressure".

Eloisa Inês de Jesus, 70, Itamatatiua - Ceramics Maker, Community Leader, Elder & Knowledge Keeper

Domingas de Jesus de Jesus, 73, ItamatatiuaCeramics Maker, Elder & Knowledge Keeper

Irene de Jesus, 70, Itamatatiua - Musician, Retired School Teacher, Elder & Knowledge Keeper

Denise de Jesus Araújo, 37, Itamatatiua - Youth organizer, Entrepreneur, and Community Leader

Maria da Graça Oliveira Pereira, 61, Morajituba, Retired Community Health Worker and Community Leader

Davi Pereira Júnior, 45, Itamatatiua - Quilombola Scholar, Community Leader and Professor at Universidade Estadual do Maranhão (UEMA)

APPENDIX B - CBT MANUAL (ENG)

Appendix B - Bilingual CBT Engagement Worksheets

See Appendix A of the report

Folder of worksheetshttps://drive.google.com/drive/folders/1MpXA69hEypxr3rLycXL7dQdF42SpK8RY?usp= drive_link

What is Photovoice?

Oral Histories with Quilombola Leaders of Alcântara, Brazil: Democratizing the History-Making Process

Photovoice is a community-based participatory action research method and approach that has the potential to democratize data, empower participants and the collective community, and mobilize social change through strategic partnerships and awareness. At its core, Photovoice reframes who is the expert in research, projects, and narrative cultivation; it fosters space for participants to shed light on what matters to them based on

I. Oral History: Definitions,

Purpose, History & Brazilian Context

What is Photovoice?

1. Definition & Purpose

Photovoice is a community-based participatory action research method and approach that has the potential to democratize data, empower participants and the collective community, and mobilize social change through strategic partnerships and awareness. At its core, Photovoice reframes who is the expert in research, projects, and narrative cultivation; it fosters space for participants to shed light on what matters to them based on prompts or general experiences. The methodology also involves developing a voice

“ The real record of history is found in the lives of the ordinary people who lived it. Collecting, preserving and sharing oral histories not only transmits knowledge from one generation to the next, it enhances our understanding of the past by illuminating personal experience.”

— Texas Historical Commission

In simple terms, oral histories are stories told by ordinary people about their recollections of their life and their first-hand experience of history. Typically, when an oral history project is carried out, “the person who knows the most about their life stories and their community is not the interviewer/researcher but the interviewee” (Field, 2007, p. 6). In this way, oral history as a research methodology tends to break from the traditional research paradigm by which the researcher is conceived of as the expert. Instead, oral histories strive to center and uplift “localized forms of popular knowledge” provided by the persons being interviewed.

Oral histories are also a tool leveraged by communities, nonprofit organizations and advocacy initiatives to document their community stories from the ground up and to create living archives for the transmission of knowledge from one generation to the next.

Oral history research began before the 1960s, but it was really starting in the 1960s, that it became a popular research methodology within universities and non-governmental organizations

Oral history interview in Itamatatiua Quilombo, Alcântara, Maranhão.

Photo credit: Cat Diggs.

Oral history interview with Black Pontiac resident. Photo credit: Fox Detroit

Afro-Brazilians worship at the 18th-century Church of Our Lady of the Rosary. Photo credit: Maria Daniel Balcazar (National Geographic).

(NGOs) in different parts of the world. More often than not, oral history projects tend to focus on the voices of marginalized communities and peoples (women, Indigenous peoples, members of the African diaspora, etc.), whose histories have not been recorded or included in “official “ historical records (Field, 2007, p.7-8).

Photovoice: make your vision seen & your voice heard

Amplifying the Voice of Quilombola through Sustainable, Community-Based Tourism and Cultural Preservation in Alcântara, Brazil

It is crucial to recognize that “long before the term ‘oral history’ was coined, people in various cultures and societies have used and perpetuated oral traditions and oral histories as part of their daily lives (Field, 2007, p. 8). However, while oral traditions are a “body of narratives” (e.g. historical recollections, fables, legends, origin stories, lessons, etc.) that are passed down verbally from generation to generation, oral histories, on the other hand, are bound by the life stories and first-hand accounts of the peoples being interviewed (Texas Historical Commission, p. 2).

Oral histories can, therefore be used for a number of purposes, including, but not limited to:

• Supplementing the written historical record

• Preserving cultural heritage, ways of life, and human experiences, that are at risk of disappearing unrecorded (Texas Historical Commission, p. 2)

What is Photovoice?

of interviewing individuals about their backgrounds from childhood to the present day. Life story interviews are the most common type of oral history interview methodology. While they are often carried out chronologically, they can take different directions based on the way that interviewees remember their lives and what subjects speak to them the most. When placed into dialogue with one another, life histories can provide crucial insights into social and community histories, as well as the broader socio-historical contexts in which these communities are lodged.

• Topical histories allow for the study of “particular events, eras or organizations”. They can focus on topics ranging from “foodways, housing, health care, education, entertainment, politics and customs”.

Photovoice is a community-based participatory action research method and approach that has the potential to democratize data, empower participants and the collective community, and mobilize social change through strategic partnerships and awareness. At its core, Photovoice reframes who is the expert in research, projects, and narrative cultivation; it fosters space for participants to shed light on what matters to them based on prompts or general experiences. The methodology also involves developing a voice

• Thematic studies will focus varying interviews on “broad patterns and concepts”, such as “love, conflict, hope, religion, education, competition, success or art”.

• Artifact or site-specific documentation, which often involve having subjects share the story of their relationship to their home, street, church, schoolhouse, a vacant field, etc.

• Correcting stereotypes about poorly understood lifeways and peoples

What is Photovoice?

• Challenging mainstream and/or academic knowledge (Field, p. 8)

• Providing a platform for those with lived experience of the topic being studied to share their experiences on their own terms and in their own words in such a way that their stories will be open to continued interpretation by current and future generations of viewers

Photovoice is a community-based participatory action research method and approach that has the potential to democratize data, empower participants and the collective community, and mobilize social change through strategic partnerships and awareness. At its core, Photovoice reframes who is the expert in research, projects, and narrative cultivation; it fosters space for participants to shed light on what matters to them based on prompts or general experiences. The methodology also involves developing a voice

To carry out an oral history project, four different approaches can be employed (Texas Historical Society, p. 2-3):

• Life history interviews, which consist

Regardless of the type of interviewing method or project that you choose, oral histories entail slow styles of interviews. As explained by oral historian Sean Field, it is crucial for interviewers to “ let interviewees share stories that are important to them”. In doing so, the interviewer can build a more trusting rapport with the interviewee, thus making them more comfortable to share more details about their life (2007, p. 10-11).

2. The Key Tenets of Oral History

“ How do we move from a ‘them’ and ‘us’ situation to achieve ‘a shared authority? (Frisch, 1990)”

— Sean Field, 2007

Photo credit: sara faraj

Photo credit: sara faraj

Oral historians have often been concerned with the idea of creating reciprocal and horizontal relationships between themselves and the individuals they have interviewed. In his 1990 book, titled A Shared Authority: Essays on the Craft and Meaning of Oral and Public History, Michael H. Frisch, Senior Research Scholar Emeritus in the Department of History at the University of Buffalo, coined a key concept in the world of oral histories, that of “shared authority”. Put simply, oral histories are the product of a collaborative process between the interviewer and interviewee. In other words, no one person is in charge of the history-making process in an oral history project. It is crucial for a balance to be struck between the researcher’s goals and needs and that of the interviewee. Moreover, rather than fearing the power relations that are inherent to the fieldwork, researchers must account for those in the way that they interpret, co-produce, and disseminate oral histories (Field, 2007, p. 9-10).

In a 2019 Commentary that he wrote on his book, Frisch explains that the “commitment to sharing authority is a beginning, not a destination - and the beginning of a necessarily complex, demanding process of social and self discovery” by which sharing authority is by no means “uni-directional” and is negotiated consistently between interviewer and interviewee throughout the project (p. 112).

In a video interview, titled “Alessandro Portelli –Speaking of Oral History” conducted by Canada’s History Society, University of Rome’s Dr. Portelli, “recognized internationally as the most influential oral historians of the last quarter century”, “speaks to three key components of oral history”:

Co-authoring stories: Stories are never told in the abstract and are not repeated the same way from person to another. Interviewees “tell the story to the type of person they think you are”. An oral history interview is always a challenging learning experience through which you learn not only about the knowledge of the person you are interviewing but about yourself in the process. The interviewee, on the other hand, is pushed to dive into a reflection about their whole life in ways that go beyond the short stories and anecdotes of everyday life.

Establishing trust: As Portelli explains, there is no such thing as the observer and the observed dichotomy in an oral history interview. The dynamic of being seen by the other and of seeing the other is inherently reciprocal. In order to build trust with the interviewee, it is crucial to convey to them that you can be educated, that you do not know it all, and that you are willing to learn. Your role is not to “give a voice to the voiceless”, but rather to be humble, open and flexible. You are no one’s hero. In Portelli’s words, building trust is “not a technique, it’s an attitude”.

Sources & Misremembering: The reason we carry out oral histories is because “we think official narratives are misrememberings”. In short, you cannot take any single narrative at face value. The process of recounting history is one of checking your sources. In this way, an oral history project is not an oral history project without a substantive amount of interviews being carried out with a diverse group of people. To do oral history effectively, you must use all types of

Portrait of Sandro Portelli. Photo credit: Canada’s History Society

sources at once. As an oral historian, you must think like, 1) a historian to gain an understanding of what has happened; 2) an anthropologist to understand what “people’s narrative and mental constructs about what has happened are”; 3) an oral historian to understand why a particular historical event has yielded the story that is being shared with you. The nature of your project will inform whether you lean more toward written or oral history. An oral history project should not apply an “either or” approach to the gathering of historical sources.

In Portelli’s words, “oral history is history where the structure of the story is derived primarily from oral sources and then includes everything else”.

3. History of Oral Histories: Democratizing the Process of Making History

“ Oral history could be “a powerful tool for discovering, exploring, and evaluating the nature of the process of historical memory— how people make sense of their past, how they connect individual experience and its social context, how the past becomes part of the present, and how people use it to interpret their lives and the world around them.”

— Michael H. Frisch, 1990

In his paper titled, “Four Paradigm Transformations in Oral History” (2007), Alistair Thomson explores the international history of oral history across time and space with a specific focus what he calls the “four paradigmatic revolutions in theory and practice”:

“The postwar renaissance of memory as a source for ‘people’s history’” (1950s - 1960s):

Post World War II, memory became a “source for historical research” with academic oral history projects first emerging at Columbia University in New York City in 1948. Starting in the 1960s, oral history projects tended to place an emphasis on the poorly recorded histories of marginalized groups - working class communities, women, Blacks, Indigenous peoples” - through this idea of “history from below”. The goal of this approach to oral history was to break the “boundaries between educational institutions and the world, between the professional and the ordinary public”. It was during this time period that oral histories expanded beyond the four walls of academic institutions into schools, nonprofits, and community-led initiatives (Thomson, 2007, p. 51-53).

“‘Post positivist’ approaches to memory and subjectivity (1970s - onwards): During this time period, “imaginative oral historians” responded to criticisms leveraged against oral history projects, which had been deemed by some historians as unreliable due to the fact that the memory of those who partook in the projects could falter. These oral historians stated that on the contrary, “the so-called unreliability of memory was also its strength, and that the subjectivity of memory provided clues not only about the meanings of historical experience, but also about the relationships between past and present, between memory and personal identity, and between individual and collective memory.” The best oral histories, however, retain “a reflective and critical approach to memory and history”. In other words, no narrative should be taken at face value (Thomson, 2007, p. 54-57).

The transformation of the role of the oral history as interviewer and analyst (late 1980s-late 1990s): During this period, oral historians placed a

World map chart. Credit: International Oral History Association

strong emphasis on the power of testimony especially as it related to the “legal and political processes related to indigenous people’s rights and restitution, post-conflict resolution and national truth and reconciliation.” The idea of “bearing witness” became crucial to the process of making history in the late 20th and early 21st century. Moreover, during this era, oral historians were called upon to be self-reflective about the influence they were having on the interviewees during interviews. It was also a time during which not only were many other disciplines, such as qualitative sociology, anthropology, literary and cultural studies, taking up the practice of oral histories, but oral historians themselves were applying an interdisciplinary approach to the methodology. Finally, the 80s and 90s represented an era during which the oral history movement was spreading its wings in the international arena, through for example, the creation of the International Oral History Association in 1996. In Thomson’s words, “The political circumstances of countries and regions emerging from—or struggling within—political turmoil undoubtedly generate important, often transformative, memory work” (2007, p. 58 - 67).

“The digital revolution of the late 1990s and early 2000s”: This revolution is ongoing and its impacts on the practice of oral history continue to be the subject of research and questioning. With the advent of the internet, audio visual recordings have become accessible to the people. Digital catalogs also allow people to make connections across oral history projects. In many ways, the digital revolution is contributing not only to the growing internationalism of oral histories, but also to democratizing access to the ability to carry out such projects. In Thomson’s words, “digital technologies are transforming so many aspects of our work as oral historians—and indeed the ways in which people remember and narrate their lives—that they will, over time, also

change the way we think about memory and personal narrative, about telling and collecting life stories, and about sharing memories and making histories” (2007, p. 68-70).

4. Oral Histories in Brazil

“ Transcending the stage in which oral history was seen as a multidisciplinary field, Brazilian oral history began to formulate its own concepts and, because it was born chronologically late and distant from the hegemonic centers which elaborated it, it became the proponent of oral history as a new discipline. Clearly this idea is polemical and has many opponents, even in Brazil.”

— Jose Carlos Sebe Bom Meihy, 1999.

In his paper, “Oral History in Brazil: Development and Challenges’’ (1999), Jose Carlos Sebe Bom Meihy, explains that oral history emerged during Brazil’s period of re-democratization in the early 80s after a 20-year military dictatorship lasting between 1964 and 1985. The country’s first official attempt at oral history work began in 1973 and was sponsored by the Ford Foundation and the Fundação Getúlio Vargas do Rio de Janeiro. It was called the Center for Research and Documentation of Contemporary History of Brazil (CPDOC) and its goal was to house and produce documentary sources about the country’s history (1999, p. 129).

Brazilian Association of Oral History Logo. Credit: Associação Brasileira de História Oral (ABHO)

As a result of the emergence of oral history and its growth in popularity in the early 80s post-dictatorship, the Brazilian Association of Oral History was founded in 1994 to respond to a national strategy to build out the country’s capacity for carrying out oral history projects. Moreover, the pressure to begin documenting the still poorly recorded lives and experiences of marginalized social groups, notably Indigenous Peoples and Black communities has been growing over the decades (1999, p. 133). Oral history studies in Brazil have indeed come to be known over the years for their efforts to uplift the stories of marginalized groups, including those of children, people who are illiterate, people without a job, political prisoners, and people suffering from illnesses (1999, p. 135136). In the words of Meihy, because “Brazilian oral history was born during a moment of redemocratization”, it was “destined to become a different voice” (1999, p. 136).

In July of 2023, the International Oral History Association’s 22nd Conference, titled “Oral History in a Digital and Audiovisual World”, was hosted by the the School of Social Sciences of the Getúlio Vargas Foundation, the Center for Research and Documentation of Contemporary Brazilian History (FGV CPDOC).

According to IOHA promotional video, FGV

CPDOC, whose Oral History Program was established in 1975, now “holds 7,600 hours of digitized interviews of sound and audiovisual records”. Its oral archives include but are not limited to interviews with former presidents, political figures, as well as the documentation of cultural heritage, sports, and social movements, such as the Black movement in Brazil.

5. Carrying out Oral Histories with Quilombola Communities

Quilombola oral histories involves the centering of the following complex narratives that define the identities of these communities:

• A search for freedom through community land ownership and reciprocal relationships to land.

• Resistance to the longstanding slaveholding and racist histories that make up the foundations of Brazilian society.

• Overcoming adversity in the face of government persecution, stigmatization, disinvestment, cultural devaluation, and the continued threat of land dispossession.

• A way of remembering that is tied to collective memory and deep rooted oral traditions (Xavier, 2021, p. 74)

“ For the [quilombola] community, there is no date or law that marks the transition from slavery to freedom, but rather socio-historical conditions that allow them to experience the continuities or ruptures of the unfinished process of Abolition.”

— Alcione Ferreira, 2021

While Quilombola histories, which vary across time and space, are not well documented in Brazil, some oral historians, such as Jose Luis Xavier have ventured to conduct oral histories with Quilombo peoples. He did so with Quilombo Sambaquim, “which is located in the municipality of Cupira, a small town in the agreste region of the

state of Pernambuco, Brazil” (2021, p. 73). As explained by Xavier, to analyze the quilombola community is to take a journey and venture into their narratives, because it is through oral tradition that the knowledge of their ancestors is preserved” (2021, p. 76).

Oral histories of Quilombola peoples must work to uplift their land-based struggle for freedom. In so doing, they must shed light on the fact that without title to the lands they settled on generations ago to resist the grips of slavery, freedom will not be possible for Quilombola peoples irrespective of the fact that slavery was legally abolished and that the Constitution has formally recognized their land rights (Ferreira, p. 554). Only a small percentage of Quilombola communities have been granted protected status by the government, so the struggle continues. Fundamentally, “this is a story that must be

understood through a new lens”, says Xavier, “with the quilombola as the protagonist (2021, p. 84).

II. How to Carry Out an Oral History Project in Brief

1. The Key Stages of an Oral History Project

“ Oral history interviewing is about giving ordinary people a safe space to tell their stories.” — Sean Field, 2007.

For the purpose of simplicity, we have broken down the key componnts of carrying out an oral history project into its three main stages: before, during, and after the project. There are a plethora of resources available online about methodologies for conducting such projects and we have chosen to summarize key recommendations from Sean Field’s guidebook, titled “Oral History Methodology” (2007) and the Texas History Commission.

Quilombola family (National Geographic) Photo credit: Maria Daniel Balcazar

Oral historian preparing their microphone. Photo credit: Oral History Association

a. Before: How to prepare for an oral history project

1. Define the scope and topic of your oral history project. What is the goal of your project? Who do you plan on interviewing? Will you prioritize elders in the community? How will you recruit them for interviews? What might some of the challenges of this project be? How will you plan on overcoming them?

4. Compile a budget of expenses.

7. Prepare an interview guide with the key themes you wish to cover during the interview. Avoid leading questions and make sure to prepare for follow-up` or clarifying questions in your interview guide.

2. Do background research on the subject you are exploring (photographs, documentary reading).

3. As much as possible, include the community you will be engaging with in the design of the project.

5. Plan to give this project the time that it deserves as oral history projects are typically time-intensive

8. Prepare a consent form that explains the purpose of the project and the dissemination strategy for the recorded interviews. Create space for interviewees to provide their input and modify the trajectory of your strategy.

6. Select your equipment (camera, audio recorder, external microphone, memory card, tripod).

9. Schedule interviews in a way that accommodates the schedule and comfort levels of your interviewees.

b. During: What to be mindful of during an oral history interview

1. As much as possible, pick a quiet spot for the interview to avoid background noises and to maximize the quality of the recording.

4. Have your interviewee review the consent form and sign off on it as appropriate.

2. Introduce yourself and the purpose of your project to the interviewee, as well as what to expect from the interview.

5. Make sure your equipment (camera, audio recorder) is ready to record the interview. Make sure to run a few tests before diving in into the interview.

3. Make sure interpreters are prepared to begin the interview.

7. Be patient and sensitive to the needs of your interviewee to create a safe space for them to open up and share their story. Do not be afraid of silence. Pay attention not only to what the interviewee says but to their body language as well.

8. Things to avoid during interviews include arriving late, asking complicated questions, interrupting the interviewee, interrogating or arguing with the interviewee, talking too much.

6. Start with simple questions to warm up the interviewee . For example: ‘Where were you born?’. Make sure to ask open-ended questions throughout the interview and to ask for concrete illustrations and examples of what the interviewee is sharing with you.

9. At the end of the interview, make sure to ask the interviewee if there is anything that they think you should know about that you have not asked them about.. Concluding the interview by sincerely thanking the interviewee for their time and for sharing their insights, memory, and history with you. Make sure to let your interviewee know what to expect from the release of the interview materials when relevant. Invite them to partake in the process.

c. After: Cataloguing and Disseminating your oral histories to a broader audience

1. Send your interviewee a formal thank you note in the form of a letter, email, phone call, or gift as appropriate. Consider providing a stipend to your interviewee to compensate them for their time.

4. Disseminate the interviews via the medium of you and the community’s choosing (ex. popular and academic history books, a website, YouTube channel, traveling audio-visual exhibitions, documentaries, etc.)

Disseminating is a way of giving back to the community who share their memories and stories and whose voices often get silenced by mainstream media and history “books”

2. Label your recorded interview in your backup computer or hard drive system (title of project, interviewee name, interviewer name, date of interview, location, contact info, duration of interview).

5. Consider the most effective way to communicate the oral histories at hand (ex. storyboards, guided tours, audio-visual exhibitions, oral exhibitions, podcasts, etc.)

3. Catalog your interviews.

6. Such dissemination effort can contribute to increasing the income-generating opportunities for communities who were the subject of your oral history project.

2. Doing Oral History Work with the Quilombola Communities of Alcântara

“ The quilombo became the main symbol of resistance to slavery, which consumed approximately 12 million black people were forced into the diaspora . . . The quilombo constituted an alternative for the enslaved, representing a possibility for the enslaved and marginalized groups, such as indigenous people (Moura, 1988), to produce a new social, economic, and political environment.

— Davi Pereira Junior, 2021.

The Oral History Project carried out by University of Michigan Master of Urban and Regional Planning students and their faculty lead, Dr. Ana Paula Pimentel Walker, in collaboration

with Quilombola leadership from Alcântara, is to support efforts by Quilombola members of the Alcântara region to preserve, affirm, and uplift their unique cultures of resistance, collective ownership of land, and traditional lifeways. Its goal will also be to provide a platform for Quilombola leaders to speak to the ongoing struggle for land titling that their communities are undergoing and the ever-present threats of land displacement posed by the Alcântara Space Launch Center (CLA).

The testimonies and life stories gathered through this project can be leveraged in a variety of ways:

• A publicly accessible archive for the Associação do Território Quilombola de Alcântara (ATEQUILA) and your communities to manage.

• An online gallery of clips on the Quilombos de Alcântara website that the University of Michigan team is co-producing with ATEQUILA leadership.

• A physical exhibition of oral histories in the ATEQUILA headquarters and in different points throughout the region to be presented on monitors that the University of Michigan will be providing be providing.

As explained by the University of North Carolina at Chapel Hill’s Library in their blog post, “Why are Oral Histories Important for Community-Driven Archives?”, oral histories have a “voice of their own” and reveal things that books and official historical records, which are often predicated on the exclusion of marginalized voices, simply cannot. Through oral histories, communities can gain sovereignty over their stories by documenting, archiving, and disseminating them on their own terms.

Ultimately, the hope is that the oral histories which emerged from this project increase awareness at regional, national, and international levels about Quilombola peoples continued struggle for freedom, self-determination, and sovereignty in Alcantâra and beyond.

III. Oral History Case studies of the African Diaspora

1. Case study 1 - Oral Histories as a Pedagogical Tool for Teaching Youth about Blackness and Race Relations in Brazil

“ By making available these rich oral histories and other forms of documentation, our hope is to stimulate among the younger generations a deeper consideration of the black experience in Brazil.”

— Verena Alberti and Amilcar Araujo Pereira, 2016.

Map of Alcântara (top) and Aerial view of Alcântara (bottom). Map and photo credit: Davi Pereira Júnior.

Screenshot of Alberti and Pereira’s oral history project archive on the CPDOC Oral History Program database. Credit: FGV CPDOC.

In their book chapter, titled, “Black Movement and Race Relations in Brazil: Building New Knowledge through Online Oral History Materials” (2016), Verena Alberti and Amilcar Araujo Pereira speak to the oral history project with the Center for Research and Documentation of Contemporary Brazilian History (CPDOC), through which they conducted an oral history project “document the [contemporary] black movement in Brazil” starting in the 1970s (p.167). To do so, they carried out 39 interviews with over 110 hours of recordings, which are archived in the CPDOC. They did so during a period of 4 years between 2003 and 2007.

Context: The Black movement in Brazil was and continues to serve as a response to the ongoing structural and systemic racism that represent the foundation for pervasive and marqued social inequality in Brazil. As revealed by the authors, documenting this movement also provided them with insights about the “ the rural AfroBrazilian maroon quilombola movement, the black women’s movement, affirmative action, and the trajectory of the different groups over time and in different regions of the country”. Despite new legislation bringing about the teaching of Afro-Brazilian, as well as Indigenous histories and cultures in schools across the country, racism continues to pervade Brazilian society and exacerbate inequalities. Moreover, with racial mixing representing a point of pride for the country’s national identity, “the racial question” often gets openly avoided and/or ignored, thus invisibilizing the history of the Black movement and its contributions to the struggle for racial justice dating back to resistance against slavery. To this day, however, Brazil remains home to the largest population of Afro-descendents outside of the African continent (Alberti and Pereira, 2006, p. 167 - 170).

Purpose: The goal of this oral history project is therefore to weave oral histories about the dynamics of race and racism in Brazil into the

curriculum for youth so that they can work with their teachers to create their own knowledge about these complex and ever-growing dynamics that inform their everyday lives as Brazililians. In other words, oral histories with Black leaders “give a human face to racial discrimination” and provide students with a concrete understanding of their implications (Alberti and Pereira, 2006, p. 171-173).

Outcome: The result is that with readily accessible oral histories like these, teachers can engage their students in better understanding the dynamics of interviewing and what it takes to carry out an oral history project such as this one. In short, the ultimate goal of this project is for is for these oral histories to serve as an opportunity for the transfer of knowledge and the production of new knowledge by the next generation of young oral historians. As stated by Alberti and Pereira, “These oral sources and the inquiry process surrounding them, give students invaluable preparation for dealing with new encounters and experiences about race and racial relations in Brazil. (2006, p. 180-173).

2. Case study 2 - Oral Histories as the Foundation for Documentary Film-Making and Other Multimedia Productions - Queen Nanny: Legendary Maroon Chieftainess

“ She was a queen captured in her homeland, and forcibly transported across the Atlantic Ocean in the belly of a slave ship. In the New World, she would eventually rise up to become the leader of a new nation – of free Africans. However, not many people outside of Jamaica know of the legendary ‘Nanny’, warrior chieftainess of the Jamaican Maroons, one of the most celebrated, but least recognized heroines in the resistance history of the New World.” — Movie Synopsis

In an Oral History Association (OHA) Spotlight, OHA celebrates the work of Dr. Harcourt Fuller “which includes a documentary-film and recorded album project, and how oral history was essential to both”. Dr. Fuller, who is an Associate Professor of History at Georgia State University, focuses his research on histories “of resistance against slavery and colonialism” (with an emphasis on the practice of Marronage), and colonial anti nationalism in the “Africana world”.

Context: His 2015 one-hour documentary, Queen Nanny: Legendary Maroon Chieftainess (www.nannythemovie.com), explores the history and legacy of an 18th century Akan leader of the Jamaican Maroon. “The documentary was filmed in Ghana, Jamaica, Canada and the United States, and screened at educational, governmental, cultural and community organizations worldwide”. It was the recipient of multiple recognitions and awards, including but not limited to Best Documentary at the 2016 Newark International Film Festival and a nomination for an Africa Movie Academy Awards (AMAA) honor at the 2016 Pan African Film Festival. To accompany the film, a double-CD, Granny Nanny Come Oh: Jamaican Maroon Kromanti and Kumina Music and Other Oral Traditions, recorded by the Moore Town Granny Nanny Cultural Group, was released. It contains “31 tracks of live studio recordings of traditional Jamaican Maroon and Bongo-Kumina songs, drumming and other instrumentals, oral history, an Anansi story, African language

retentions (including Twi and Kikongo), and other verbal arts”. The album is an intergenerational conversation between younger and older generations of Moore Town Maroons about their musical traditions, Kromanti and Kumina, which are direct descendants of the great leader and Jamaican National Hero, Queen Nanny.

Purpose: Most of what is known about Queen Nanny comes from oral history and folklore, not the written record. While she led her community to freedom during the transatlantic slave trade, very few people outside of Jamaica know of her existence. She is one of seven national heroes in Jamaica and is the only female representative of the group. She was a major figure in waging and winning an 80-year battle against the British army in the 18th century, which granted Maroons with territorial sovereignty “in their remote mountain strongholds”. She “symbolizes the pride of today’s Carribean women”. This documentary would not have been possible without conducting oral histories with worldrenowned scholars, present-day Maroons, and women leaders of today, whose lives have been profoundly impacted by the legacy of Queen Nanny.

Outcome: Not only has the documentary film been leveraged for educational and awareness raising purposes worldwide, it is also an important piece of cultural affirmation, preservation and celebration for the Maroons of Jamaica and a powerful story of resistance and self-determination for peoples of the African diaspora. Those communities share the commonality of having deeply rooted oral traditions, which have continually breathed life into foundational stories such as these across generations. Oral histories are a powerful tool for tapping into these collective memory-making processes and uplifting them through more widely accessible mediums like documentary films and albums.

Queen Nanny film screening flier. Credit: Caribbean Student Association

3. Case study 3 - Oral Histories as Living Community Archives of Pivotal Historical Moments: Detroit 67 - Looking Back to Move Forward

“ We look back 100 years – from 1917 to today and forward 50 years to 2067 and use an understanding of our collective history to inform and define our future. Those who engage with Detroit 67 will be able to better understand the events leading up to July, 1967, where we are today, and connect to efforts that are moving Detroit forward.”

— Detroit 67

Context: The Detroit 67 project is a “multi-year community project” whose purpose is to bring “together diverse voices and communities” to commemorate the “tumultuous summer” of 1967 during which Black Detroiters rose up against the City’s Police Department as a response to decades of pronounced systems of racial segregation and inequality throughout Detroit.It was known to be the bloodiest urban uprisings in U.S. history, and a pivotal moment

in U.S. history. Detroit has for decades been a Black stronghold in the U.S. and stands as one of the Blackest cities in America with 78% of its population being Black. Detroit 67 is led by the Detroit Historical Society, which is housed within the Detroit Historical Museum. Its mission is to tell “Detroit’s stories and why they matter”. Detroit 67 is comprised of multiple projects, including the Oral History Project (a compilation of “the most comprehensive collection of written, audio and video histories ever assembled on this topic”), an exhibition (featuring a sample of the 100s of oral histories gathered throughout the project), a placemaking project (to connect neighborhoods across the city with the Detroit 67 project), a companion book, and continued programs and outreach to the community.

Purpose: The purpose of Detroit 67 is threefold: 1) to engage the community through community leaders, nonprofits, businesses, to be part of this effort; 2) to reflect on the past, present and future implications of the 1967 uprisings through the exhibition; 3) to act on the lessons learned through the project outside the bounds of the museum.

Outcome: As a result of this comprehensive effort, the Detroit 67 Project has increased multistakeholder and community-wide understanding of the past and present legacies of this pivotal historical moment and has “created a ‘model’ that makes history relevant to a community’s present & future”.

IV. Strengths and Limitations of Oral Histories as a Methodology

Over the decades, community-based oral historians, scholars, and practitioners have reflected deeply on the strengths and limitations of the powerful tool that is oral history. For the purpose of simplicity, we have summarized some of its key strengths and limitations into the table below by category of stakeholder.

Detroit 67 logo and model. Credit: Detroit 67

Strengths

FOR THE INTERVIEWEES

All individuals are recognized for their capacity to contribute to knowledge construction through the telling of their unique stories (Field, 2007, p. 12).

Life stories allow interviewees to draw different connections between different moments of their lives and to trace “patterns of collective memory” (Field, 2007, p. 12).

The ability to review and re-evaluate one’s memories, to assess decision-making patterns throughout one’s life, and to release “burdensome memories from the past.”

Authority is being shared with the interviewer in the storytelling process.

Limitations

Revisiting the past can potentially re-ignite traumatic memories that one has not had the capacity to properly process.

The interviewer is not actively listening to your story, which could lead you to say what they would like to hear, thus warping the possibility for genuine dialogue.

The person being interviewed cannot fully and knowingly consent to being interviewed and recorded because of a potential disability or their age, thus rendering the process unethical.

Jeopardizing the safety of participants who partake in oral history projects in highly politicized contexts by disseminating their stories (Jessee, 2011).

FOR THE INTERVIEWERS

Provides strong research and engagement skills (ex. interview protocol design, interviewing, active and empathetic listening) to the people who design and conduct oral history projects (Field, 2007, p. 32).

Authority is being shared with the interviewee in the storytelling process.

The ability to gain critical insights into the lived realities of a community previously unknown to the outside world.

Availability and capacity of under-resourced communities to participate in such projects when it may not be a priority.

The challenge of needing to balance or choose between width and depth for one’s project (Field, 2007, p. 12-13).

If the interviewer is an insider they might not ask their peers difficult questions that would disturb “an ongoing, comfortable social relationship” thus running the risk of carrying out a surface level oral history project (Shopes, 2002, p. 591).

FOR THE PARTICIPATING COMMUNITIES

Uplifting the voices of marginalized communities whose stories often go unrecorded and will be of “historical value to their community and also to educational and heritage institutions” (Field, 2011, p. 34).

Oral histories are time-intensive endeavors which can make carrying them out a challenge if the people conducting the project are working on tight timelines. In other words, they risk being less representative.

Providing visibility to community stories through their ethical dissemination to broader public audiences and subsequently supporting a community’s sense of “collectivity and community pride through witnessing the sounds and images of their community heritage” (Field, 2007, p. 33).

A great knowledge and cultural transfer tool for current and future generations.

A great pedagogical tool to teach people (youth and adults alike) how to carry out their own oral history projects.

Oral histories can fail to critically elevate the “broad themes of social life that cut across individuals’ experience” by simply focusing on the disjointed “life histories of individual narrators” (Shopes,2002, p. 590).

The community whose stories have been digitally disseminated does not have internet access thus rendering these stories inaccessible to them as the would-be primary beneficiaries of the project.

Through poorly conceptualized digital dissemination, the risk is that people’s life stories are reduced into products rather than as living archives of history and memory.

V. Potential Barriers to Meaningful Implementation & Strategies to Overcome them

“ The very methodology of the oral history method re-enforces hegemonic Western ideologies about race/ethnicity, gender and class perpetuated through the connection between the cultural identity of the speaker and the notion of authenticity as a ground for academic authority”

— Soon Nam Kim, 2008.

“ We live in a technological culture of planned obsolescence. We need to grapple with this temporal contradiction, since oral history at its best values the opposite of obsolescence. Technology seeks to move constantly onward and forget, while oral history wants to remember.”

— Anna Sheftel and Stacey Zembrzycki, 2017.

In order for your oral history project to be successful, you will need to carefully consider key barriers to implementation and devise strategies for overcoming them.

Museumgoers listen to recordings on headphones in “World City,” one of three galleries that make up “New York at Its Core.” Photo Credit: Museum of the City of New York

Interviewer watches an oral history on screen with subtitles. Photo credit: Oral History-Digital

1. Key Logistical Concerns Behind an Oral History Project [Shopes, 2002, pp. 588-598]

Barriers Toward Meaningful Implementation Strategies for Overcoming Them

Working under limited timelines. Refine the scope of your project and what is achievable within the timelines allocated to the task at hand. Part of building community trust is to not over-promise and under-deliver.

There are no opportunities for pre-introductions to the people you will be interviewing.

Prepare well-rounded consent protocols and be sure to be able to effectively explain to your interviewees what to expect from the interview and what their rights are.

An unclear sense of how all the oral histories will connect well with one another as a whole.

Your community partner for the project is not very clear with you about who you should plan to interview for this project.

Prepare a detailed interview protocol that will allow you to “conceptualize a community history project around a historical problem or issue rather than a series of life-history interviews” (p. 596).

When working with your partner, be sure as much as possible that your pool of interviewees reflects the diversity of the community you are trying to reflect through this oral history project (p. 596).

2. The Hegemonic Power Dynamics Inherent to the Methodologies of Oral History [Kim, 2008. 2017, pp. 1346 - 1369]

Barriers Toward Meaningful Implementation Strategies for Overcoming Them

The methodology of oral history reproduces power dynamics and privileges the voice of the interviewer rather than that of the interviewee, who is oftentimes from a more marginalized background than the interviewer.

Shared authorship, a pseudo egalitarian approach toward carrying out a project, in fact privileges the research or project priorities over those of the interviewee (p. 1353).

You are afraid of silences during the interview process.

You are trying to overcome the power dynamics between you and your interviewees.

In order to effectively “rename and reinvent” the past, per the stated mission of oral histories, it is crucial to carefully explore its “methodological limits” i.e. “Who and what are we writing for? Who is ‘the oppressed’? Do they really care about your project?” (p. 1348).

Ask yourself - Will this project actually support efforts to challenge the systems of oppression that it describes? If so, how?”

Do not be. Conceive of silence not only as key to the process of exchanging with someone, but also as the “basis for a discourse of resistance” on behalf of the interviewee who gets to choose what they do or do not wish to disclose with you (p. 1360).

Do not. Embrace them as inherent to the process and center your own positionality in the work so that you may enter the dynamic of exchange more self-aware of the lens you bring to the project (p. 1355).

Barriers Toward Meaningful Implementation Strategies for Overcoming Them

Treating “authenticity as a basis for the authority to speak” when by doing so, oral historians actually tend to speak for the subjects they are conducting oral histories with (p. 1357).

Do not speak for others but for yourself in the process of describing the findings of your oral history project i.e. be self-reflective (p. 1357).

3. Oral History in the Digital Era [Sheftel and Zembrzycki, 2017, pp. 94–112]

Barriers Toward Meaningful Implementation Strategies for Overcoming Them

Oral histories are a slow process but the digital world calls for speeding up this process. How do you reconcile the two? (p. 94).

Do our online sharing and social media cultures change how people tell their stories?

To engage the question about reconciling those two dynamics, it is crucial to explore the impact that technology is having on the field of oral history head on (p. 96). Regardless of technology, however, getting the story takes time (p. 98)

They will, yes, because people will be more mindful of what they do or do not share. Consider consent protocols that explore questions of anonymity and privacy for your participants. This could help facilitate a spontaneous exchange between you and your interviewee.

Is digital indexing and tagging a sufficient form of interpretation of oral histories?

Is unrestricted public access to oral histories the right approach?

Should one give in to the fear of “low attention spans” when designing editing and dissemination strategies for oral histories?

No, you will need to spend more time interpreting transcripts and listening to the oral histories you have conducted, in order to give them the critical engagement they deserve.

No, not necessarily. You might consider privacy settings for who might access to the oral histories depending on the needs of the communities you are working with.

We must not forget about the importance of listening to an oral history in full no matter how distilled it might be for online dissemination purposes. It might be worth working with a web designer on “settings that would privilege the act of stopping and watching and listening” (p. 103).

Should online dissemination be the go to strategy? Not necessarily. While it is by far the most widely used one, not all communities have ready access to the internet. You must, in this case, consider back up plans, like physical exhibitions to ensure the communities you are working with are the primary benefactors of your work.

VI. Legacy and Sustainability of Oral History Work in the Quilombola Communities of Alcântara

“ Oral history projects inspire activeparticipation in history and civic life and strengthen a desire to pursue further education.”

— Oral History Association and American Folklife Center

The physical and digital exhibitions that will emerge from this oral history project, as described aove in this guidebook, will have the potential to:

• Increase the community’s income-generating potential through Community-Based Tourism.

• Be leveraged for global events to raise and increase awareness at the regional, national, and international levels about Quilombola peoples and their continued struggle for freedom and self-determination in Alcântara and beyond.

• Be used to train Quilombola teachers and youth about carrying out oral history projects in their community.

The idea is that with more financial resources and more visibility, Quilombola communities will be able to more powerfully push back against the ongoing threat of forced land removals throughout the region of Alcântara.

Moreover, these oral histories can empower the local community to carry forth this work into their future. It starts with educating youth about the power of such work. In their brief classroom guide, titled “Principles and Best Practices for Oral History Education (4-12)”, the American Folklife Center and the Oral History Association detail the following benefits of integrating oral history into classroom curricula:

• They can be used “as primary sources or as case studies, which connect to core curricula and interdisciplinary subject areas”.

• They raise awareness for students about par-

ticular historical moments and help students develop strong transferable skills (i.e. public speaking, interpersonal communication, and the use of multimedia technology).

• They allow students to connect the personal to the historical and to build a sense of community.

The guide encourages educators to learn about oral history methodologies and to ask themselves the following questions before getting started: “What resources are available? How will you record, disseminate, and preserve the interviews? What are the student learning outcomes? What is the time frame for the project? “.

The guide then details the three different stages of teaching oral history:

• Pre-interview: exploring project ideas, student skill-mapping, considering dissemination strategies and the selection of narrators, finding ways to effectively communicate their rights to them (i.e. they “ hold the rights to their interviews until and unless they transfer those rights), doing background research, designing an interview protocol, gathering audiovisual recording equipment, and preservation and storage (where will the interviews live).

• Interview: “narrator care” (respecting them at all times), listening actively, deciding on the interview length and trying to stick to it, being flexible, providing the interviewee with a release form, and tagging the interview for later indexing.

• Post interview: documenting the process, preserve and store the interview materials (recordings and transcripts), reflecting (“ask the students to reflect on the interview content, process, and product”), disseminationating (“create and share the oral history project in a way that stays true to the narrator’s voice, while highlighting the objectives and purpose”).

Oral History Resources

• Brazil Oral History Association

- https://www.historiaoral.org.br/

• FGV CPDOC

- Oral History Program website

https://cpdoc.fgv.br/acervo/historia-oral

- Oral History Database

https://www18.fgv.br/cpdoc/acervo/historia-oral

- Downloadable interviews

https://cpdoc.fgv.br/acervo/historia-oral/entrevistas-para-download

• Oral History Society

https://www.ohs.org.uk/

• International Oral History Association

https://www.ioha.org/

• Oral History Association

https://oralhistory.org/

• National Museum of African American History and Culture: Oral History Initiative

https://nmaahc.si.edu/explore/initiatives/ oral-history

Project Team

Dr. Ana Paula Pimentel Walker Associate Professor and Project Manager

The University of Michigan Ann Arbor appiment@umich.edu

Cat Diggs (Oral History Project Lead) Alumini

The University of Michigan Ann Arbor

sara faraj (PhotoVoice Project Lead) Alumini

The University of Michigan Ann Arbor

Russell Lin (Website Project Lead) Student

The University of Michigan Ann Arbor

Oral history interviews in Alcântara, Brazil. Photo credit: Russell Lin.

APPENDIX C - ORAL HISTORY GUIDEBOOK

References

2023 IOHA Conference Promotional Video, 2022. https://www.youtube.com/watch?v=_ivia6gsjTY

Albert, Verena, and Amilcar Araujo Pereira. “Chapter 9 - The Black Movement and Race Relations in Brazil: Building New Knowledge through Online Oral History Materials.” In Memory, Subjectivities, and Representation, 167–86. The Ediition, 2016.

Alessandro Portelli – Speaking of Oral History, 2017. https://www.youtube.com/watch?v=vEToq3T_LZQ.

Ardemendo, Debbie, and Katie Kuszmar. “Principles and Best Practices for Oral History Education (4-12): Classroom Guide.” Oral History Association & American Folklife Center, n.d. https://oralhistory.org/wp-content/uploads/2014/04/2013-1411_Oral_History_ClassroomGuide_Update_V2.pdf.

Field, Sean. “Oral History Methodology.” 2007. https://sephis.org/wp-content/uploads/tainacan-items/4273/4367/LT17_Field_2007_Oral_History_MethodologyEN.pdf.

Frisch, Michael. “Commentary - Sharing Authority: Oral History and the Collaborative Process.” The Oral History Review 30, no. 1 (January 1, 2003): 111–13.

https://doi.org/10.1525/ohr.2003.30.1.111.

Fuller, Harcourt. “Harcourt Fuller’s Jamaican Maroon Oral History Projects.” Oral History Association, July 2017.

https://oralhistory.org/2017/07/01/harcourt-fullers-jamaican-maroon-oral-history-project s/.

Jessee, Erin. “The Limits of Oral History: Ethics and Methodology Amid Highly Politicized Research Settings.” The Oral History Review 38, no. 2 (September 1, 2011): 287–307. https://doi.org/10.1093/ohr/ohr098.

kjheinz. “Why Are Oral Histories Important for Community-Driven Archives?” UNC Southern Sources: Exploring the Southern Historical Collection (blog), n.d.

https://blogs.lib.unc.edu/shc/2020/06/30/oral-histories-and-community-driven-archives/

Meihy, José Carlos Sebe Bom. “Oral History in Brazil: Development and Challenges.” The Oral History Review 26, no. 2 (July 1, 1999): 127–36. https://doi.org/10.1093/ohr/26.2.127.

Nam Kim, Soon. “Whose Voice Is It Anyway? Rethinking the Oral History Method in Accounting Research on Race, Ethnicity and Gender.” Critical Perspectives on Accounting 19 (2008): 1346–69.

Pereira Junior, Davi. “The Future of Alcântara Is Not (Just) Rocket Science: Quilombola Epistemologies and the Struggle for Territoriality.” University of Texas, 2021.

Queen Nanny: Legendary Maroon Chieftainess - Official Trailer, 2016. https://www.youtube.com/ watch?v=7EhetqgWUGE.

Sheftel, Anna, and Stacey Zembrzycki. “Slowing Down to Listen in the Digital Age: How New Technology Is Changing Oral History Practice.” The Oral History Review 44, no. 1 (April 1, 2017): 94–112. https://doi.org/10.1093/ohr/ohx016.

Shopes, Linda. “Oral History and the Study of Communities: Problems, Paradoxes, and Possibilities.” The Journal of American History, September 2002, 588–98.

Silva, Alcione Ferreira. “Concentração Fundiária, Quilombos e Quilombolas: Faces de Uma Abolição Inacabada.” Revista Katálysis 24, no. 3 (December 2021): 554–63. https://doi. org/10.1590/1982-0259.2021.e79758.

Texas Historical Commission. “Fundamentals of Oral History: Texas Preservation Guidelines,” n.d. https://www.thc.texas.gov/public/upload/publications/ OralHistory.pdf.

Thomson, Alistair. “Four Paradigm Transformations in Oral History.” The Oral History Review 34, no. 1 (January 1, 2007): 49–70. https://doi.org/10.1525/ ohr.2007.34.1.49.

Xavier Filho, José Luiz. “‘Assim Diziam Os Antigos’: Usos e Métodos Da História Oral.” Diálogos 6 (Novembro 17, 2021): 69–88. https://doi.org/10.53930/348517.

What is Photovoice?

Histórias Orais com Líderes

Quilombolas de Alcântara, Brasil: Democratizando o Processo De Fazer História

Photovoice is a community-based participatory action research method and approach that has the potential to democratize data, empower participants and the collective community, and mobilize social change through strategic partnerships and awareness. At its core, Photovoice reframes who is the expert in research, projects, and narrative cultivation; it fosters space for participants to shed light on what matters to them based on

I. O que é História Oral? Definições, propósito, História e contexto Brasileiro

What is Photovoice?

1. Definição & Objetivo

Photovoice is a community-based participatory action research method and approach that has the potential to democratize data, empower participants and the collective community, and mobilize social change through strategic partnerships and awareness. At its core, Photovoice reframes who is the expert in research, projects, and narrative cultivation; it fosters space for participants to shed light on what matters to them based on prompts or general experiences. The methodology also involves developing a voice

“ O verdadeiro registro da história é encontrado na vida das pessoas comuns que a viveram. Coletar, preservar e compartilhar histórias orais não apenas transmite conhecimento de uma geração para a outra, mas também melhora nossa compreensão do passado ao iluminar a experiência pessoal Comissão Histórica do Texas

Em termos simples, as histórias orais são histórias contadas por pessoas comuns sobre suas lembranças de vida e sua experiência histórica. Normalmente, quando um projeto de história oral é realizado, “a pessoa que mais sabe sobre suas histórias de vida e sua comunidade não é o entrevistador/pesquisador, mas o entrevistado” (Field, 2007, p. 6). Dessa forma, a história oral, como metodologia de pesquisa, tende a romper com o paradigma tradicional de pesquisa, no qual o pesquisador é concebido como o especialista. Em vez disso, as histórias orais se esforçam para centralizar e destacar “formas localizadas de conhecimento popular” fornecidas pelas pessoas que estão sendo entrevistadas.

As histórias orais também são uma ferramenta utilizada por comunidades, organizações sem fins lucrativos e campanhas de ativismo para documentar as histórias de suas comunidades desde o início e criar arquivos vivos para a transmissão de conhecimento de uma geração para a seguinte.

A pesquisa de história oral começou antes dos anos 1960, mas foi realmente a partir dos

Entrevista de história oral no Quilombo de Itamatatiua, Alcântara, Maranhão. Crédito da foto: Cat Diggs.

Entrevista de história oral com morador Negro de Pontiac. Crédito da foto: Fox Detroit

Um culto em Salvador desperta uma série de reações na Igreja de Nossa Senhora do Rosário dos Pretos, do século XVIII, onde muitos afro-brasileiros adoram, incluindo aqueles que vivem em quilombos próximos.. Crédito da foto: Maria Daniel Balcazar (National Geographic).

Photovoice: make your vision seen & your voice heard

anos 1960 que ela se tornou uma metodologia de pesquisa popular em universidades e organizações não governamentais (ONGs) em diferentes partes do mundo. Na maioria das vezes, os projetos de história oral tendem a se concentrar nas vozes de comunidades e povos marginalizados (mulheres, povos indígenas, membros da diáspora africana etc.), cujas histórias não foram registradas ou incluídas nos registros históricos “oficiais” (Field, 2007, p.7-8).

É fundamental reconhecer que “muito antes do termo ‘história oral’ ser cunhado, pessoas em várias culturas e sociedades têm usado e perpetuado tradições e histórias orais como parte de suas vidas diárias (Field, 2007, p. 8).

No entanto, enquanto as tradições orais são um “conjunto de narrativas” (por exemplo, lembranças históricas, fábulas, lendas, histórias de origem, lições etc.) que são transmitidas verbalmente de geração em geração, as histórias orais, por outro lado, estão vinculadas às histórias de vida e aos relatos em primeira mão das pessoas que estão sendo entrevistadas (Texas Historical Commission, p. 2).

As histórias orais podem, portanto, ser usadas para diversas finalidades, incluindo, entre outras, as seguintes

• Complementar o registro histórico escrito

What is Photovoice?

• Preservar o patrimônio cultural, as formas de vida, os modos de vida e as experiências humanas que correm o risco de desaparecer sem serem registrados (Texas Historical Commission, p. 2)

• Correção de estereótipos sobre modos de vida e povos pouco conhecidos

• Desafiar o conhecimento convencional e/ou acadêmico (Field, p. 8)

Photovoice is a community-based participatory action research method and approach that has the potential to democratize data, empower participants and the collective community, and mobilize social change through strategic partnerships and awareness. At its core, Photovoice reframes who is the expert in research, projects, and narrative cultivation; it fosters space for participants to shed light on what matters to them based on prompts or general experiences. The methodology also involves developing a voice

• Fornecer uma plataforma para que as pessoas com experiência vivida sobre o tópico que está sendo estudado compartilhem suas experiências em seus próprios termos e com suas próprias palavras, de modo que suas histórias

fiquem abertas à interpretação contínua das gerações atuais e futuras de espectadores.

Para realizar um projeto de história oral, quatro abordagens diferentes podem ser empregadas (Texas Historical Society, p. 2-3):

Amplifying the Voice of Quilombola through Sustainable, Community-Based Tourism and Cultural Preservation in Alcântara, Brazil

What is Photovoice?

Photovoice is a community-based participatory action research method and approach that has the potential to democratize data, empower participants and the collective community, and mobilize social change through strategic partnerships and awareness. At its core, Photovoice reframes who is the expert in research, projects, and narrative cultivation; it fosters space for participants to shed light on what matters to them based on prompts or general experiences. The methodology also involves developing a voice

• Entrevistas de história de vida, que consistem em entrevistar indivíduos sobre seus antecedentes desde a infância até os dias atuais. As entrevistas de história de vida são o tipo mais comum de metodologia de entrevista de história oral. Embora geralmente sejam realizadas em ordem cronológica, elas podem tomar rumos diferentes com base na maneira como os entrevistados se lembram de suas vidas e nos assuntos que mais os tocam. Quando colocadas em diálogo umas com as outras, as histórias de vida podem fornecer percepções cruciais sobre as histórias sociais e comunitárias, bem como sobre os contextos sócio-históricos mais amplos nos quais essas comunidades estão inseridas.

• As histórias tópicas permitem o estudo de “eventos, épocas ou organizações específicas”. Elas podem se concentrar em tópicos que vão desde “alimentação, moradia, assistência médica, educação, entretenimento, política e costumes”.

• Os estudos temáticos concentrarão entrevistas variadas em “padrões e conceitos amplos”, como “amor, conflito, esperança, religião, educação, competição, sucesso ou arte”.

• Documentação de artefatos ou de locais específicos, que muitas vezes envolve fazer com que os participantes compartilhem a história de sua relação com a casa, a rua, a igreja, a escola, um terreno baldio etc.

Independentemente do tipo de método de entrevista ou projeto que você escolher, as histórias orais envolvem estilos lentos de entrevistas. Conforme explicado pelo historiador oral Sean Field, é fundamental que

Photo credit: sara faraj

Photo credit: sara faraj

os entrevistadores “deixem os entrevistados compartilharem as histórias que são importantes para eles”. Ao fazer isso, o entrevistador pode criar um relacionamento de maior confiança com o entrevistado, deixando-o mais à vontade para compartilhar mais detalhes sobre sua vida (2007, p. 10-11).

2. Os Princípios Fundamentais Da História Oral

“ Como saímos de uma situação de ‘eles’ e ‘nós’ para alcançar ‘uma autoridade compartilhada’ (Frisch, 1990)

Sean Field, 2007

Os historiadores orais sempre se preocuparam com a ideia de criar relacionamentos recíprocos e horizontais entre eles e os indivíduos que entrevistaram. Em seu livro de 1990, intitulado A Shared Authority: Essays on the Craft and Meaning of Oral and Public History, Michael H. Frisch, pesquisador sênior emérito do Departamento de História da Universidade de Buffalo, cunhou um conceito fundamental no mundo das histórias orais, o de “autoridade compartilhada”. Em termos simples, as histórias orais são o produto de um processo colaborativo entre o entrevistador e o entrevistado. Em outras palavras, nenhuma pessoa é responsável pelo processo de criação da história em um projeto de história oral. É fundamental que haja um

equilíbrio entre as metas e necessidades do pesquisador e as do entrevistado. Além disso, em vez de temer as relações de poder inerentes ao trabalho de campo, os pesquisadores devem levar em conta essas relações na maneira como interpretam, coproduzem e divulgam as histórias orais (Field, 2007, p. 9-10).

Em um comentário de 2019 que escreveu sobre seu livro, Frisch explica que o “compromisso de compartilhar a autoridade é um começo, não um destino - e o começo de um processo necessariamente complexo e exigente de descoberta social e pessoal” pelo qual o compartilhamento da autoridade não é de forma alguma “unidirecional” e é negociado de forma consistente entre o entrevistador e o entrevistado durante todo o projeto (2019, p. 112).

Em uma entrevista em vídeo, intitulada “Alessandro Portelli – Speaking of Oral History” conduzida pela Sociedade de História do Canadá, Dr. Portelli, da Universidade de Roma, “reconhecido internacionalmente como o historiador oral mais influente do último quarto de século”, “fala sobre três componentes principais da história oral”:

Coautoria de histórias: As histórias nunca são contadas de forma abstrata e não são repetidas da mesma forma de uma pessoa para outra. Os entrevistados “contam a história para o tipo de pessoa que eles acham que você é”. Uma entrevista de história oral é sempre uma experiência de aprendizado desafiadora, por meio da qual você aprende não apenas sobre o conhecimento da pessoa que está entrevistando, mas também sobre si mesmo no processo. O entrevistado, por outro lado, é forçado a mergulhar em uma reflexão sobre toda a sua vida de maneiras que vão além das histórias curtas e anedotas da vida cotidiana.

Retrato de Sandro Portelli. Crédito da foto: Sociedade de História do Canadá

Estabelecimento de confiança: Como explica Portelli, não existe a dicotomia entre o observador e o observado em uma entrevista de história oral. A dinâmica de ser visto pelo outro e de ver o outro é inerentemente recíproca. Para criar confiança com o entrevistado, é fundamental transmitir a ele que você pode ser instruído, que não se sabe tudo e que está disposto a aprender. Sua função não é “dar voz a quem não tem voz”, mas sim ser humilde, aberto e flexível. Você não é o herói de ninguém. Nas palavras de Portelli, criar confiança “não é uma técnica, é uma atitude”.

Fontes e lembranças errôneas: A razão pela qual realizamos histórias orais é porque “achamos que as narrativas oficiais são erros de memória”. Em suma, não se pode levar em conta uma única narrativa pelo seu valor de face. O processo de recontar a história é um processo de verificação de suas fontes. Dessa forma, um projeto de história oral não é um projeto de história oral sem a realização de uma quantidade substancial de entrevistas com um grupo diverso de pessoas. Para fazer história oral de forma eficaz, você deve usar todos os tipos de fontes ao mesmo tempo. Como historiador oral, você deve pensar como 1) um historiador para entender o que aconteceu; 2) um antropólogo para entender o que são “a narrativa e as construções mentais das pessoas sobre o que aconteceu”; 3) um historiador oral para entender por que um determinado evento histórico gerou a história que está sendo compartilhada com você. A natureza do seu projeto informará se você se inclina mais para a história escrita ou

oral. Um projeto de história oral não deve aplicar uma abordagem do tipo “ou ou” à coleta de fontes históricas.

Nas palavras de Portelli, “a história oral é aquela em que a estrutura da história é derivada principalmente de fontes orais e inclui todo o resto”.

3. História Das Histórias Orais: Democratizando o Processo de Fazer História

“ A história oral pode ser “uma ferramenta poderosa para descobrir, explorar e avaliar a natureza do processo de memória histórica - como as pessoas dão sentido ao seu passado, como elas conectam a experiência individual e seu contexto social, como o passado se torna parte do presente e como as pessoas o utilizam para interpretar suas vidas e o mundo ao seu redor

Michael H. Frisch, 1990

Em seu artigo intitulado “Four Paradigm Transformations in Oral History” (2007), Alistair Thomson explora a história internacional da história oral ao longo do tempo e do espaço com um foco específico no que ele chama de “quatro revoluções paradigmáticas na teoria e na prática”:

“O renascimento da memória no pós-guerra como fonte para a ‘história do povo’” (décadas de 1950 e 1960): Após a Segunda Guerra Mundial, a memória se torna uma “fonte de pesquisa histórica” com projetos acadêmicos de história oral surgidos pela primeira vez na Universidade de Columbia, na cidade de Nova York, em 1948. A partir da década de 1960, os projetos de história oral tenderam a enfatizar as histórias pouco registradas de grupos marginalizadoscomunidades da classe trabalhadora, mulheres, negros, povos indígenas” - por meio dessa ideia de “história vinda de baixo”. O objetivo dessa abordagem da história oral era romper as

Mapa do mundo. Crédito: Associação Internacional de História Oral

“fronteiras entre as instituições educacionais e o mundo, entre o profissional e o público comum”. Foi durante esse período que as histórias orais se expandiram para além das quatro paredes das instituições acadêmicas, para escolas, organizações sem fins lucrativos e iniciativas lideradas pela comunidade (Thomson, 2007, p. 51-53).

Abordagens “pós-positivistas” da memória e da subjetividade (década de 1970 em diante): Nesse período, “historiadores orais imaginativos” responderam às críticas feitas aos projetos de história oral, que foram considerados por alguns historiadores como não confiáveis devido ao fato de que a memória daqueles que participaram dos projetos poderia falhar. Esses historiadores orais afirmaram que, ao contrário, “a chamada falta de confiabilidade da memória também era sua força, e que a subjetividade da memória fornecia pistas não apenas sobre os significados da experiência histórica, mas também sobre as relações entre passado e presente, entre memória e identidade pessoal e entre memória individual e coletiva”. As melhores histórias orais, entretanto, mantêm “uma abordagem reflexiva e crítica da memória e da história”. Em outras palavras, nenhuma narrativa deve ser tomada pelo seu valor de face (Thomson, 2007, p. 54-57).

A transformação do papel da história oral como entrevistador e analista (final da década de 1980 até o final da década de 1990): Nesse período, os historiadores orais enfatizaram muito o poder do testemunho, especialmente no que se refere aos “processos legais e políticos relacionados aos direitos e à restituição dos povos indígenas, à resolução pós-conflito e à verdade e reconciliação nacionais”. A ideia de “prestar testemunho” tornou-se fundamental para o processo de construção da história no final do século XX e início do século XXI. Além disso, durante essa época, os historiadores orais foram chamados a refletir sobre a influência que estavam exercendo sobre os entrevistados

durante as entrevistas. Foi também uma época em que não apenas muitas outras disciplinas, como sociologia qualitativa, antropologia, estudos literários e culturais, adotaram a prática das histórias orais, mas os próprios historiadores orais estavam aplicando uma abordagem interdisciplinar à metodologia. Por fim, as décadas de 1980 e 90 representaram uma era em que o movimento da história oral estava abrindo suas asas no cenário internacional, por exemplo, com a criação da Associação Internacional de História Oral em 1996. Nas palavras de Thomson, “As circunstâncias políticas de países e regiões que estão emergindo de - ou lutando dentro deturbulências políticas, sem dúvida, geram um trabalho de memória importante, muitas vezes transformador” (2007, p. 58 - 67).

“A revolução digital do final dos anos 1990 e início dos anos 2000”: Essa revolução está em andamento e seus impactos sobre a prática da história oral continuam a ser objeto de pesquisa e questionamento. Com o advento da Internet, as gravações audiovisuais se tornaram acessíveis às pessoas. Os catálogos digitais permitem que as pessoas façam conexões entre projetos de história oral. De muitas maneiras, a revolução digital está contribuindo não apenas para o crescente internacionalismo das histórias orais, mas também para democratizar o acesso à capacidade de realizar esses projetos. Nas palavras de Thomson, “as tecnologias digitais estão transformando tantos aspectos do nosso trabalho como historiadores orais - e, na verdade, as maneiras pelas quais as pessoas se lembram e narram suas vidas - que, com o tempo, elas também mudarão a maneira como pensamos sobre a memória e a narrativa pessoal, sobre contar e coletar histórias de vida e sobre compartilhar memórias e fazer histórias” (2007, 68-70).

4. Histórias Orais no Brasil

“ Transcendendo a fase em que a história oral era vista como um campo multidisciplinar, a história oral brasileira começou a formular seus próprios conceitos e, por ter nascido cronologicamente tarde e distante dos centros hegemônicos que a elaboraram, tornouse a proponente da história oral como uma nova disciplina. É claro que essa ideia é polêmica e tem muitos opositores, mesmo no Brasil

— Jose Carlos Sebe Bom Meihy, 1999

Em seu artigo, “História Oral no Brasil: Desenvolvimento e Desafios” (1999), José Carlos Sebe Bom Meihy explica que a história oral surgiu durante o período de redemocratização do Brasil, no início dos anos 1980, após uma ditadura militar de 21 anos, que durou de 1964 a 1985. A primeira tentativa oficial de trabalho de história oral no país começou em 1973 e foi patrocinada pela Fundação Ford e pela Fundação Getulio Vargas do Rio de Janeiro. Foi chamado de Centro de Pesquisa e Documentação de História Contemporânea do Brasil (CPDOC) e seu objetivo era abrigar e produzir fontes documentais sobre a história do país (1999, p. 129).

Como resultado do surgimento da história oral e de seu crescimento em popularidade no início dos anos 1980, após a ditadura civil-militar, a Associação Brasileira de História Oral foi fundada em 1994 para responder a uma estratégia nacional

para desenvolver a capacidade do país de realizar projetos de história oral. Além disso, a pressão para começar a documentar as vidas e experiências ainda pouco registradas de grupos sociais marginalizados, notadamente os povos indígenas e os negros, tem crescido ao longo das décadas (1999, p. 133). De fato, os estudos de história oral no Brasil tornaramse conhecidos ao longo dos anos por seus esforços para destacar as histórias de grupos marginalizados, incluindo as de crianças, analfabetos, pessoas sem emprego, presos políticos e pessoas que sofrem de doenças (1999, p. 135-136). Nas palavras de Meihy, pelo fato de “a história oral brasileira ter nascido em um momento de redemocratização”, ela estava “destinada a se tornar uma voz diferente” (1999, p. 136).

Em julho de 2023, a 22ª Conferência da Associação Internacional de História Oral sobre o tema “História Oral em um Mundo Digital e Audiovisual” foi sediada pela Escola de Ciências Sociais da Fundação Getulio Vargas, o Centro de Pesquisa e Documentação de História Contemporânea do Brasil (FGV CPDOC). De acordo com o promotional video, da IOHA, o CPDOC da FGV, cujo Programa de História Oral foi criado em 1975, agora “possui 7.600 horas de entrevistas digitalizadas de registros sonoros e audiovisuais”. Seus arquivos orais incluem, mas não se limitam a, entrevistas com ex-presidentes, figuras políticas, bem como a documentação de patrimônio cultural, esportes e movimentos sociais, como o movimento negro no Brasil.

5. Realizando Histórias Orais com Comunidades Quilombolas

As histórias orais quilombolas envolvem a centralização das seguintes narrativas complexas que definem as identidades dessas comunidades:

• Uma busca pela liberdade por meio da propriedade de terras comunitárias e de relações recíprocas com a terra.

Logotipo da Associação Brasileira de História Oral. Crédito: Associação Brasileira de História Oral (ABHO)

• Resistência às histórias de escravidão e racismo de longa data que constituem as bases da sociedade brasileira.

• Superar a adversidade diante da perseguição do governo, da estigmatização, do desinvestimento, da desvalorização cultural e da ameaça contínua de desapropriação de terras.

• Uma maneira de lembrar que está ligada à memória coletiva e a tradições orais profundamente enraizadas (Xavier, 2021, p. 74)

“ Para a comunidade [quilombola], não há data ou lei que marque a transição da escravidão para a liberdade, mas sim condições sócio-históricas que lhes permitem vivenciar as continuidades ou rupturas do processo inacabado da Abolição

Alcione Ferreira, 2021

Embora as histórias quilombolas, que variam no tempo e no espaço, não estejam bem documentadas no Brasil, alguns historiadores orais, como José Luis Xavier, se aventuraram a realizar histórias orais com povos quilombolas, nesse caso, o Quilombo Sambaquim, “que está localizado no município de Cupira, uma pequena cidade na região agreste do estado de Pernambuco, Brasil” (2021, p. 73). Como explica Xavier, analisar a comunidade quilombola é fazer uma viagem e se aventurar em suas narrativas, pois é por meio da tradição oral que se preserva o conhecimento de seus antepassados” (2021, p. 76).

As histórias orais dos povos quilombolas devem trabalhar para destacar sua luta baseada na terra pela liberdade. Ao fazer isso, elas devem esclarecer o fato de que, sem o título das terras em que se estabeleceram há gerações para escapar das garras da escravidão, a liberdade não será possível para os povos quilombolas, independentemente do fato de a escravidão ter sido legalmente abolida e de a Constituição ter reconhecido formalmente seus direitos à terra (Ferreira, p. 554). Apenas uma pequena porcentagem das comunidades quilombolas recebeu status de proteção do governo,

portanto a luta continua. Fundamentalmente, “essa é uma história que deve ser entendida por meio de uma nova lente”, diz Xavier, “com o quilombola como protagonista (2021, p. 84).

II. Como realizar um projeto de história oral resumidamente

1. As Principais Etapas De Um Projeto De História Oral

“ A entrevista de história oral consiste em dar às pessoas comuns um espaço seguro para contar suas histórias

Sean Field, 2007.

Para simplificar, dividimos as principais etapas da realização de um projeto de história oral em seus três estágios principais: antes, durante e depois do projeto. Há uma infinidade de recursos disponíveis on-line sobre metodologias para a realização de tais projetos e optamos por resumir as principais recomendações do guia de Sean Field, intitulado “Oral History Methodology” (2007) e da Texas History Commission.

Família quilombola (National Geographic) Crédito da foto: Maria Daniel Balcazar.

a. Antes: Como se preparar para um projeto de história oral

1. Defina o escopo e o tópico de seu projeto de história oral. Qual é o objetivo de seu projeto? Quem você planeja entrevistar? Você priorizará os idosos da comunidade? Como você os recrutará para as entrevistas? Quais podem ser alguns dos desafios desse projeto? Como planeja superá-los?

2. Faça uma pesquisa de base sobre o assunto que está explorando (fotografias, leitura de documentários) .

3. Na medida do possível, inclua a comunidade com a qual você se envolverá na elaboração do projeto

4. Compilar um orçamento de despesas 5. Planeje dedicar a esse projeto o tempo que ele merece, pois as entrevistas de histórias orais costumam exigir muito tempo

7. Prepare an interview guide with the key themes you wish to cover during the interview. Avoid leading questions and make sure to prepare for follow-up` or clarifying questions in your interview guide.

8. Prepare a consent form that explains the purpose of the project and the dissemination strategy for the recorded interviews. Create space for interviewees to provide their input and modify the trajectory of your strategy.

6. Selecione seu equipamento (câmera, gravador de áudio, microfone externo, cartão de memória, tripé)

9. Schedule interviews in a way that accommodates the schedule and comfort levels of your interviewees.

b. Durante: O que deve ser levado em conta durante uma entrevista de história oral

1. Na medida do possível, escolha um local silencioso para a entrevista a fim de evitar ruídos de fundo e maximizar a qualidade da gravação.

4. Peça ao entrevistado que revise o formulário de consentimento e assine-o conforme apropriado

7. Seja paciente e sensível às necessidades de seu entrevistado para criar um espaço seguro para que ele se abra e compartilhe sua história. Não tenha medo do silêncio. Preste atenção não apenas ao que o entrevistado diz, mas também à sua linguagem corporal.

2. Apresente-se ao entrevistado e o objetivo do seu projeto, bem como o que esperar da entrevista

5. Certifique-se de que seu equipamento (câmera, gravador de áudio) esteja pronto para gravar a entrevista. Certifique-se de fazer alguns testes antes de mergulhar na entrevista

8. Coisas a serem evitadas durante as entrevistas incluem chegar atrasado, fazer perguntas complicadas, interromper o entrevistado, interrogar ou discutir com o entrevistado, falar demais.

3. Certifique-se de que os intérpretes estejam preparados para iniciar a entrevista

6. Comece com perguntas simples para aquecer o entrevistado. Onde você nasceu?

Certifique-se de fazer perguntas abertas durante toda a entrevista e de pedir ilustrações e exemplos concretos do que o entrevistado está compartilhando com você.

9. Ao final da entrevista, não se esqueça de perguntar ao entrevistado: “Há algo que você acha que eu deveria saber?”. Conclua a entrevista agradecendo sinceramente ao entrevistado pelo tempo despendido e por compartilhar suas percepções, memória e história com você. Certifique-se de informar ao entrevistado o que esperar da liberação dos materiais da entrevista, quando for relevante. Convide-o a participar do processo.

c. Depois: Catalogação e divulgação de suas histórias orais para um público mais amplo

1. Envie ao seu entrevistado um agradecimento formal na forma de carta, e-mail, telefonema ou presente, conforme apropriado.

4. Divulgue as entrevistas por meio da mídia que você e a comunidade escolherem. Livros de história populares e acadêmicos, um site, canal do YouTube, exposições audiovisuais itinerantes, documentários etc.

A divulgação é uma forma de retribuir à comunidade que compartilha suas memórias e histórias e cujas vozes geralmente são silenciadas pela mídia convencional e pelos “livros” de história

2. Identifique o entrevistado em seu computador de backup ou sistema de disco rígido (título do projeto, nome do entrevistado, nome do entrevistador, data da entrevista, local, informações de contato, duração da entrevista).

5. Considere a maneira mais eficaz de comunicar as histórias orais em questão. Storyboards, visitas guiadas, exposições audiovisuais, exposições orais, podcasts etc.

2. Fazendo um Trabalho de História Oral com as Comunidades Quilombolas de Alcântara

“ O quilombo se tornou o principal símbolo da resistência à escravidão, que consumiu aproximadamente 12 milhões de negros foram forçados a se deslocar para a diáspora. . . O quilombo constituiu uma alternativa para os escravizados, representando uma possibilidade para os escravizados e grupos marginalizados, como os povos indígenas (Moura, 1988), para produzir uma nova sociedade, ambiente econômico e político Davi Pereira Junior, 2021.

O objetivo deste Projeto de História Oral será apoiar os esforços dos membros quilombolas da região de Alcântara para preservar, afirmar e destacar suas culturas únicas de resistência,

3. Catalogue suas entrevistas

6. Esses esforços de divulgação podem contribuir para aumentar as oportunidades de geração de renda para as comunidades que foram objeto de seu projeto de história oral.

propriedade coletiva da terra e modos de vida tradicionais. Seu objetivo também será fornecer uma plataforma para que os líderes quilombolas falem sobre a luta contínua pela titulação de terras que suas comunidades estão enfrentando e as ameaças sempre presentes de expulsão de suas terras pelo Centro de Lançamento Espacial de Alcântara (CLA).

Os testemunhos e as histórias de vida coletados por meio desse projeto serão aproveitados de várias maneiras:

• Um arquivo digital acessível ao público para a Associação do Território Quilombola de Alcântara (ATEQUILA) e suas comunidades gerenciarem.

• Uma galeria on-line de videoclipes no site dos Quilombos de Alcântara que a equipe da Universidade de Michigan está coproduzindo com a liderança da ATEQUILA.

• Uma exposição física de histórias orais na sede da ATEQUILA e em diferentes pontos

Conforme explicado pela Biblioteca da Universidade da Carolina do Norte em Chapel Hill em sua postagem no blog, “Why are Oral Histories Important for Community-Driven Archives?” (Por que as histórias orais são importantes para os arquivos orientados pela comunidade?), as histórias orais têm uma “voz própria” e revelam coisas que os livros e os registros históricos oficiais, que muitas vezes são baseados na exclusão de vozes marginalizadas, simplesmente não conseguem. Por meio das histórias orais, as comunidades podem ganhar soberania sobre suas histórias documentando, arquivando e divulgando-as em seus próprios termos.

Por fim, a esperança é que as histórias orais que surgiram desse projeto aumentem a conscientização em nível regional, nacional e internacional sobre a luta contínua dos povos quilombolas por liberdade, autodeterminação e soberania em Alcântara e além.

III. História Oral Estudos De Caso Da Diáspora Africana

1. Estudo de caso 1 - Histórias orais como ferramenta pedagógica para ensinar jovens sobre negritude e relações raciais no Brasil

“ Ao disponibilizar essas ricas histórias orais eoutras formas de documentação, nossa esperança é estimular entre os jovens gerações uma consideração mais profunda da experiência negra no Brasil

— Verena Alberti and Amilcar Araujo Pereira, 2016.

Em seu capítulo de livro, intitulado “Movimento negro e relações raciais no Brasil: Building New Knowledge through Online Oral History

Mapa de Alcântara (em cima) e Vista aérea de Alcântara (em baixo). Mapa e crédito da foto: Davi Pereira Júnior.

Captura de tela do arquivo do projeto de história oral de Alberti e Pereira no banco de dados do Programa de História Oral do CPDOC. Crédito: FGV CPDOC.

Materials” (2016), Verena Alberti e Amilcar Araujo Pereira falam sobre o projeto de história oral com o Centro de Pesquisa e Documentação de História Contemporânea do Brasil (CPDOC), por meio do qual realizaram um projeto de história oral para “documentar o movimento negro [contemporâneo] no Brasil” a partir da década de 1970 (p.167). Para isso, realizaram 39 entrevistas com mais de 110 horas de gravações, que estão arquivadas no CPDOC. Eles fizeram isso em um período de 4 anos, entre 2003 e 2007.

Contexto: O movimento negro no Brasil foi e continua sendo uma resposta ao racismo estrutural e sistêmico que serve de base para a desigualdade social generalizada e marcante no Brasil. Conforme revelado pelos autores, a documentação desse movimento também lhes proporcionou percepções sobre “o movimento quilombola afro-brasileiro rural, o movimento de mulheres negras, ações afirmativas e a trajetória dos diferentes grupos ao longo do tempo e em diferentes regiões do país”. Apesar da nova legislação que prevê o ensino das histórias e culturas afro-brasileiras e indígenas nas escolas de todo o país, o racismo continua a permear a sociedade brasileira e a exacerbar as desigualdades. Além disso, com a mistura racial sendo posicionada como um ponto de orgulho para a identidade nacional do país, “a questão racial” muitas vezes é abertamente evitada e/ ou ignorada, invisibilizando assim a história do movimento negro e suas contribuições para a luta pela justiça racial que remonta à resistência contra a escravidão. Até hoje, entretanto, o Brasil continua a abrigar a maior população de afrodescendentes fora do continente africano (Alberti e Pereira, 2006, p. 167 - 170).

Objetivo: O objetivo deste projeto de história oral é, portanto, inserir histórias orais sobre a dinâmica da raça e do racismo no Brasil no currículo dos jovens para que eles possam trabalhar com seus professores para criar seu

próprio conhecimento sobre essa dinâmica complexa e sempre crescente que informa sua vida cotidiana como brasileiros. Em outras palavras, as histórias orais com líderes negros “dão uma face humana à discriminação racial” e proporcionam aos alunos uma compreensão concreta de suas implicações (Alberti e Pereira, 2006, p. 171-173).

Resultado: O resultado é que, com histórias orais prontamente acessíveis como essas, os professores podem envolver seus alunos para que compreendam melhor a dinâmica das entrevistas e o que é necessário para realizar um projeto de história oral como esse. Em suma, o objetivo final é que essas histórias orais sirvam como uma oportunidade para a transferência de conhecimento e a produção de novos conhecimentos pela próxima geração de jovens historiadores orais. Conforme afirmam Alberti e Pereira, “Essas fontes orais e o processo de investigação que as envolve proporcionam aos alunos uma preparação inestimável para lidar com novos encontros e experiências sobre raça e relações raciais no Brasil”. (2006, p. 180-173).

2. Estudo de caso 2 - A história oral como base para a produção de filmes documentários e outras produções multimídia - Queen Nanny: A lendária cacique maroon

“ Ela era uma rainha capturada em sua terra natal e transportada à força pelo Oceano Atlântico no ventre de um navio negreiro. No Novo Mundo, ela acabaria se erguendo para se tornar a líder de uma nova nação - de africanos livres. No entanto, poucas pessoas fora da Jamaica conhecem a lendária ‘Nanny’, chefe guerreira dos Maroons jamaicanos, uma das heroínas mais célebres, mas menos reconhecidas, da história da resistência do Novo Mundo Sinopse do filme

Em um destaque da Associação de História

Oral (OHA), a OHA celebra o trabalho do Dr. Harcourt Fuller “que inclui um projeto de filmedocumentário e álbum gravado, e como a história oral foi essencial para ambos”. O Dr. Fuller, que é Professor Associado de História na Georgia State University, concentra sua pesquisa em histórias “de resistência contra a escravidão e o colonialismo” (com ênfase na prática de Marronage) e no antinacionalismo colonial no “mundo africano”.

Contexto: Seu documentário de uma hora de duração, Queen Nanny: Legendary Maroon Chieftainess (www.nannythemovie.com), de 2015, explora a história e o legado de uma líder Akan dos Maroon jamaicanos no século 18 . “O documentário foi filmado em Gana, na Jamaica, no Canadá e nos Estados Unidos, e exibido em organizações educacionais, governamentais, culturais e comunitárias em todo o mundo”. Recebeu vários reconhecimentos e prêmios, incluindo, entre outros, o de Melhor Documentário no Festival Internacional de Cinema de Newark de 2016 e uma indicação para o prêmio Africa Movie Academy Awards (AMAA) no Festival Pan-Africano de Cinema de 2016. Para acompanhar o filme, foi lançado um CD duplo, Granny Nanny Come Oh: Jamaican Maroon Kromanti and Kumina Music and Other Oral Traditions (https://store.cdbaby.com/cd/ thegrannynannyculturalgr), gravado pelo Moore Town Granny Nanny Cultural Group. Ele contém “31 faixas de gravações ao vivo em estúdio

de músicas tradicionais jamaicanas Maroon e Bongo-Kumina, percussão e outros instrumentos, história oral, uma história de Anansi, retenções de idiomas africanos (incluindo Twi e Kikongo) e outras artes verbais”. O álbum é uma conversa intergeracional entre gerações mais jovens e mais velhas de Moore Town Maroons sobre suas tradições musicais, Kromanti e Kumina, que são descendentes diretos da grande líder e heroína nacional jamaicana, Queen Nanny.

Objetivo: A maior parte do que se sabe sobre a Queen Nanny vem da história oral e do folclore, não do registro escrito. Embora ela tenha levado sua comunidade à liberdade durante o comércio transatlântico de escravos, pouquíssimas pessoas fora da Jamaica sabem de sua existência. Ela é um dos sete heróis nacionais da Jamaica e é a única representante feminina do grupo. Ela foi uma figura importante na luta e na vitória de uma batalha de 80 anos contra o exército britânico no século 18, que concedeu aos quilombolas a soberania territorial “em suas remotas fortalezas nas montanhas”. Ela “simboliza o orgulho das mulheres caribenhas de hoje”. Este documentário não teria sido possível sem a realização de histórias orais com acadêmicos de renome mundial, quilombolas atuais e mulheres líderes de hoje, cujas vidas foram profundamente impactadas pelo legado da Queen Nanny.

Resultado: O documentário não só foi aproveitado para fins educacionais e de conscientização em todo o mundo, como também é uma importante peça de afirmação, preservação e celebração cultural para os Maroons da Jamaica e uma poderosa história de resistência e autodeterminação para os povos da diáspora africana. Essas comunidades têm em comum o fato de terem tradições orais profundamente enraizadas, que continuamente deram vida a histórias fundamentais como essas ao longo das gerações. As histórias orais são

Flyer de exibição do filme Queen Nanny. Crédito: Associação de Estudantes do Caribe

uma ferramenta poderosa para explorar esses processos coletivos de criação de memória e elevá-los por meio de mídias mais amplamente acessíveis, como documentários e álbuns.

3. Estudo de caso 3 - Histórias orais como arquivos comunitários vivos de momentos históricos cruciais: Detroit 67 - Olhando para trás para avançar

“ Olhamos 100 anos para trás – de 1917 até hoje e avançamos 50 anos para 2067 e utilizamos a compreensão da nossa história colectiva para informar e definir o nosso futuro. Aqueles que se envolverem com Detroit 67 serão capazes de compreender melhor os eventos que levaram a julho de 1967, onde estamos hoje, e se conectar aos esforços que estão fazendo Detroit avançar.”

— Detroit 67

Logotipo e modelo do Detroit 67. Crédito: Detroit 67

Contexto: O projeto Detroit 67 é um “projeto comunitário plurianual” cuja finalidade é reunir “diversas vozes e comunidades” para comemorar o “verão tumultuado” de 1967, durante o qual os habitantes negros de Detroit se revoltaram contra o Departamento de Polícia da cidade em

resposta a décadas de sistemas acentuados de segregação e desigualdade racial em toda Detroit. Durante décadas, Detroit foi um reduto negro nos EUA e é uma das cidades com maior população negra nos Estados Unidos, em torno de 78%. O Detroit 67 é liderado pela Sociedade Histórica de Detroit, que fica dentro do Museu Histórico de Detroit. Sua missão é contar “as histórias de Detroit e por que elas são importantes”. O Detroit 67 é composto por vários projetos, incluindo o Projeto de História Oral (uma compilação da “mais abrangente coleção de histórias escritas, em áudio e vídeo já reunidas sobre esse tópico”), uma exposição (com uma amostra das centenas de histórias orais reunidas ao longo do projeto), um projeto de criação de locais (para conectar bairros de toda a cidade com o projeto Detroit 67, um livro complementar

Objetivo: O objetivo do Detroit 67 é triplo: 1) envolver a comunidade por meio de líderes comunitários, organizações sem fins lucrativos, empresas e a comunidade política para que façam parte desse esforço; 2) refletir sobre as implicações passadas, presentes e futuras das revoltas de 1967 por meio da exposição; 3) agir com base nas lições aprendidas por meio do projeto fora dos limites do museu.

Resultado: Como resultado desse esforço abrangente, o Projeto Detroit 67 aumentou a compreensão de várias partes interessadas e de toda a comunidade sobre os legados passados e presentes desse momento histórico fundamental e “criou um ‘modelo’ que torna a história relevante para o presente e o futuro de uma comunidade”.

IV. Pontos fortes e limitações das histórias orais como metodologia

Ao longo das décadas, historiadores orais, acadêmicos e profissionais baseados na comunidade refletiram profundamente sobre os pontos fortes e as limitações dessa poderosa ferramenta. Para simplificar, resumimos alguns dos principais pontos fortes e limitações na tabela abaixo, por categoria de parte interessada.

Pontos fortes

Limitações

PARA OS ENTREVISTADOS

Todos os indivíduos são reconhecidos por sua capacidade de contribuir para a construção do conhecimento por meio da narração de suas histórias exclusivas (Field, 2007, p. 12).

As histórias de vida permitem que os entrevistados estabeleçam diferentes conexões entre diferentes momentos de suas vidas e tracem “padrões de memória coletiva” (Field, 2007, p. 12).

A capacidade de revisar e reavaliar as memórias, avaliar os padrões de tomada de decisão ao longo da vida e liberar “memórias pesadas do passado”.

A autoridade está sendo compartilhada com o entrevistador no processo de contar histórias.

Revisitar o passado pode potencialmente reacender memórias traumáticas que a pessoa não teve a capacidade de processar adequadamente.

O entrevistador não está ouvindo ativamente a sua história e está fazendo com que você diga o que ele gostaria de ouvir, distorcendo assim a possibilidade de um diálogo genuíno.

A pessoa que está sendo entrevistada não pode consentir plena e conscientemente em ser entrevistada e gravada devido a uma possível deficiência de sua idade, o que torna o processo antiético.

Colocar em risco a segurança dos participantes que fazem parte de projetos de história oral em contextos altamente politizados ao divulgar suas histórias (Jessee, 2011).

PARA OS ENTREVISTADORES

Fornece habilidades sólidas de pesquisa e engajamento (por exemplo, elaboração de protocolo de entrevista, entrevistas, escuta ativa e empática) para as pessoas que elaboram e conduzem projetos de história oral (Field, 2007, p. 32).

A autoridade está sendo compartilhada com o entrevistado no processo de contar histórias.

A capacidade de obter percepções críticas sobre as realidades vividas em uma comunidade até então desconhecida do mundo exterior.

Disponibilidade e capacidade das comunidades com poucos recursos para participar de tais projetos quando isso não for uma prioridade.

O desafio de precisar equilibrar ou escolher entre largura e profundidade para um projeto (Field, 2007, p. 12-13).

Se o entrevistador for uma pessoa de dentro, ele poderá não fazer perguntas difíceis aos colegas que perturbariam “um relacionamento social contínuo e confortável”, correndo assim o risco de realizar um projeto de história oral superficial (Shopes, 2002, p. 591).

PARA AS COMUNIDADES PARTICIPANTES

Destacar as vozes de comunidades marginalizadas, cujas histórias muitas vezes não são registradas, que terão “valor histórico para sua comunidade e também para instituições educacionais e de patrimônio” (Field, 2011, p. 34).

As histórias orais são empreendimentos que demandam muito tempo, o que pode tornar sua realização um desafio se as pessoas que conduzem o projeto estiverem trabalhando com prazos apertados. Em outras palavras, elas correm o risco de serem menos representativas.

Dar visibilidade às histórias da comunidade por meio de sua disseminação ética para públicos mais amplos e, consequentemente, apoiar o senso de “coletividade e orgulho da comunidade ao testemunhar os sons e as imagens de seu patrimônio comunitário” (Field, 2007, p. 33)

Uma excelente ferramenta de transferência de conhecimento e cultura para as gerações atuais e futuras.

O projeto não destacar criticamente os “temas amplos da vida social que atravessam a experiência dos indivíduos”, concentrando-se simplesmente nas “histórias de vida desarticuladas de narradores individuais” (Shopes, 2002, p. 590)

A comunidade cujas histórias foram divulgadas digitalmente não tem acesso à Internet, o que as torna inacessíveis para eles, que seriam os principais beneficiários do projeto.

Uma ótima ferramenta pedagógica para ensinar as pessoas (jovens e adultos) a realizar seus próprios projetos de história oral.

Por meio de uma disseminação digital mal conceituada, corre-se o risco de reduzir as histórias de vida das pessoas a produtos, em vez de honrálas como arquivos vivos de história e memória.

V. Barreiras Em Potencial Para Uma Implementação Significativa e Estratégias Para Superá-Las

“ A própria metodologia do método de história oral reforça as ideologias ocidentais hegemônicas sobre raça/etnia, gênero e classe, perpetuadas por meio da conexão entre a identidade cultural do orador e a noção de autenticidade como base para a autoridade acadêmica

Soon Nam Kim, 2008.

“ Vivemos em uma cultura tecnológica de obsolescência planejada. Precisamos lidar com essa contradição temporal, já que a história oral, em sua melhor forma, valoriza o oposto da obsolescência. A tecnologia busca avançar constantemente e esquecer, enquanto a história oral quer lembrar.

Anna Sheftel e Stacey Zembrzycki, 2017.

Para que o seu projeto de história oral seja bemsucedido, você precisará considerar cuidadosamente as principais barreiras à implementação e elaborar estratégias para superá-las.

“Frequentadores de museu ouvem gravações em fones de ouvido na “World City”, uma das três galerias que compõem “Nova York em sua essência”.

Crédito da foto: Museu da Cidade de Nova York

O entrevistador assiste a uma história oral na tela com legendas.

Crédito da foto: Oral History-Digital

1. Principais preocupações logísticas por trás de um projeto de história oral [Shopes, 2002, pp. 588-598]

Barreiras para uma implementação significativa Estratégias para superá-los

Trabalhar com prazos limitados.

Não há oportunidades para apresentações prévias às pessoas que você entrevistará.

Um senso pouco claro de como todas as histórias orais se conectarão bem umas com as outras como um todo.

Seu parceiro comunitário para o projeto não é muito claro com você sobre quem você deve planejar entrevistar para esse projeto.

Refine o escopo do seu projeto e o que é possível alcançar dentro dos prazos alocados para a tarefa em questão. Parte da construção da confiança da comunidade é não prometer demais e entregar de menos.

Prepare protocolos de consentimento bem elaborados e certifique-se de poder explicar efetivamente aos seus entrevistados o que esperar da entrevista e quais são os direitos deles.

Prepare um protocolo de entrevista detalhado que lhe permita “conceituar um projeto de história da comunidade em torno de um problema ou questão histórica em vez de uma série de entrevistas de história de vida” (p. 596).

Ao trabalhar com seu parceiro, certifique-se, tanto quanto possível, de que o grupo de entrevistados reflita a diversidade da comunidade que você está tentando refletir por meio desse projeto de história oral (p. 596).

2. A dinâmica do poder hegemônico inerente às metodologias da história oral [Kim, 2008. 2017, pp. 1346 - 1369]

Barreiras para uma implementação significativa Estratégias para superá-los

A metodologia da história oral reproduz a dinâmica do poder e privilegia a voz do entrevistador em vez da voz do entrevistado, muitas vezes de origem mais marginalizada do que o entrevistador.

Para efetivamente “renomear e reinventar” o passado, de acordo com a missão declarada das histórias orais, é fundamental explorar cuidadosamente seus “limites metodológicos”, ou seja, “Para quem e para que estamos escrevendo? Quem são “os oprimidos”? Eles realmente se importam com seu projeto? (p. 1348).

A autoria compartilhada, uma abordagem pseudo-igualitária para a realização de um projeto, na verdade privilegia as prioridades da pesquisa ou do projeto em detrimento das do entrevistador (p. 1353)

Você tem medo de silêncios durante o processo de entrevista.

Você está tentando superar a dinâmica de poder entre você e seus entrevistados.

Pergunte a si mesmo: esse projeto realmente apoiará os esforços para desafiar os sistemas de opressão que ele descreve? Em caso afirmativo, como?

Não tenha receio. Conceba o silêncio não apenas como a chave para o processo de troca com alguém, mas também como a “base para um discurso de resistência” em nome do entrevistado, que pode escolher o que deseja ou não revelar a você (p. 1360)

Não. Abrace-os como inerentes ao processo e centralize sua própria posicionalidade no trabalho para que você possa entrar na dinâmica de troca mais consciente da lente que você traz para o projeto (p. 1355).

Barreiras para uma implementação significativa Estratégias para superá-los

Tratar a “autenticidade como base para a autoridade de falar” quando, ao fazer isso, os historiadores orais na verdade tendem a falar pelos sujeitos com os quais estão conduzindo histórias orais (p. 1357)

Não fale pelos outros, mas por você mesmo no processo de descrição das descobertas de seu projeto de história oral, ou seja, seja autorreflexivo (p. 1357).

3. História oral na era digital [Sheftel and Zembrzycki, 2017, pp. 94–112]

Barreiras para uma implementação significativa Estratégias para superá-los

As histórias orais são um processo lento, mas o mundo digital exige a aceleração do processo. Como conciliar as duas coisas? (p. 94)

Nossas culturas de compartilhamento on-line e mídia social mudam a forma como as pessoas contam suas histórias?

Para abordar a questão da reconciliação dessas duas dinâmicas, é fundamental explorar o impacto que a tecnologia está tendo no campo da história oral (p. 96). Independentemente da tecnologia, no entanto, obter a história leva tempo (p. 98)

Sim, porque as pessoas ficarão mais atentas ao que compartilham ou não. Considere protocolos de consentimento que explorem questões de anonimato e privacidade para seus participantes. Isso pode ajudar a facilitar uma troca espontânea entre você e o entrevistado.

A indexação e a marcação digitais são uma forma suficiente de interpretação de histórias orais?

O acesso público irrestrito às histórias orais é a abordagem correta?

Deve-se ceder ao medo da “baixa capacidade de atenção” ao projetar estratégias de edição e disseminação de histórias orais?

Não, você precisará passar mais tempo interpretando as transcrições e ouvindo as histórias orais que conduziu para dar a elas o envolvimento crítico que merecem.

Não necessariamente. Você pode considerar configurações de privacidade para quem pode acessar as histórias orais, dependendo das necessidades das comunidades com as quais está trabalhando.

Não devemos nos esquecer da importância de ouvir uma história oral na íntegra, independentemente de quão destilada ela possa ser para fins de divulgação on-line. Talvez valha a pena trabalhar com um web designer em “configurações que privilegiem o ato de parar, observar e ouvir” (p. 103).

A divulgação on-line deve ser minha estratégia principal? Não necessariamente. Embora seja, de longe, a mais usada, nem todas as comunidades têm acesso imediato à Internet. Nesse caso, é preciso considerar planos de apoio, como exposições físicas, para garantir que as comunidades com as quais você está trabalhando sejam as principais beneficiárias do seu trabalho.

VI. Legado e Sustentabilidade do

Trabalho de História Oral nas Comunidades Quilombolas de Alcântara

“ Os projetos de história oral inspiram a participação ativa na história e na vida cívica e fortalecem o desejo de buscar mais educação.

— Associação de História Oral e Centro de Folclore Americano

As exposições físicas e digitais que surgirão a partir desse projeto de história oral, conforme descrito na página 11 deste guia, terão o potencial de:

• Aumentar o potencial de geração de renda da comunidade por meio do turismo de base comunitária.

• Ser aproveitado para eventos globais para destacar e conscientizar em nível regional, nacional e internacional sobre a luta contínua dos quilombolas pela liberdade e autodeterminação em Alcântara e além.

• Ser usado para treinar professores e jovens quilombolas sobre a realização de projetos de história oral em sua comunidade.

A ideia é que, com mais recursos financeiros e mais visibilidade, as comunidades quilombolas poderão se opor com mais força à ameaça contínua de remoções forçadas de suas terras em toda a região.

Além disso, essas histórias orais podem capacitar a comunidade local a levar esse trabalho adiante em seu futuro. Isso começa com a educação dos jovens sobre o poder desse trabalho. Em seu breve guia de sala de aula, intitulado “Principles and Best Practices for Oral History Education (412)”, o American Folklife Center e a Oral History Association detalham os seguintes benefícios da integração da história oral nos currículos de sala de aula:

• Eles podem ser usados “como fontes primárias ou como estudos de caso, que se conectam a currículos básicos e áreas interdisciplinares”.

• Eles conscientizam os alunos sobre momentos históricos específicos e ajudam os alunos a desenvolver fortes habilidades (ou seja, falar em público, comunicação interpessoal e uso de tecnologia multimídia).

• Elas permitem que os alunos conectem o pessoal ao histórico e criem um senso de comunidade

O guia incentiva os educadores a aprenderem sobre metodologias de história oral e a se fazerem as seguintes perguntas antes de começar: “Quais recursos estão disponíveis? Como você registrará, divulgará e preservará as entrevistas? Quais são os resultados de aprendizagem dos alunos? Qual é o prazo para o projeto? “

Em seguida, o guia detalha os diferentes estágios do ensino da história oral em sala de aula, que é dividido em três etapas:

• Pré-entrevista: explorar ideias de projetos, mapeamento de habilidades dos alunos, considerar estratégias de disseminação e a seleção de narradores, encontrar maneiras de comunicar efetivamente seus direitos a eles (ou seja, eles detêm os direitos de suas entrevistas até e a menos que transfiram esses direitos), pesquisa de antecedentes, elaboração de um protocolo de entrevista, coleta de equipamentos de gravação audiovisual, preservação e armazenamento (onde as entrevistas ficarão) e decisão sobre um local para as entrevistas

• Entrevista: “cuidado com o narrador” (respeitá-lo em todos os momentos), ouvir ativamente, decidir a duração da entrevista e tentar cumpri-la, ser flexível, fornecer ao entrevistado um formulário de autorização e marcar a entrevista para indexação posterior.

• Pós-entrevista: documentar o processo, preservar e armazenar os materiais das entrevistas (gravações e transcrições), reflexão (“peça aos alunos que reflitam sobre o conteúdo, o processo e o produto da entrevista”), disseminação (“crie e compartilhe o projeto de história oral de uma forma que permaneça fiel à voz do narrador, ao mesmo tempo em que destaca os objetivos e a finalidade”).

Recursos de História Oral

• Brazil Oral History Association

- https://www.historiaoral.org.br/

• FGV CPDOC

- Oral History Program website

https://cpdoc.fgv.br/acervo/historia-oral

- Oral History Database

https://www18.fgv.br/cpdoc/acervo/historia-oral

- Downloadable interviews

https://cpdoc.fgv.br/acervo/historia-oral/entrevistas-para-download

• Oral History Society

https://www.ohs.org.uk/

• International Oral History Association

https://www.ioha.org/

• Oral History Association

https://oralhistory.org/

• National Museum of African American History and Culture: Oral History Initiative

https://nmaahc.si.edu/explore/initiatives/ oral-history

Equipe Do Projeto

Dr. Ana Paula Pimentel Walker Professora Associada e Gerente do Projeto Universidade de Michigan Ann Arbor appiment@umich.edu

Cat Diggs (Líder do projeto de história oral)

Estudante

Universidade de Michigan Ann Arbor

Sara Faraj (Lídero do projeto de Foto-voz)

Estudante Universidade de Michigan Ann Arbor

Russell Lin (Líder do projeto de website)

Estudante

Universidade de Michigan Ann Arbor

Entrevistas de história oral em Alcântara, Brasil. Crédito da fotos: Russell Lin.

APPENDIX D - ORAL HISTORY GUIDEBOOK

References

2023 IOHA Conference Promotional Video, 2022. https://www.youtube.com/watch?v=_ivia6gsjTY

Albert, Verena, and Amilcar Araujo Pereira. “Chapter 9 - The Black Movement and Race Relations in Brazil: Building New Knowledge through Online Oral History Materials.” In Memory, Subjectivities, and Representation, 167–86. The Ediition, 2016.

Alessandro Portelli – Speaking of Oral History, 2017. https://www.youtube.com/watch?v=vEToq3T_LZQ.

Ardemendo, Debbie, and Katie Kuszmar. “Principles and Best Practices for Oral History Education (4-12): Classroom Guide.” Oral History Association & American Folklife Center, n.d.

https://oralhistory.org/wp-content/uploads/2014/04/2013-1411_Oral_History_ClassroomGuide_Update_V2.pdf.

Field, Sean. “Oral History Methodology.” 2007. https://sephis.org/wp-content/uploads/tainacan-items/4273/4367/LT17_Field_2007_Oral_History_MethodologyEN.pdf.

Frisch, Michael. “Commentary - Sharing Authority: Oral History and the Collaborative Process.” The Oral History Review 30, no. 1 (January 1, 2003): 111–13.

https://doi.org/10.1525/ohr.2003.30.1.111.

Fuller, Harcourt. “Harcourt Fuller’s Jamaican Maroon Oral History Projects.” Oral History Association, July 2017.

https://oralhistory.org/2017/07/01/harcourt-fullers-jamaican-maroon-oral-history-project s/.

Jessee, Erin. “The Limits of Oral History: Ethics and Methodology Amid Highly Politicized Research Settings.” The Oral History Review 38, no. 2 (September 1, 2011): 287–307.

https://doi.org/10.1093/ohr/ohr098.

kjheinz. “Why Are Oral Histories Important for Community-Driven Archives?” UNC Southern Sources: Exploring the Southern Historical Collection (blog), n.d.

https://blogs.lib.unc.edu/shc/2020/06/30/oral-histories-and-community-driven-archives/

Meihy, José Carlos Sebe Bom. “Oral History in Brazil: Development and Challenges.” The Oral History Review 26, no. 2 (July 1, 1999): 127–36. https://doi.org/10.1093/ohr/26.2.127.

Nam Kim, Soon. “Whose Voice Is It Anyway? Rethinking the Oral History Method in Accounting Research on Race, Ethnicity and Gender.” Critical Perspectives on Accounting 19 (2008): 1346–69.

Pereira Junior, Davi. “The Future of Alcântara Is Not (Just) Rocket Science: Quilombola Epistemologies and the Struggle for Territoriality.” University of Texas, 2021.

Queen Nanny: Legendary Maroon Chieftainess - Official Trailer, 2016. https://www.youtube.com/ watch?v=7EhetqgWUGE.

Sheftel, Anna, and Stacey Zembrzycki. “Slowing Down to Listen in the Digital Age: How New Technology Is Changing Oral History Practice.” The Oral History Review 44, no. 1 (April 1, 2017): 94–112. https://doi.org/10.1093/ohr/ohx016.

Shopes, Linda. “Oral History and the Study of Communities: Problems, Paradoxes, and Possibilities.” The Journal of American History, September 2002, 588–98.

Silva, Alcione Ferreira. “Concentração Fundiária, Quilombos e Quilombolas: Faces de Uma Abolição Inacabada.” Revista Katálysis 24, no. 3 (December 2021): 554–63. https://doi. org/10.1590/1982-0259.2021.e79758.

Texas Historical Commission. “Fundamentals of Oral History: Texas Preservation Guidelines,” n.d. https://www.thc.texas.gov/public/upload/publications/ OralHistory.pdf.

Thomson, Alistair. “Four Paradigm Transformations in Oral History.” The Oral History Review 34, no. 1 (January 1, 2007): 49–70. https://doi.org/10.1525/ ohr.2007.34.1.49.

Xavier Filho, José Luiz. “‘Assim Diziam Os Antigos’: Usos e Métodos Da História Oral.” Diálogos 6 (Novembro 17, 2021): 69–88. https://doi.org/10.53930/348517.

This interview protocol was partially inspired by Jose Luiz Xavier paper, titled “So Said the Ancients: Uses & Methods of Oral History ” (2021). To quote him, It was from the residents' memories that we were able to learn a little more about the community and discover aspects relating to it, such as its origin, the origin of its people, the traditions maintained, the identification of the individual as a quilombola and community organization. In this sense, as our focus is on the quilombolas, we obtained very rich accounts of: community stories, songs, poems, proverbs, ways of speaking about the group, reminiscences about ancestors and territories, information passed down from generation to generation and about the construction of the identity of being a quilombola”

Be prepared for the interview to be somewhat freeform but some of the key themes to strive to emphasize:

● Quilombola identity and culture

● Place-based aspects of the culture and kinship ties

● Territorial struggle

● Visions for the future

1. Give and Introduction:

Start with a warm greeting and express gratitude for their willingness to participate in the interview Briefly introduce yourself, your role, and the purpose of the interview

Greetings,

Thanks so much for taking time out of your busy schedule to meet with me today!

Introduction of Project Team

● Dr. Ana Paula Pimentel Walker, Associate Professor, Project Manager

● Cat Diggs, Student

● sara faraj, Student

● Russell Lin, Student

Interview Protocol

Oral Histories with Quilombola Communities of Alcântara, Brazil

2. Building Rapport

Establish a comfortable atmosphere by sharing a bit about your background and your commitment to respectful and meaningful engagement.

I would like to start by giving you a little bit of background about this project. This project is being carried out by the University of Michigan Department of Urban and Regional Planning for the Winter 2024 Studio Capstone course (URP 603) led by Dr Ana Paula Pimentel Walker (Associate Professor and Project Manager). Your oral history interview will be a part of a community-based client project to bring more visibility to your communities’ land rights advocacy efforts and to celebrate your unique and diverse cultures.

[Note about sharing the consent form with the participant]

For folks who do not want to sign a document, read some of the consent protocol document out loud and ask for verbal consent.

Do you have any questions before we begin?

3. Introductory questions

Starting with simple questions to ease the narrator into storytelling mode.

A. Tell me a little about yourself - Where were you born?

B. What was it like growing up there (or here)?

a. If you did not grow up here, what brought you to this community?

b. When did you settle here?

C. What are some of your daily activities in [name of this Quilombola community]?

4. Cultural identity

“Concepts of what a quilombo is, being a quilombola, blackness, ancestry, territoriality, forms of work and the cultural aspects of the community provided us with a basis for understanding the quilombo.” (Jose Luis Xavier)

A What does it mean to be quilombola to you?

a. Potential Follow up: How would you describe your ancestry?

B. What is the unique identity of being a quilombola in the region of Alcântara [as potentially compared to other regions]?

C. What are some of the forms of work you and/or your community partake in?

D. What are some of your traditions?

E. What are your relationships to the land here?

a. How long has your community been settled here?

b. What is the origin of the peoples of this land?

F What about your community makes you proud to be a part of it?

5. Territorial Struggle

Offering interviewee some space to discuss sovereignty and self-determination as it relates to the potential threat of displacement.

A Does your community currently hold title to its land?

a. If no, why not?

B. What is your community ’s relationship with the Space Launch Center?

C. Does your community fear displacement from its land?

a. If yes, why?

b. If not, why?

D What is your relationship to neighboring quilombola communities?

6. Things to be proud of and a potential desire to share with the outside world

These questions could provide a platform for narrators to share visions for what community-based tourism itinerary could potentially include down the line.

A If there were a place that you hold close to your heart or means a lot to your community that you would show a visitor, what would it be?

B. What about aspects of your culture that you would want to share with visitors - food, dance, music?

6. Visions for the future?

These questions center futurity and give the narrator an opportunity to explore visions of the future, short and long-term.

A What are your visions for the future of your community? a. What are your hopes for the future?

B. What might some of the challenges and opportunities be to get there?

7. Conclusion:

Allow space for any additional thoughts, concerns, or insights. Express gratitude for their time and valuable input.

A Do you have any additional thoughts, questions or concerns you would like to share with me? Things that we have not covered in this interview?

Thank you so much!

We will be in touch as we put together our clips and would love to work with you to make sure that we honor your story. We are so grateful to you for your time with us today! Have a wonderful rest of your day :)

Protocolo de entrevista

Histórias Orais com Comunidades Quilombolas de Alcântara, Brasil

Este protocolo de entrevista foi parcialmente inspirado no artigo de José Luiz Xavier, intitulado "Assim disse os antigos: Usos e métodos da história oral" (2021). Citando-o: “foi a partir das memórias dos moradores que pudemos conhecer um pouco mais sobre a comunidade e descobrir aspectos relacionados a ela, como sua origem, a origem de seu povo, as tradições mantidas, a identificação do indivíduo como quilombola e a organização da comunidade. ”

Nesse sentido, como nosso foco são os quilombolas, obtivemos relatos muito ricos sobre: histórias da comunidade, cantos, poemas, provérbios, formas de falar do grupo, reminiscências sobre antepassados e territórios, informações passadas de geração em geração e sobre a construção da identidade de ser quilombola".

Prepare-se para que a entrevista seja livre, mas alguns dos principais temas devem ser enfatizados:

● Identidade e cultura quilombola

● Aspectos da cultura baseados em lugares e laços de parentesco

● Luta territorial

● Visões para o futuro

1. Apresentação:

Comece com uma saudação calorosa e expresse gratidão pela disposição do(a) entrevistado(a) em participar da entrevista. Apresente-se brevemente, sua função e o objetivo da entrevista.

Bom dia,

Muito obrigado(a) por reservar um pouco de seu tempo para se encontrar comigo hoje!

Apresentação da equipe do projeto

● Dra. Ana Paula Pimentel Walker, Professora Associada, Gerente do Projeto

● Cat Diggs, aluna

● sara faraj, Aluna

● Russell Lin, aluno

2. Criando conexão

Estabeleça uma atmosfera confortável compartilhando um pouco sobre seu histórico e seu compromisso com uma troca respeitosa e significativa.

Gostaria de começar apresentando a vocês um pouco do histórico desse projeto. Esse projeto está sendo realizado pelo Departamento de Planejamento Urbano e Regional da Universidade de Michigan para o curso URP 603, liderado pela Dra. Ana Paula Pimentel Walker (Professora Associada e Gerente de Projeto). Sua entrevista de história oral fará parte de um projeto de pesquisa-ação participativa baseado na comunidade para dar mais visibilidade aos esforços de defesa dos direitos ao reconhecimento de suas comunidades e para celebrar suas culturas únicas e diversas.

[Observação sobre o compartilhamento do formulário de consentimento com o participante].

Para as pessoas que não querem assinar um documento, leia algumas informações contidas no protocolo de consentimento , em voz alta e, ao final, peça consentimento.

Você tem alguma pergunta antes de começarmos?

3. Questões introdutórias

Comece com perguntas simples para facilitar a entrada do narrador no modo de contar histórias.

A. Fale-me um pouco sobre você - Onde você nasceu?

B. Como foi crescer lá (ou aqui)?

a. Se você não cresceu aqui, o que o trouxe para esta comunidade?

b. Quando você se estabeleceu aqui?

C. Quais são algumas de suas atividades diárias em [nome dessa comunidade quilombola]?

4. Identidade cultural

"Conceitos do que é um quilombo, ser quilombola, negritude, ancestralidade, territorialidade, formas de trabalho e os aspectos culturais da comunidade nos forneceram uma base para entender o quilombo." (José Luis Xavier)

A O que significa ser quilombola para você?

a. Possível continuação: Como você descreveria sua ancestralidade?

B. O que você considera único em ser quilombola na região de Alcântara [potencialmente comparada a outros lugares]?

C. Como é o seu dia-dia na comunidade?

D Quais tradições você mantém que acha importante mencionar?

E. Qual a sua relação com a terra/ o lugar?

F. Há quanto tempo sua comunidade está estabelecida aqui?

G. Qual é a origem dos povos desta terra?

H. Qual é o aspecto da sua comunidade que mais te deixa orgulhoso(a)?

5. Luta pelo território

Oferecer ao entrevistado algum espaço para discutir a autonomia e a autodeterminação no que diz respeito a uma possível ameaça de expulsãso.

A Qual é a situação legal da sua comunidade?

B. Qual é o relacionamento de sua comunidade com o Centro Espacial de Alcântara?

C. Sua comunidade teme ser deslocada de suas terras?

a. Se sim, por quê?

b. Se não, por quê?

D. Qual é a sua relação com as comunidades quilombolas vizinhas?

E. Qual é a sua relação com o governo?

6. Coisas das quais se orgulhar e tem desejo de compartilhar com o mundo de fora

Essas perguntas podem fornecer uma plataforma para que os narradores compartilhem visões sobre o que o itinerário de turismo baseado na comunidade poderia incluir no futuro.

A Se houvesse um lugar que você guarda no coração ou que significa muito para a sua comunidade e que você mostraria a um visitante, qual seria?

B. Quais aspectos de sua cultura que gostaria de compartilhar com os visitantes - comida, dança, música, religião?

7. Visões para o futuro?

Essas perguntas miram o que há por vir e dão ao narrador a oportunidade de explorar visões do futuro, de curto e longo prazo.

A. Quais são suas visões para o futuro de sua comunidade? a. Quais são suas esperanças para o futuro?

B. Quais podem ser alguns dos desafios e oportunidades para chegar lá?

7. Conclusão:

Dê espaço para quaisquer pensamentos, preocupações ou percepções adicionais. Expresse gratidão pelo tempo e pelas valiosas contribuições.

A Você tem mais alguma ideia, pergunta ou preocupação que gostaria de compartilhar comigo? Coisas que não tratamos nesta entrevista?

Muito obrigado(a)!

Entraremos em contato enquanto finalizarmos nossos vídeos e adoraríamos trabalhar com você para garantir que honraremos sua história. Somos muito gratos pelo seu tempo conosco hoje! Tenha um ótimo resto de dia :)

Oral Histories with Quilombola Communities of Alcântara, Brazil University of Michig an Ann Arbor Depar tment of Urban and Regional Planning

CONSENT FORM

Par t 1: Respect for Per sons, Beneficence, and Justice

T his project is being car ried out by the University of Michig an Depar tment of Urban and Regional Planning for the Winter 2024 Studio Capstone course (URP 603) led by Dr Ana Paula Pimentel Walker (Associate Professor and Project Manag er). Your oral histor y inter view will be a par t of a community-based client project to bring more visibility to your communities’ land rights advocacy effor ts and to celebrate your unique and diverse cultures

T he pur pose of this project is to suppor t in the development of:

● A publicly accessible archive for the Associação do Ter ritório Quilombola de Alcântara (ATEQUILA) and your communities to manag e

● An online g aller y of clips on the Quilombos de Alcântara website that the University of Michig an team is co-producing with ATEQUILA leadership

● A physical exhibition of oral histories in the ATEQUILA headquar ters and in different points throughout the region to be presented on monitors that we will be providing.

Oral histor y is a methodolog y used to provide a platfor m for communities to tell their own histor y in their own words and in their own voice. Oral histor y is a powerful tool for knowledg e and culture preser vation, transfer and affir mation from one g eneration to the next. T his project specifically aims to amplify the messag es of the Quilombola Communities of Alcântara, Maranhão, Brazil, and to bring awareness to their cause

I understand that the Project Staff and Community Par tner(s)/Client(s) will use the inter view footag e g enerated from an inter view exchang e I par take in for educational, research, and client pur poses that aim to benefit the community at larg e and authorize the Capstone Studio class in the Winter 2024 semester, led by Dr Ana Paula Pimentel Walker, to display the inter view footag e online or in a physical exhibition in Alcantara.

I authorize and consent to the Project Team, Community Par tner(s), and Client(s) using as par t of the Studio Capstone (URP 603) at the University of Michig an Depar tment of Urban and Regional Planning that will use the inter view recordings for client deliverable development.

I understand that my par ticipation in this project is voluntar y and that I may withdraw from the project at any time by contacting the Associate Professor and Project Manag er, Dr. Ana Paula Pimentel Walker, by email (see email listed below) at any time I understand that I may withdraw my 1

par ticipation and use of inter views at any time; however, there is a risk that all inter views may not be able to be withdrawn once published in digital or print due to the potential use of imag es by others outside of this project.

I understand that there is no financial cost to par ticipate in this project. T here are also no stipends or honoraria for my par ticipation.

I understand that there are possible risks involved in par taking in an oral histor y inter view, including but not limited to the unintentional stigmatization of myself and others, the breaching of privacy for myself or others, unauthorized use of inter views if placed on the web, misinterpretation of my words, and the inability to retract publication of videos should others outside of this Project share and use them for publications and elsewhere I also understand that there are risks that come from par taking in these inter views, which may cause distress and emotional eng ag ement based on ref lective and other processes and activities

Although an event such as a physical injur y is unlikely, I understand risks are present during and outside of the Oral Histor y inter views T he Project Team is not responsible for or liable for compensating the Par ticipant due to the injur y or loss. Still, the Project Team will do what they can to suppor t the Par ticipant during any loss

I understand that fur ther infor mation is available upon request by emailing the Associate Professor and Project Manag er, Dr Ana Paula Pimentel Walker, by email at appiment@umich.edu T here may be benefits to par ticipating in this Oral Histor y project, but they are not guaranteed. Findings from this project will be shared with the Community Par tner(s) and Client(s), who are collaborating with the Project Team in this par tner to ensure broad community benefits and equity from these effor ts.

I understand that I can contact Dr Ana Paula Pimentel Walker if I would like to withdraw my par ticipation and involvement in this project at any time or if I have any questions or concer ns by email at appiment@umich.edu and that I may not be able to withdraw the use of all content and inter views after they have been published.

I have read and understood the above

Oral Histor y Par ticipant’s Signature or Initials:

Oal Histor y Par ticipant’s Name or Initials [printed]:

Check this box if you would like to remain anonymous

If you would like to remain anonymous and use a pseudonym, check this box and write the name you would like to use on the line below

Par ticipant Ag e:

Par ticipant Phone Number [optional]:

Email [optional]:

Project Team

Dr Ana Paula Pimentel Walker, Associate Professor, Project Manag er T he University of Michig an Ann Arbor appiment@umich.edu

Cat Dig gs, Student T he University of Michig an Ann Arbor

sara faraj, Student T he University of Michig an Ann Arbor

Russell Lin, Student T he University of Michig an Ann Arbor

Par t 2: Acknowledgment and Release for Inter viewing Human Subjects: Per mission to Use

Audio Recorded Inter views

APPENDIX

I g rant to (Inter viewee Name, Initials, or Psydonym) and the University of Michig an Ann Arbor Depar tment of Urban and Regional Planning Winter 2024 Amplifying the Voice of Quilombola thr ough Sustainable, Community-Based Tourism and Cultural Pr eser vation in Alcântara, Capstone Studio Team, Project Clients, and Project Community Par tners the right to use photog raphs/imag es of me in connection with the Master of Urban and Regional Planning Capstone Studio course occur ring in the Winter 2024 semester

T he pur pose of this footag e and documentation is to develop materials and products for the Client(s) and Community Par tner(s) who are par ticipating in this Project. T he audio recorded inter views will be used for and published on an online website, digital and physical exhibits, and other potential uses such as editorial publications to raise awareness on issues related to the Quilombola communities

I authorize the Winter 2024 Amplifying the Voice of Quilombola thr ough Sustainable, Community-Based Tourism and Cultural Pr eser vation in Alcântara, Braz il Capstone Studio course students, and project Community Par tner(s) and Client(s) to use and publish the same in print and/or electronically

I understand that I can contact Dr Ana Paula Pimentel Walker if I would like to withdraw my par ticipation and involvement in this project at any time or if I have any questions or concer ns by email at appiment@umich.edu I understand that I may not be able to withdraw the use of all content and photog raphs after they have been published.

I have read and understood the above

Oral Histor y Par ticipant’s Signature or Initials:

Date

Oal Histor y Par ticipant’s Name or Initials [printed]:

Check this box if you would like to remain anonymous If you would like to remain anonymous and use a pseudonym, check this box and write the name you would like to use on the line below 4

Pseudonym____________________________________________________________________

Par ticipant Ag e:

Par ticipant Phone Number [optional]:

Email [optional]:

Project Team

Dr Ana Paula Pimentel Walker, Associate Professor, Project Manag er T he University of Michig an Ann Arbor appiment@umich.edu

Cat Dig gs, Student

T he University of Michig an Ann Arbor

sara faraj, Student

T he University of Michig an Ann Arbor

Russell Lin, Student

T he University of Michig an Ann Arbor

Histórias orais com as comunidades quilombolas de Alcântara, Brasil Universidade de Michig an Ann Arbor Depar tamento de Planejamento Urbano e Regional

For mulário de consentimento

Par te 1: Respeito às pessoas, beneficência e justiça

O projeto está sendo realizado pelo Depar tamento de Planejamento Urbano e Regional da Universidade de Michig an para o curso “Studio Capstone de Inver no 2024” (URP 603), liderado pela Dra. Ana Paula Pimentel Walker (Professora Associada e Coordenadora Geral do Projeto). Sua entrevista de história oral fará par te de um projeto de pesquisa-ação par ticipativa de base comunitária para dar mais visibilidade aos esforços de luta e reconhecimento da titularidade da ter ra de suas comunidades e para celebrar suas culturas únicas e diversas.

O objetivo deste projeto é apoiar o desenvolvimento de:

● Um arquivo acessível ao público sob coordenação das Associações quilombolas de Alcântara para serem g erenciados pelos representantes das suas comunidades

● Uma g aleria online de clipes no site dos Quilombos de Alcântara que a equipe da Universidade de Michig an está coproduzindo com as lideranças locais, por exemplo, ATEQUILA e MABE.

● Uma exposição física de histórias orais na sede da ATEQUILA e também itinerante sob g erenciamento compar tilhado em diferentes pontos da região, a serem apresentadas em monitores que a Universidade de Michig an estará for necendo.

A história oral é uma metodologia usada para for necer uma platafor ma para que as comunidades contem sua própria história com suas próprias palavras e com sua própria voz. A história oral é uma fer ramenta poderosa para a preser vação, transferência e afir mação do conhecimento e da cultura de uma g eração para a outra. Este projeto tem como objetivo específico ampliar as mensag ens das comunidades quilombolas de Alcântara, Maranhão, Brasil, e conscientizar sobre sua causa.

Entendo que a equipe do projeto e o(s) parceiro(s) da comunidade usarão as filmag ens de entrevistas g eradas a par tir de entrevistas da qual eu par ticipe para fins educacionais, de pesquisa e de parcerias que visem beneficiar a comunidade em g eral e autorizo a equipe da Universidade de Michig an, liderada pela Dra. Ana Paula Pimentel Walker, a exibir as filmag ens de entrevistas online ou em uma exposição física em Alcântara em parceria e colaboração com as lideranças locais

Autorizo e consinto que a Equipe do Projeto e o(s) Parceiro(s) Comunitário(s) usem como par te da disciplina “Studio Capstone (URP 603)”, no Depar tamento de Planejamento Urbano e Regional da Universidade de Michig an, que usará as g ravações das entrevistas para o desenvolvimento de produtos da parceria.

Entendo que minha par ticipação neste projeto é voluntária e que posso me retirar do projeto a qualquer momento entrando em contato com a Professora e Gerente do Projeto, Dra. Ana Paula Pimentel Walker, por e-mail (appiment@umich.edu) a qualquer momento Entendo que posso retirar minha par ticipação e o uso das entrevistas a qualquer momento; no entanto, existe o risco de que todas as entrevistas não possam ser retiradas depois de publicadas em for mato digital ou impresso devido ao possível uso das imag ens por outras pessoas fora deste projeto

Entendo que não há custo financeiro para par ticipar deste projeto Também não há remuneração ou honorários para minha par ticipação

Entendo que há possíveis riscos envolvidos na par ticipação em uma entrevista de história oral, incluindo, entre outros, a estigmatização não intencional de mim mesmo e de outras pessoas, a violação da privacidade de mim mesmo ou de outras pessoas, o uso não autorizado de entrevistas se colocadas na web, a interpretação er rônea de minhas palavras e a incapacidade de retirar a publicação de vídeos caso outras pessoas fora deste projeto os compar tilhem e usem em publicações e em outros lug ares Também entendo que há riscos decor rentes da par ticipação nessas entrevistas, que podem causar angústia e envolvimento emocional com base em processos e atividades ref lexivos e outros

Entendo que mais infor mações estão disponíveis mediante solicitação, enviando um e-mail para a Professora e Gerente do Projeto, Dra. Ana Paula Pimentel Walker, pelo e-mail appiment@umich.edu. Pode haver benefícios em par ticipar deste projeto de história oral, mas eles não são g arantidos As descober tas deste projeto serão compar tilhadas com o(s) Parceiro(s) da Comunidade, que estão colaborando com a Equipe do Projeto nesta parceria para g arantir amplos benefícios para a comunidade e a equidade desses esforços

Entendo que posso entrar em contato com a Dra. Ana Paula Pimentel Walker se quiser retirar minha par ticipação e envolvimento neste projeto a qualquer momento ou se tiver alguma dúvida ou preocupação pelo e-mail appiment@umich.edu e que talvez não seja possível retirar o uso de todo o conteúdo e entrevistas depois de terem sido publicados.

Eu li e entendi o que foi dito acima.

Assinatura ou iniciais do par ticipante da história oral:

Data

Nome ou iniciais do par ticipante da história oral [em letra de for ma]:

Marque esta caixa se quiser per manecer anônimo

Se quiser per manecer anônimo e usar um pseudônimo, marque esta caixa e escreva o nome que g ostaria de usar na linha abaixo

Pseudônimo:

Idade do par ticipante:

Número de telefone do par ticipante [opcional]:

E-mail [opcional]:

Equipe do projeto

Dra. Ana Paula Pimentel Walker, Professora Associada, Gerente de Projeto

Universidade de Michig an, Ann Arbor appiment@umich.edu

sara faraj, estudante

Universidade de Michig an, Ann Arbor

Russell Lin, estudante

Universidade de Michig an, Ann Arbor

Cat Dig gs, estudante

Universidade de Michig an, Ann Arbor

Par te 2: Reconhecimento e liberação para entrevistas com seres humanos: Per missão para usar entrevistas g ravadas em áudio

Concedo a (Nome do Entrevistado, Iniciais ou Pseudônimo) e ao Depar tamento de Planejamento Urbano e Regional da Universidade de Michig an, Ann Arbor, responsável pelo projeto “Histórias orais com as comunidades quilombolas de Alcântara, Brasil ”, Equipe da disciplina “Capstone Studio”, e Parceiros da Comunidade no Projeto, o direito de usar fotog rafias/imag ens minhas em conexão com o projeto da disciplina “Capstone Studio” do curso de Mestrado em Planejamento Urbano e Regional que ocor rerá no semestre de Inver no de 2024.

O objetivo dessa filmag em e documentação é desenvolver materiais e produtos para o(s) Parceiro(s) da Comunidade que estão par ticipando deste Projeto As entrevistas g ravadas em áudio serão usadas e publicadas em um site on-line, exposições digitais e físicas e outros usos potenciais, como publicações editoriais para aumentar a conscientização sobre questões relacionadas às comunidades quilombolas

Autorizo os alunos do curso “Capstone Studio Inver no 2024” e do projeto “Histórias orais com as comunidades quilombolas de Alcântara, Brasil”, e o(s) Parceiro(s) Comunitário(s) do projeto a usar e publicar o mesmo de for ma impressa e/ou eletrônica.

Entendo que posso entrar em contato com a Dra. Ana Paula Pimentel Walker se quiser retirar minha par ticipação e envolvimento neste projeto a qualquer momento ou se tiver alguma dúvida ou preocupação pelo e-mail appiment@umich.edu. Entendo que talvez não seja possível retirar o uso de todo o conteúdo e fotog rafias depois de terem sido publicados

Eu li e entendi o que foi dito acima.

Assinatura ou iniciais do par ticipante da história oral:

Data

Nome ou iniciais do par ticipante da história oral [em letra de for ma]:

Marque esta caixa se quiser per manecer anônimo

Se quiser per manecer anônimo e usar um pseudônimo, marque esta caixa e escreva o nome que g ostaria de usar na linha abaixo

Pseudônimo:

Idade do par ticipante:

Número de telefone do par ticipante [opcional]:

E-mail [opcional]:

Equipe do projeto

Dra. Ana Paula Pimentel Walker, Professora Associada, Gerente de Projeto Universidade de Michig an, Ann Arbor appiment@umich.edu

sara faraj, estudante Universidade de Michig an, Ann Arbor

Russell Lin, estudante Universidade de Michig an, Ann Arbor

Cat Dig gs, estudante Universidade de Michig an, Ann Arbor

Oral Histories with Quilombola Communities of Alcântara University of Michig an Ann Arbor Depar tment of Urban and Regional Planning

Dear Par ticipant,

T hank you for par ticipating in an inter view with our team in the context of our Oral Histor y Project - Oral Histories with Quilombola Communities of Alcântara. We deeply appreciate you taking the time to share your knowledg e, wisdom, and histories with us

T he pur pose of this project will be to create a physical and digital exhibit of the oral histories our team will be g athering between Febr uar y 26, 2024 and March 8, 2024. Should you ag ree, your oral histor y inter view will be a par t of a community-based client project to bring more visibility to your communities’ land rights advocacy effor ts and to celebrate your unique and diverse cultures.

You can contact Dr. Ana Paula Pimentel Walker by email at appiment@umich.edu if you have any questions or would like to withdraw your par ticipation and involvement in this project at any time.

Dr Ana Paula Pimentel Walker, Associate Professor and Project Manag er University of Michig an, Ann Arbor appiment@umich.edu

Cat Dig gs, student University of Michig an, Ann Arbor

sara faraj, student University of Michig an, Ann Arbor

Russell Lin, student University of Michig an, Ann Arbor

APPENDIX J - ORAL HISTORY

Histórias Orais com Comunidades Quilombolas de Alcântara Universidade de Michig an, Ann Arbor Depar tamento de Planejamento Urbano e Regional

Prezada/o par ticipante,

Obrig ado por par ticipar de uma entrevista com nossa equipe como par te do nosso Projeto de História Oral - Histórias Orais com Comunidades Quilombolas de Alcântara. Ag radecemos imensamente por dedicar seu tempo para compar tilhar seu conhecimento, sabedoria e histórias conosco

O objetivo desse projeto será criar uma exposição física e digital das histórias orais que nossa equipe coletará entre 26 de fevereiro de 2024 e 8 de março de 2024. Se você concordar, sua entrevista de história oral fará par te de um projeto de pesquisa-ação de base comunitária para dar mais visibilidade à luta pelo reconhecimento do ter ritório e para celebrar a cultura quilombola.

Você pode entrar em contato com a Dra. Ana Paula Pimentel Walker pelo e-mail appiment@umich.edu se tiver alguma dúvida ou quiser cancelar sua par ticipação e envolvimento neste projeto a qualquer momento

Equipe do projeto

Dra. Ana Paula Pimentel Walker, Professora Associada, Gerente de Projeto

Universidade de Michig an, Ann Arbor appiment@umich.edu

sara faraj, estudante

Universidade de Michig an, Ann Arbor

Russell Lin, estudante

Universidade de Michig an, Ann Arbor

Cat Dig gs, estudante

Universidade de Michig an, Ann Arbor

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> Oral Histories