The subject of this investigation is the organization of the documentary sources of the Movimento de Educação de Base (Basic Education Movement - MEB), from 1963 to 2003, which are preserved in the building of Rádio Educação Rural (Rural Education Radio). These materials are under the care of the Prelature of the municipality of Tefé. The preservation and maintenance of this space is important, as it allows teachers, undergraduate, and postgraduate students the access to valuable documentation for carrying out research into the History of Education. In this sense, we hold the objectives of preserving the official documents produced by the MEB in Tefé; organizing the MEB documents by theme, in chronological order; and digitizing the documents that are on the premises of Rádio Educação Rural. To provide the theoretical and methodological basis, we applied the ideas and concepts of Bosi (1994); Casimiro, Lombardi, Guimarães (2009), Cunha (1992); De Decca (1992); Fávero (2006); Halbwachs (2003), Le Goff (1996) and Magalhães (2009). After the theoretical discussions, involving fellows from the Pedagogy and History courses, we began the practical part of the project, which was supported by the Fundação de Amparo à Pesquisa do Estado do Amazonas (Amazonas State Research Support Foundation - FAPEAM). We sanitized, cataloged by theme and chronological order, and digitized the documents produced by the MEB over forty years. The archive consists of statutes; monthly, triennial and annual reports; lesson plans; time books; meeting minutes; staff payrolls; student attendance sheets; enrollment books; agreements; literacy and vocational course booklets; reading books; pamphlets; photo albums; pedagogical proposals, among others. These are original materials, which have been randomly stored over the years, revealing a lack of appreciation for preserving the memory and history of regional education. In other words, there seems to have been a situation of neglect, since little has been done to preserve and conserve these sources. The sanitization, organization, cataloging and digitization of the collection has been finished, but the documentation is incomplete, as there are documents missing pages and others that are illegible due to the action of time and lack of care in storage. As a result, around 2,000 documents and 800 photographs have been organized, cataloged and digitized. The vast majority of these documents were worn out due to the passage of time and a lack of cautious storage.

A presente pesquisa está relacionada à organização das fontes documentais do Movimento de Educação de Base (MEB), no período de 1963 a 2003, arquivadas no prédio da Rádio Educação Rural, sob a guarda da Prelazia do município de Tefé. A preservação e manutenção deste espaço é importante, uma vez que permite o acesso aos professores, estudantes de graduação e de pós-graduação a uma documentação preciosa para a realização de pesquisas na área da História da Educação. Neste sentido, temos os objetivos de preservar os documentos oficiais produzidos pelo MEB em Tefé; de organizar os documentos do MEB por temática, ordem cronológica; e de digitalizar os documentos que estão nas dependências da Rádio Educação Rural. Para fundamentar teórico-metodologicamente, apropriamo-nos das ideias e conceitos de Bosi (1994); Casimiro, Lombardi, Guimarães (2009), Cunha (1992); De Decca (1992); Fávero (2006); Halbwachs (2003), Le Goff (1996) e Magalhães (2009). Após as discussões teóricas, envolvendo bolsistas dos cursos de Pedagogia e História, iniciamos a parte prática do projeto, que contou com o apoio da agência de fomento Fundação de Amparo à Pesquisa do Estado do Amazonas (FAPEAM). Na prática, realizamos a higienização, a catalogação por temática e ordem cronológica e a digitalização dos documentos produzidos pelo MEB por quarenta anos. O arquivo é composto por estatuto; relatórios mensais, trienais e anuais; planos de aula; livros de ponto; atas de reuniões; folhas de pagamento dos servidores; folhas de frequência dos alunos; livros de matrículas; convênios; cartilhas de alfabetização e de cursos profissionalizantes; livros de leitura; folhetos; álbuns de fotografias; propostas pedagógicas, entre outros. Tais materiais são exemplares originais, que foram guardados de forma aleatória ao longo dos anos, revelando pouco apreço à preservação da memória e da história da educação regional, ou seja, parece ter havido uma situação de descaso, já que pouco foi feito para preservar e conservar tais fontes. A higienização, organização, catalogação e digitalização do acervo foi concluída, no entanto, a documentação está incompleta, pois existem documentos faltando páginas e outros ilegíveis, devido à ação do tempo e da falta de cuidado no armazenamento. Temos como resultados cerca de dois mil documentos e 800 fotografias organizados, catalogados e digitalizados. Na sua grande maioria, encontravam-se gastos em decorrência da ação do tempo e do acondicionamento inadequado.

The Mauá College Museum (Santa Cruz do Sul, Rio Grande do Sul, Brazil), belonging to a Lutheran confessional school, has within its set of technical instruments of the museological process a collection of registration notebooks. Among the different peculiarities found in these artifacts, there is a very present trait related to the records documenting the work linked to archaeological excavations carried out by museum collaborators, especially in the period after its reopening in the 1960s when the museum ceased to serve only the school's public and began to serve the local population, fulfilling the function of a municipal museum. During this period, museum agents acted as collectors of traces and narratives related to the indigenous peoples in the region, alongside their inhabitants, as well as receiving collections from other places, such as those from the Brazilian state of Mato Grosso, resulting from participation in Project Rondon III (an interministerial initiative during the Brazilian dictatorship that took students and teachers to regions with deficiencies and isolated areas of the country), thus marking the Mauá College Museum as a locus of archaeological research. Collections and donations of collections resulted from the so-called "archaeological missions," in which excavations and collection of objects and traces were carried out in the homes of residents during visits to the localities in the interior of Santa Cruz do Sul and neighboring municipalities. These practices were described in the institution's registration notebooks, to which the function of a field diary was attributed, as they accompanied the team on work outings. According to Barth (2013), the team from the Mauá College Museum mapped and conducted archaeological activities, mainly in the area of the Rio Pardo Valley, recording a total of 1127 archaeological sites in the 1960s and 1970s. The analysis, from the perspective of decolonization of thought about the studied records, allows for interrogations to be proposed about how archaeological traces were located, the information contained in the notes, and the manner in which they were exposed. However, it is necessary to bear in mind that these are documents produced more than sixty years ago, at a time when colonial thinking about indigenous peoples was accepted and reproduced. The urgent appreciation starts from the assumption that it is necessary to understand the registration notebooks from a new perspective because "decolonizing thought about museums and museology implies reimagining the subjects of museums, as well as the bodies subject to musealization" (BRULON, 2020, p.26). Therefore, it is necessary to analyze historically and museologically, from a decolonial perspective, the documentation found, in order to understand the processes triggered and perceive the Eurocentric axes present. Thus, it is possible to go beyond circumscribed reflection to seek a universality of relations between peoples at any time.

O Museu do Colégio Mauá (Santa Cruz do Sul, Rio Grande do Sul, Brasil), pertencente a uma escola confessional luterana, possui dentro de seu conjunto de instrumentos técnicos do processo museológico uma coleção de cadernos de registros. Dentre as diferentes peculiaridades encontradas nestes artefatos há um traço muito presente relacionado aos assentamentos que documentam o trabalho ligado às escavações arqueológicas realizadas pelos colaboradores do museu, em especial no período posterior a sua reinauguração nos anos 1960, quando o museu deixa de atender apenas o público da escola e passa a contemplar a população local, cumprindo a função de um museu municipal. No referido período, os agentes do museu atuaram como coletores de vestígios e narrativas relacionados aos povos originários na região, junto aos seus habitantes, bem como receberam acervos de outros lugares, como os do estado brasileiro de Mato Grosso, resultantes da participação no Projeto Rondon III (iniciativa interministerial no período da ditadura brasileira que levava estudantes e professores para regiões com carências e isoladas do país), demarcando assim o Museu do Colégio Mauá como um lócus de pesquisa arqueológica. As coletas e as doações de acervos eram decorrentes das chamadas “missões arqueológicas”, nas quais eram realizadas escavações e recolha de objetos e vestígios nas casas dos moradores durante as visitas que ocorriam nas localidades do interior de Santa Cruz do Sul e de municípios vizinhos. Essas práticas foram descritas nos cadernos de registro da instituição, aos quais foi atribuída a função de diário de campo, pois acompanhavam a equipe nas saídas de trabalho. Segundo Barth (2013) a equipe do Museu do Colégio Mauá mapeou e operou atividades arqueológicas, principalmente na área do Vale do Rio Pardo, registrando o total de 1127 sítios arqueológicos nas décadas de 1960 e 1970. A análise, a partir do prisma da descolonização do pensamento sobre os registros estudados, permite que sejam propostas interrogações sobre a forma como os vestígios arqueológicos foram localizados, as informações constantes nos apontamentos e a maneira como estes foram expostos. Porém, é preciso ter em mente que se trata de documentos produzidos há mais de sesenta anos, momento em que o pensamento colonial sobre os povos originários era aceito e reproduzido. A premente apreciação parte do pressuposto de que é necessário compreender os cadernos de registros sob uma nova ótica, pois “descolonizar o pensamento sobre os museus e a museologia implica reimaginar os sujeitos dos museus, bem como os corpos passíveis a musealização” (BRULON,2020, 26). Destarte, é necessário analisar de maneira histórica e museológica, a partir de um viés decolonial, a documentação encontrada, de forma a compreender os processos desencadeados e perceber os eixos eurocêntricos presentes. Assim, é possível ultrapassar a reflexão circunscrita para a busca de uma universalidade das relações entre os povos a qualquer tempo.

During the 1950s and 60s viewing moving images became a common experience for Italian children, who were the potential audience of daily screen offers. To understand cinema and TV proposals, being able to avoid passively accepting and confusing them with faithful representations of reality became a necessity. Nonetheless, screen education and specific teacher training have never officially entered Italian schools. The first experiments of audiovisual education and school film-making date back to the 1960s and had surprising effects in encouraging even the most vulnerable pupils’ learning, as well as fostering inclusion and valuing diversity in class. Starting from three Italian case studies, this contribution focuses on how school film-making can be a privileged educational tool, as well as an effective means for social inclusion and individual emancipation. The first traceable Italian cinema made by children was realized during the 1961-62 school year by members of the Milan Cinema Study Center (CSC), which distinguished itself in pioneering screen education and film-making in elementary schools. The second case study concerns cinema made by special children, as conceived by Gabriella Zamboni with her “subnormal” pupils at “La Nostra Famiglia” Institute in Bosisio Parini. In 1966 Marcello Piccardo and Bruno Munari, who animated the so-called Cinema Hill of Mount Olimpino, near Como, brought film-making into that school, directed by their friend Giovanni Belgrano. Experimentation in special education schools and differential classes (1966-1970) showed how making a film with children, even disabled ones, created a profitable conceptual reversal and a demystification of both cinema and traditional teaching methods. The first films have simple plots: e.g. in The Guitar (1967) film-making mostly coincides with translating into images children’s sensations and actions attributed to their relationship with the instrument. Later, some pupils turned Umberto's story (The Differential, 1969) into film: he had experienced exclusion and discrimination before being welcomed into their class. During the 1970s in Parma, Mount Olimpino became a source of inspiration for teacher Ulisse Adorni, who with his pupils and actor/director Giovanni Martinelli produced The Little Prince. This third case study concerns a new model of school film-making, which combines reading, dramatization (theatre), creative writing and cinema. In presenting the three case studies mentioned above, inclusive methods and effects will be highlighted. In particular, it will be argued that school film-making can develop or improve – in all children, without exception – educational involvement, motivation, active participation, empowerment, critical thinking, interdisciplinary attitude, perceptual decentralization, expressive and social skills.