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O Vestuário como Património na Construção de Narrativas de Género e Inclusão Social: Estudos de Caso
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A presente dissertação de mestrado centra-se numa questão fundamental: Como é que o património do vestuário é apresentado nos programas expositivos e educativos dos museus, designadamente, se contribui ou não para a construção da masculinidade e da feminilidade, e de que forma é que essas representações influenciam a compreensão pública das questões de género, promovendo a igualdade e inclusão? O estudo fundamenta-se na premissa de que o vestuário funciona como documento patrimonial, através do qual normas de género são materialmente corporificadas, historicamente transmitidas e potencialmente contestadas. Através de um estudo de caso múltiplo de natureza qualitativa, a investigação examina o Museu Nacional do Traje e o MUDE – Museu do Design e da Moda, mobilizando triangulação de fontes e métodos: revisão sistemática de literatura, análise documental de exposições, programação educativa e políticas institucionais, entrevistas semiestruturadas com profissionais-chave (direção, curadoria e serviço educativo) e observação participativa. Este aparato metodológico possibilitou a identificação de práticas curatoriais, educativas e institucionais operantes em ambos os museus, revelando de que modo o património do vestuário é representado e comunicado. Os principais achados demonstram que ambas as instituições apresentam um compromisso crescente com a historicização crítica de papéis de género e integração explícita de perspetivas plurais nas narrativas museológicas que reportam ao vestuário, ainda que enfrentem desafios estruturais relacionados com a representatividade nas coleções, formação profissional limitada em interseccionalidade e teoria crítica de género, ausência de metodologias robustas para avaliação do impacto educativo dos museus na perceções públicas, e desafios na operacionalização coerente de narrativas de género aplicadas ao património do vestuário. A dissertação propõe recomendações sistemáticas para a consolidação de museologia crítica, inclusiva e transformadora do vestuário: Operacionalização de narrativas curatoriais interseccionais que, contextualizadas historicamente e em diálogo com questões contemporâneas, problematizem de forma crítica o vestuário ao nível do género; conceção de programação educativa que integre sistematicamente reflexão crítica sobre como vestuário e género, através de metodologias participativas que posicionem os visitantes como agentes ativos na construção de significado; constituição de estruturas de liderança institucional comprometidas com transformação social; adoção de linguagem inclusiva na comunicação museológica; e implementação de avaliação contínua de impacto nos públicos. Estas recomendações multidimensionais alinham-se com os Objetivos de Desenvolvimento Sustentável 5 e 11, posicionando os achados num quadro mais amplo de responsabilidade institucional e transformação social, conforme definido pela redefinição do ICOM, de 2022, que reconhece os museus enquanto agentes ativos de reflexão crítica, inclusão social e transformação cultural.
The present dissertation addresses a fundamental question: how is costume heritage presented in exhibitional and educational programs of museums, and whether these representations contribute to the construction of masculinity and femininity, influencing public understanding of gender issues and promoting equality and inclusion? The study is grounded by the premise that dress functions as a heritage document through which gender norms are materially embodied, historically transmitted and potentially contested. Through a multiple case study, based on a qualitative approach, the research examines the Museu Nacional do Traje and MUDE – Museu de Design e da Moda, via the triangulation of sources and methods: systematic literature review, documental analysis of exhibitions, educational programs and institutional policies, semi-structured interviews with key professionals (directors, curators and educational service), and participatory observation. This methodological apparatus enabled the identification of curatorial, educational and institutional practices operacionalized in both museums, revealing how costume heritage is represented and communicated. The main findings demonstrate that both institutions exhibit a growing commitment to critical historicisation of gender roles and explicit integration of plural perspectives in museum narratives related to costume, even though they face structural challenges regarding collection representativeness, limited professional training in intersectionality and critical gender theory, the absence of robust methodologies that evaluate the educational impact of the museum on public perceptions, and difficulties in coherent operacionalisation of gender narratives applied to costume heritage. The dissertation proposes systematic recommendations for the consolidation of critical, inclusiv e and transformative museology of costume: operationalization of intersectional curatorial narratives (historically contextualized and engaging with contemporary issues), that critically problematize dress in terms of gender; development of educational programs that systematically integrate critical reflection on how clothing and gender intersect, through participatory methodologies that positon visitors as active agents in the construction of meaning; establishment of institutional leadership structures committed to social transformation; adoption of inclusive language in museum communication; and implementation of continuous impact evaluation within the different publics. These multidimensional recommendations align with the Sustainable Development Goals (5 and 11), positioning the findings within a broader framework of institutional responsibility and social transformation, as established by ICOM's 2022 museum definition, recognizing museums as active agents of critical reflection, social inclusion and cultural transformation.
The present dissertation addresses a fundamental question: how is costume heritage presented in exhibitional and educational programs of museums, and whether these representations contribute to the construction of masculinity and femininity, influencing public understanding of gender issues and promoting equality and inclusion? The study is grounded by the premise that dress functions as a heritage document through which gender norms are materially embodied, historically transmitted and potentially contested. Through a multiple case study, based on a qualitative approach, the research examines the Museu Nacional do Traje and MUDE – Museu de Design e da Moda, via the triangulation of sources and methods: systematic literature review, documental analysis of exhibitions, educational programs and institutional policies, semi-structured interviews with key professionals (directors, curators and educational service), and participatory observation. This methodological apparatus enabled the identification of curatorial, educational and institutional practices operacionalized in both museums, revealing how costume heritage is represented and communicated. The main findings demonstrate that both institutions exhibit a growing commitment to critical historicisation of gender roles and explicit integration of plural perspectives in museum narratives related to costume, even though they face structural challenges regarding collection representativeness, limited professional training in intersectionality and critical gender theory, the absence of robust methodologies that evaluate the educational impact of the museum on public perceptions, and difficulties in coherent operacionalisation of gender narratives applied to costume heritage. The dissertation proposes systematic recommendations for the consolidation of critical, inclusiv e and transformative museology of costume: operationalization of intersectional curatorial narratives (historically contextualized and engaging with contemporary issues), that critically problematize dress in terms of gender; development of educational programs that systematically integrate critical reflection on how clothing and gender intersect, through participatory methodologies that positon visitors as active agents in the construction of meaning; establishment of institutional leadership structures committed to social transformation; adoption of inclusive language in museum communication; and implementation of continuous impact evaluation within the different publics. These multidimensional recommendations align with the Sustainable Development Goals (5 and 11), positioning the findings within a broader framework of institutional responsibility and social transformation, as established by ICOM's 2022 museum definition, recognizing museums as active agents of critical reflection, social inclusion and cultural transformation.
Descrição
Palavras-chave
Curadoria Diversidade e Inclusão Educação Patrimonial Masculinidade e Feminilidade Museus Curatorship Diversity and Inclusion Heritage Education Masculinity and Femininity Museums