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Tomar and Its People on the Relationship Between Local People and Their Heritage

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Tomar and Its People on the Relationship Between Local People and Their Heritage Uppsal a U niversity log otype SAMINT-HDU 21 011 Degree project 30 credits June 2021 Tomar and its People On the relationship between local people and their heritage Ana Alice Bento Ribeiro Hidalgo de Lacerda Sust ain able D estination s D evelopment Sustainable Destinations Development Uppsal a U niversity log otype Tomar and its People Ana Alice Bento Ribeiro Hidalgo de Lacerda Abstract Heritage has been defined by the Cambridge Dictionary as “features belonging to the culture of a particular society, such as traditions, languages, or buildings, that were created in the past and still have historical importance”. In plain words, it is what defines a cultural expression and allows this cultural expression to survive, reproduce and thrive like a living organism. The aim of this thesis is to study and analyse how the locals in Tomar perceive their heritage, and how they present it to outsiders. After conducting an ethnographic survey based on informal interviews with locals, both professionally involved with heritage and uninvolved professionally with heritage, it was possible to conclude that Tomar is a case of living heritage, as it is a place where the intangible heritage is kept mostly by the locals despite the lack of assistance of the governing authorities, and the locals have no say on the governing authorities’ management decisions affecting tangible heritage. Faculty of Sci ence and Technol ogy, U ppsal a U niversity. Place of publication Visby. Supervisor: Erro! A origem d a ref erên cia n ão foi enco ntrad a., Subject Faculty of Science and Technology Uppsala University, Place of publication Visby Subject reader: Camilla Asplund Ingemark Examiner: Anette Oxenswärdh Table of Contents Table of Figures ................................................................................................................................... 1 Introduction .......................................................................................................................................... 3 Methods/Theory ................................................................................................................................. 18 Results ................................................................................................................................................ 21 Discussion .......................................................................................................................................... 48 References: ......................................................................................................................................... 52 Appendices ......................................................................................................................................... 57 Table of Figures Figure 1- View of the Castelo dos Templários from the Old City ....................................................... 4 Figure 2 - Nabão River, Tomar ............................................................................................................ 5 Figure 3- Templar Rotunda in the Convent of Christ .......................................................................... 7 Figure 4 - 12th century blueprint of the Holy Sepulcher Church in Jerusalem, present day Israel ..... 8 Figure 5 - Blueprint of the Convento de Cristo with chronological changes labeled by colors. ......... 8 Figure 6 - Interior of the Charola dos Templários ............................................................................... 9 Figure 7 - Cortejo dos Rapazes .......................................................................................................... 16 Figure 8 - Church and Belfry of Santa Maria dos Olivais ................................................................. 22 Figure 9 - Scallop Shell on the Belfry access door ............................................................................ 23 Figure 10 - Interior of St. Maria dos Olivais church. ........................................................................ 23 Figure 11 - Taboleiro on display at St John Baptist Church .............................................................. 25 Figure 13 - The last Templar stone in the floor of Santa Maria dos Olivais. .................................... 26 Figure 15 - Portugal's first 3d Painting representing the scene at Golgotha ...................................... 27 Figure 16 - Church of São João Baptista ........................................................................................... 29 Figure 17 - Main altar, dedicated to St John the Baptist .................................................................... 30 Figure 18 - Chapel of the Sacred Heart .............................................................................................. 31 Figure 19 - Chapel of the Eucharist ................................................................................................... 32 Figure 20- Facade of Tomar's Synagogue and Museum Abraão Zacuto around 2016 ...................... 34 Figure 21 - Interior of Tomar's Synagogue and Museum Abraão Zacuto around 2016 ................... 35 Figure 22 - Tomar's Synagogue and Museum Abraão Zacuto around 2021 ..................................... 36 Figure 23 - Old Rua da Judiaria (Jewish Quarter Street), then renamed Rua Nova (New Street) and currently Rua Joaquim Jacinto, where the Synagogue is located ...................................................... 37 Figure 24 - St Iria Convent seen from Ponte Velha ........................................................................... 39 Figure 25 - Location traditionally held as Iria's murder site .............................................................. 40 Figure 27 - Outside of the chapel of St Iria........................................................................................ 41 Figure 26 - Interior of the chapel of St Iria ....................................................................................... 41 1 Figure 28 - Aerial View of the convent, with its area marked in red ................................................. 42 Figure 29 - Valle Funerary Chapel featuring the Calvary carved in Pedra de Ançã by João de Ruão ............................................................................................................................................................ 42 Figure 30 - Details of the main altar at the chapel of St Iria .............................................................. 43 Figure 31 - Quinta de S. Ana a Guerreira, also known as Quinta do Valle ....................................... 44 Figure 32 - Typical street in Tomar's old city .................................................................................... 45 Figure 33 - Tomar's Old Town seen from across the Ponte Velha .................................................... 46 Figure 34 - Current Façade of Café Paraiso, pre-pandemic. ............................................................ 47 2 Introduction Myths smuggle in what, in the realm of reason alone, would be confiscated at the border. ~ Robert Mullen Heritage has been defined by the Cambridge Dictionary as “features belonging to the culture of a particular society, such as traditions, languages, or buildings, that were created in the past and still have historical importance”. In plain words, it is what defines a cultural expression and allows this cultural expression to survive, reproduce and thrive like a living organism. The aim of this thesis is to study and analyse how the locals in Tomar perceive their heritage, and how they present it to outsiders. Tomar is a heritage-rich city, with a heritagescape that is indissociable from the city itself as most of its heritage places are in highly central locations which are part of the locals’ daily lives as daily places of religious worship and meeting points. At the same time, the most widely known part of Tomar’s heritagescape is also the most marginalized, both physically as in the matter of the local’s own mindscape. Figure 1- View of the Castelo dos Templários from the Why have I chosen this subject? Old City We live in a time in which local cultures are being eroded. With the increase of both speed and usage of global communications, ideas and cultural traits from all across the world are permeating other cultures and replacing key cultural elements as media replaces the role of the parents in child-rearing and knowledge transmission. This is due to the increase of living expenses and the necessity of both parents to have full-time jobs which leave limited daily time for them to have an active role in the children’s education, effectively cutting down chains of knowledge transmission and allows for the hybridization and erosion of cultures, often replacing these cultural elements with others of foreign origin (American). Whilst “a degree of hybridization in all cultures can be assumed” (Kraidy, 2002), due to cultural exchanges since ancient times, the process has been quickened with the dawn of television, and then severely accelerated with the dawn of the internet. This leads to stark cultural divergences between one 3 generation and the next, which impacts the way the newer generations perceive both the tangible and intangible heritage of their hometowns. Whilst for the Portuguese citizen born during the Autocratic rule of Salazar, the Portuguese cultural heritage represents national pride and accomplishment of the national culture, and cultural heritage was appreciated, valued, and used as part of the state
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