# data[].attributes.body
This project is a part of the online museum community “Kaleidoscope museum project”, where the disappearing cultures in developing countries will be discussed. This project will be specifically focused on the fading cultures in the Federative Republic of Brazil, where there is a diversity of culture. A virtual museum will also be shown to provide more information on the minority culture of Brazil that is under threat from globalization. Through this project, the unique cultures in Brazil, such as tribal cultures, cowboy culture, or the Southwest European culture will be shown. Through showing this information, the audience will be able to know more about Brazil, and have a chance to find out more about these disappearing cultures. By doing so, these items can be preserved because more people may learn and want to know more about them. This can stop the loss of culture in developing countries due to globalization and urbanization. Even tourism can help preserve disappearing cultures in Brazil through having tourists learn about these endangered cultures. Overall, this project will focus on the different fading cultures in Brazil, and why these cultures are endangered. In order to attract more people to learn and preserve the disappearing cultures in Brazil.

# data[].attributes.body
This is a celebration that originated from the 1650s. It was for celebrating the Greek wine gods. People have a lot off and enjoy themselves in this festival. However, due to COVID-19, 2022 will be the second year without this festival.

# data[].attributes.attachment_link.readable_text
Rio de Janeiro has canceled street parades and parties during its world-famous Carnival for a second year due to an increase in COVID-19 cases and the threat from the arrival of the Omicron coronavirus variant, the city's mayor said on Tuesday.

However, the spectacular parade by Rio's samba schools, which the public watches from the stands of the city's Marques de Sapucai Sambadrome, will go ahead, unlike last year, with health precautions to prevent spreading the virus, he said.

Rio mayor Eduardo Paes announced after a meeting with health authorities that the city would call off the street events that draw hundreds of thousands of Carnival revelers each year.

"The street carnival, by its very nature, due to the democratic aspect it has, makes it impossible to exercise any kind of inspection," Paes said in a live internet broadcast.

Other Brazilian capitals are also canceling their Carnival parades. Last week, the northeastern city of Salvador announced it would not celebrate the event.

Belo Horizonte, the capital of Minas Gerais state, also decided it will not sponsor or invest in street parades this year, local media reported.

Sao Paulo, the capital of Brazil's wealthiest state, is planning to transfer its street parade to the city's Interlagos Formula One race track, the Folha de Sao Paulo newspaper reported.

Cases of COVID-19 infection are on the rise again in Brazil. The Health Ministry on Tuesday reported 18,759 new cases of the novel coronavirus in the past 24 hours, and 175 deaths from COVID-19. Some 170 cases of Omicron had been confirmed in the country, up from 32 just two weeks ago, it said.
📣 For more lifestyle news, follow us on Instagram | Twitter | Facebook and don't miss out on the latest updates!

# data[].attributes.attachment_link.title
Rio cancels Carnival street parades due to rising Covid-19 cases, Omicron threat

# data[].attributes.attachment_link.description
Rio de Janeiro has canceled street parades and parties during its world-famous Carnival for a second year due to an increase in COVID-19 cases and the threat from the arrival of the Omicron coronavirus variant, the city's mayor said on Tuesday.

# data[].attributes.body
This is a traditional festival where Brazilian people thank their sea goddess by putting offerings into the sea. Yet nowadays some people think that this may pollute the sea.

# data[].attributes.attachment_link.title
[MP3FY] Rio de Janeiro celebrates sea goddess Yemanja

# data[].attributes.body
He's a Brazilian footballer, and is known to be one of the best during the time he played. He was in the Brazilian national team in the 1960s and 1970s, and they won three World Cup champions during the time.

# data[].attributes.attachment_link.readable_text
Photo: Popperfoto via Getty Images/Getty Images

Quick Facts

"I was born to play football, just like Beethoven was born to write music and Michelangelo was born to paint."

October 23, 1940 (age 81)

Edison Arantes do Nascimento

A member of three Brazilian World Cup-champion teams, Pelé is considered by many to be the greatest soccer player of all time.

Who Is Pelé?

Soccer legend Pelé became a superstar with his performance in the 1958 World Cup. Pelé played professionally in Brazil for two decades, winning three World Cups along the way, before joining the New York Cosmos late in his career. Named FIFA co-Player of the Century in 1999, he is a global ambassador for soccer and other humanitarian causes.

Early Life

Pelé was born Edson Arantes do Nascimento on October 23, 1940 in Três Corações, Brazil, the first child of João Ramos and Dona Celeste. Named after Thomas Edison and nicknamed "Dico," Pelé moved with his family to the city of Bauru as a young boy.

João Ramos, better known as "Dondinho," struggled to earn a living as a soccer player, and Pelé grew up in poverty. Still, he developed a rudimentary talent for soccer by kicking a rolled-up sock stuffed with rags around the streets of Bauru. The origin of the "Pelé" nickname is unclear, though he recalled despising it when his friends first referred to him that way.

As an adolescent, Pelé joined a youth squad coached by Waldemar de Brito, a former member of the Brazilian national soccer team. De Brito eventually convinced Pelé's family to let the budding phenom leave home and try out for the Santos professional soccer club when he was 15.
READ MORE: 10 Things You May Not Know About Pelé

Soccer's National Treasure

Pelé signed with Santos and immediately started practicing with the team's regulars. He scored the first professional goal of his career before he turned 16, led the league in goals in his first full season and was recruited to play for the Brazilian national team.

The world was officially introduced to Pelé in the 1958 World Cup in Sweden. Displaying remarkable speed, athleticism and field vision, the 17-year-old erupted to score three goals in a 5-2 semifinal win over France, then netted two more in the finals, a 5-2 win over the host country.

The young superstar received hefty offers to play for European clubs, and Brazilian President Jânio Quadros eventually had Pelé declared a national treasure, making it legally difficult for him to play in another country. Regardless, Santos club ownership ensured its star attraction was well paid by scheduling lucrative exhibition matches with teams around the world.

Photo: Alessandro Sabattini/Getty Images

More World Cup Titles

Pelé aggravated a groin injury two games into the 1962 World Cup in Chile, sitting out the final rounds while Brazil went on to claim its second straight title. Four years later, in England, a series of brutal attacks by opposing defenders again forced him to the sidelines with leg injuries, and Brazil was bounced from the World Cup after one round.

Despite the disappointment on the world stage, the legend of Pelé continued to grow. In the late 1960s, the two factions in the Nigerian Civil War reportedly agreed to a 48-hour ceasefire so they could watch Pelé play in an exhibition game in Lagos.

The 1970 World Cup in Mexico marked a triumphant return to glory for Pelé and Brazil. Headlining a formidable squad, Pelé scored four goals in the tournament, including one in the final to give Brazil a 4-1 victory over Italy.

Pelé announced his retirement from soccer in 1974, but he was lured back to the field the following year to play for the New York Cosmos in the North American Soccer League, and temporarily helped make the NASL a big attraction. He played his final game in an exhibition between New York and Santos in October 1977, competing for both sides, and retired with a total of 1,281 goals in 1,363 games.

Later Years and Legacy

Retirement did little to diminish the public profile of Pelé, who remained a popular pitchman and active in many professional arenas.

In 1978, Pelé was awarded the International Peace Award for his work with UNICEF. He has also served as Brazil's Extraordinary Minister for Sport and a United Nations ambassador for ecology and the environment.

Pelé was named FIFA's "Co-Player of the Century" in 1999, along with Argentine Diego Maradona. To many, his accomplishments on the soccer field will never be equaled, and virtually all great athletes in the sport are measured against the Brazilian who once made the world stop to watch his transcendent play.

Fact Check

We strive for accuracy and fairness. If you see something that doesn't look right, contact us!

# data[].attributes.attachment_link.description
"I was born to play football, just like Beethoven was born to write music and Michelangelo was born to paint." October 23, 1940 (age 81) Edison Arantes do Nascimento A member of three Brazilian World Cup-champion teams, Pelé is considered by many to be the greatest soccer player of all time.

# data[].attributes.body
There are up to 400 Brazilian tribes living in the Amazon rainforest. These tribes are the the original and first people to live in Brazil, so every tribe's unique culture is an important part of this country. However, due to deforestation, several unique tribes are now facing extinction. If this happens, the special culture of these tribes will also be long gone.

# data[].attributes.attachment_link.title
Endangered tribal culture due to deforestation 

# data[].attributes.body
Pedro I was the first emperor in Brazil. He was the son of the king of Portugal, but later decided to help Brazil carry out their independence. Then he became the emperor of Brazil.

# data[].attributes.attachment_link.readable_text
Pedro was born on Oct. 12, 1798, at the Queluz Palace in Lisbon, the son of the prince regent of Portugal (later João VI) and his wife, Carlota Joaquina, the daughter of the Spanish Bourbon king Charles IV. In 1807 the royal family fled to Brazil to escape Napoleon's invading armies. Pedro adapted well to the Brazilian milieu. He was an excellent horseman, enjoyed the military life, and could compete with common soldiers and officers equally. Also, he early demonstrated musical talents and later composed some music of creditable amateur quality. He was considered to be handsome, and women found him attractive.

In 1817 Pedro married Carolina Josefa Leopoldina, the daughter of Francis I of Austria. Her intelligence, consideration, and personality quickly earned her the respect and admiration of the Portuguese and Brazilians, as well as of her husband, but she was unable to distract him from his amorous affairs.

In 1816 Pedro's father became João VI, King of Portugal and Brazil, which had been elevated from the status of a colony to a kingdom in 1815. In 1821 João VI was forced to return to Portugal and leave Pedro as the prince regent. Recognizing the independence sentiments in Brazil, and observing what was occurring in the Spanish colonies of the New world, the King advised his son to declare Brazil independent and take the throne for himself rather than allow an adventurer to take over the country. On Sept. 7, 1822, supported by Brazilians who feared that the Portuguese would reduce the country to colonial status again, and following the advice of his wife and his chief counselor, José Bonifácio de Andrada e Silva, Pedro declared the independence of Brazil and established the Empire of Brazil with himself as emperor.

In 1823 Pedro I called a constituent assembly to formulate a constitution but dissolved the body later that year. He promulgated a constitution on March 24, 1824, which remained Brazil's charter until 1889. The period was disturbed by dissension between native-born Brazilians and those born in Portugal. Pedro I was Portuguese and thus suspect to Brazilians, especially after he signed a treaty of peace with Portugal which left unresolved some basic issues concerning future relations between the two countries. When João VI died in 1826, Pedro I inherited the Portuguese crown, but the ruling of both countries by the Emperor was unacceptable to the Brazilians. Pedro I abdicated the Portuguese throne in favor of his daughter Maria da Glória, who was betrothed to her uncle Miguel.

Although he accepted constitutional monarchy, Pedro I was an absolutist in his approach to government. With difficulty he accepted advice from the legislative branch of the government, and his attitudes led to conflict with liberal Brazilians.

Pedro's long-standing affair with Domitilia de Castro, upon whom he bestowed the title of Marquêsa de Santos, was a cause of much criticism and provoked opposition. The Empress, Leopoldina, had widespread public support when the Emperor moved his mistress into the palace. Leopoldina died in 1827, and Pedro I continued his relationship with the Marquêsa de Santos until 1829, when he married Amélia Augusta Eugénia Napoleona, daughter of Eugene of Litchenberg.

In April 1831 Pedro I unexpectedly abdicated in favor of his 5-year-old son, who became Pedro II. Returning to Portugal, Pedro took up the cause of his daughter Maria da Glória, whose position as Maria II of Portugal was being challenged by her uncle Miguel. Dom Pedro directed the political and military campaign which defeated his brother and, acting as regent, had his daughter declared of age, although she was less than 18 years old. A few days later, on Sept. 24, 1834, he died in the Queluz Palace.

# data[].attributes.attachment_link.description
Pedro was born on Oct. 12, 1798, at the Queluz Palace in Lisbon, the son of the prince regent of Portugal (later João VI) and his wife, Carlota Joaquina, the daughter of the Spanish Bourbon king Charles IV. In 1807 the royal family fled to Brazil to escape Napoleon's invading armies.

# data[].attributes.body
This is a type of clothing wore by the Brazilian tribes. It is a multifunctional piece of clothing that can keep the sun off during day and keep you warm at night. It is usually decorated with special patterns and different colours.

# data[].attributes.body
A type of clothing originated in Salvador, Brazil. The skirt is huge and puffy. The top is usually white while the skirt can be any colour. It shows the colourful spirit of the Baiana people.

# data[].attributes.body
Also known as cowboy clothing, this is what the Gaucho people used to wear. However, nowadays most Gaucho people only wear them in festivals. Most Gaocho people no longer practice their culture very often and are urbanised.

# data[].attributes.body
Brazilian people like to talk a lot, yet only on the topics they only want to discuss. They will try to avoid topics that will create conflict. They also enjoy hugging and having physical connection with each other. They also do not mind standing close to each other.

# data[].attributes.body
Brazilian people actually take manners very seriously. You should not use your hands to eat, and you should finish what's on your plate. Bringing gifts is important, you should definitely bring a gift when you visit someone. Lastly, be relaxed when you visit someone, don't be too nervous or try to be too polite.

# data[].attributes.attachment_link.description
The Cultural Atlas aims to inform and educate the public in cross-cultural attitudes, practices, norms, behaviours, communications and business skills

# data[].attributes.body
This is a type of knife used by the Gaucho people. What's special about it is that the Gaucho people does not use knifes, instead, they use a facón. This knife can be used for hunting, protecting, or just daily use. Sadly, most of the Gauch people are now urbanised, and these knifes is no longer used as often.

# data[].attributes.body
Brazilian weddings are kind of like other European weddings. However, there are some other special customs. Yet less people are follows these customs because it can be complex.

# data[].attributes.body
Family is very important for Brazilian people. They have big families with many generations, and most of them live together. They also spend time with their extended family members quite a lot as well.

# data[].attributes.body
Brazilian friends are warm and open, they expect hugs when you meet, eye contact when you're talking, and time spent on them. They think that interaction between each other is very important, and that friends should definitely value each other and treat each other politely. However, because of the internet, people now have a lot of online friends. This can create less real life interaction between people, which is very different to the Brazilian friend culture.

# data[].attributes.body
This was a city founded by the French, then ruled by the Portuguese. So the building style is a combination of both cultures. This city was once the capital of the state of Maranhão.

# data[].attributes.attachment_link.readable_text
Outstanding Universal Value

Located on the promontory formed by the Rivers Anil and Bacanga, northwest of São Luís Island, the Historic Centre of São Luís do Maranhão is characterized by its urban grid of streets lined with residential buildings of various heights, many with tiled roofs, painted ornamented cornices, tall narrow windows set in decorated surrounds and balconies with forged or cast iron railings. They date from the 1615 plan laid out by Portugal's chief engineer in Brazil, following conquest of the fort that had been established on the site by the French in 1612. Harmoniously expanded through the 18th, 19th and 20th centuries, the historic centre is an outstanding example of a Portuguese colonial town adapted to the climatic conditions of Equatorial America, with traditional Portuguese architecture adapted to incorporate raised piers and shuttered, wooden verandas. The singularity of the construction techniques employed is expressed in the elegance of the traditional Portuguese tile work applied both as insulation and decoration; in the modulated use of occupied and empty spaces reinforced by crafted stonework; and in the sharp contrast between the dense ornamentation of the facades overhanging the streets and porches that open wide from side to side into interior patios, lined by a continuous series of venetians, lattices, and frames.

Criterion (iii): The Historic Centre of São Luís bears exceptional testimony to Portuguese colonial civilisation.

Criterion (iv): The Historic Centre of São Luís is an outstanding example of a Portuguese colonial town adapted to the climatic conditions of equatorial South America.

Criterion (v): The Historic Centre of São Luís is an outstanding example of a colonial town which has preserved its urban fabric, harmoniously integrated with its natural setting, to an exceptional degree.
Integrity
The urban texture of the Historic Centre of São Luís remains intact, reflecting elements that date to the city's founding and consolidation. While São Luís has been subject to expansion by virtue of its status as a living city and specific role as the state capital of Maranhão until the end of the 19th century, it has not lost the essence of its origins, reflected in the preservation of the historical centre and the 17th century architectural complex and urban grid. These elements serve to illustrate the city's importance to the region's territorial settlement. The Historic Centre is however extremely vulnerable to abandonment and neglect, and measures are being taken to address this issue, despite the urban rehabilitation initiatives to restore the architectural and enhance the area's landscape value.
Authenticity
The overlay of the various periods in the evolution of the Historic Center of São Luís, from inception of the original site in the 16th century, reflected in the French fortifications; through growth of the Portuguese city in the 17th century; to its splendorous moment in the 18th century as the capital of Grão Pará; and its rise as the homogenous aristocratic commercial metropolis of the 19th century, remain in evidence in the historic centre's structural elements. The authenticity of materials and substance in buildings, street pattern and layout, and urban spaces is high, and is respected by official bodies and inhabitants alike. Traditions, uses, and customs directly linked to Brazilian cultural identity continue to be maintained.
Protection and management requirements
The urban management of São Luís' Historic Centre is performed at the three levels of government: federal, state, through the municipal policies governing the preservation of local historical heritage property.

Following the city's registration on UNESCO's World Heritage List in 1997, there was a substantial increase in the demand for public measures to preserve the site and in the interest of government institutions to raise public awareness regarding the issue. To this end, the São Luís Municipal Government began developing the necessary instruments to safeguard the city's heritage, establishing in 1998 the Cultural Heritage Coordination (Coordenação de Patrimônio Cultural).

In 2003, the local government created the Historic Centre Management Centre (Núcleo Gestor do Centro Histórico) through Decree-Law 25441 to serve as an umbrella for the competent public agencies (municipal, state, and federal), organized civil society stakeholders, and private institutions to: integrate municipal measures and leverage the ties and partnerships forged between the various administrative and management levels; organize the delivery of public services to the Historic Centre; take steps to settle immediate problems arising in the area; propose activities and projects to spur local economic activity and ensure the sustainability of production and consumption patterns in the historical site, among other initiatives.

By virtue of this effort, the Municipal Foundation for Historical Heritage (Fundação Municipal de Patrimônio Histórico - FUMPH) was established in 2005 for the purpose of implementing operational planning and executing municipal historical heritage policies, as well as local policy initiatives aimed at safeguarding and protecting the municipality's cultural heritage, as mandated in the Fundamental Law of São Luís.

In 2008, the Historic Center Management Centre (Núcleo Gestor do Centro Histórico) was dissolved due to a lack of effective policy coordination among the different spheres of government. While in operation, it did, however, provide a concrete experience in joint collaboration between the three levels of government.

The applicable urban administration and management regulations aimed at preserving the Cultural Heritage Site include the Municipal Master Plan of São Luís (Plano Diretor do Município de São Luís - 2006), through which protection of the site was integrated to the planning and territorial settlement process as part of the Municipal.

Others municipal ordinances serves to incentivize the preservation and maintenance of properties in the city centre as well, including Law 3836 of June 21, 1999, which waives local property tax assessments (Imposto sobre a Propriedade Predial e Territorial Urbana - IPTU) for well-conserved and preserved properties. Additional legislative instruments have been enacted to address the problem of property abandonment and inadequate maintenance, among them Law 4478/2005, which regulates articles 1275 and 1276 of the Brazilian Civil Code (Código Civil Brasileiro) governing property abandonment.

In the context of the effort to strengthen the specific applicable legislation, the following instruments must still be updated and adequately adapted: the Zoning Law (Lei de Zoneamento), the Urban Land Use and Occupation Ordinance (Uso e Ocupação do Solo Urbano - 1992), the Urban Building Code (Código de Posturas - 1968).

Beyond these initiatives, an additional provision still required within the scope of the specific municipal legislation governing the Historic Centre include standardizing the procedures for intervening in public buildings and spaces located in the protected zone, with a view to facilitating coordination among the responsible public agents. Further the process of population exodus caused by the relocation of traditional functions and uses to other areas of the city has led to the progressive abandonment and underutilization of buildings, which has exacerbated the problem of irregular occupation and the attendant risks. This challenging problem has been addressed on two fronts: first, through a review of the applicable municipal urban guidelines, with a view to augmenting the area's attractiveness as a functional urban space; second, through the promotion of initiatives to constrain ongoing population exodus and abandonment - including the São Luís Historic Centre Revitalization Program (Programa de Revitalização do Centro Histórico de São Luís - PROCIDADES) - IADB and São Luís Municipal Government (under negotiation); the National Tourism Development Program (Programa Nacional de Desenvolvimento do Turismo - PRODETUR) - Maranhão State Government (under negotiation); and the Growth Acceleration Program for the Expansion of Historic Cities (Programa de Aceleração do Crescimento das Cidades Históricas - PAC Cidades Históricas) (under negotiation) - an effort encompassing a diversity of actions aimed at protecting and preserving the Historic Center, as agreed to between IPHAN and the State and Municipal Governments under the 2010-2013 Plans of Action and the applicable Cultural Heritage Preservation Agreements (Acordos de Preservação do Patrimônio Cultural)

# data[].attributes.attachment_link.description
Outstanding Universal Value Located on the promontory formed by the Rivers Anil and Bacanga, northwest of São Luís Island, the Historic Centre of São Luís do Maranhão is characterized by its urban grid of streets lined with residential buildings of various heights, many with tiled roofs, painted ornamented cornices, tall narrow windows set in decorated surrounds and balconies with forged or cast iron railings.

# data[].attributes.body
This was the first ever slave market in Brazil, and its buildings are very colourful and historical.

# data[].attributes.attachment_link.readable_text
Historic Centre of Salvador de Bahia

As the first capital of Brazil, from 1549 to 1763, Salvador de Bahia witnessed the blending of European, African and Amerindian cultures. It was also, from 1558, the first slave market in the New World, with slaves arriving to work on the sugar plantations. The city has managed to preserve many outstanding Renaissance buildings. A special feature of the old town are the brightly coloured houses, often decorated with fine stucco-work.

Description is available under license CC-BY-SA IGO 3.0

Centre historique de Salvador de Bahia

Première capitale du Brésil de 1549 à 1763, Salvador de Bahia a été un point de convergence des cultures européennes, africaines et amérindiennes. Elle a également été, dès 1558, le premier marché d'esclaves du Nouveau Monde à destination des plantations de cannes à sucre. La ville a pu préserver de nombreux exemples exceptionnels d'architecture Renaissance. Les maisons polychromes aux couleurs vives, souvent ornées de décorations en stuc de grande qualité, sont une des caractéristiques de la vieille ville.

Description is available under license CC-BY-SA IGO 3.0

サルヴァドール・デ・バイア歴史地区

ブラジル中部、大西洋岸に面するポルトガル人の植民都市。1549～1763年まで植民地ブラジルの首都で、交易で繁栄した。歴史地区はシダーデ・バイシャ（下町）とシダーデ・アルタ（上町）に分かれ、上町にはフランシスコ修道会の聖堂に代表されるブラジル・バロック様式の建築物と、市庁舎などの美しい色彩の邸宅が建つ町並みが残っている。

source: NFUAJ

Historisch centrum van Salvador de Bahia

Als eerste hoofdstad van Brazilië - van 1549 tot 1763 - ontstond de stad door een vermenging van Europese, Afrikaanse en Amerikaans-Indiaanse culturen. Vanaf 1558 was er de eerste slavenmarkt van de Nieuwe Wereld, waar slaven werden verhandeld om te werk te worden gesteld op de suikerrietplantages. De belangrijke economische en politieke rol van Salvador de Bahia eindigde in 1763 door verplaatsing van de regering naar Rio de Janeiro. Er zijn vandaag de dag talrijke uitzonderlijke renaissancegebouwen bewaard gebleven. Een speciaal kenmerk van de oude stad zijn de felgekleurde huizen, die vaak versierd zijn met fijn pleisterwerk.

Source: unesco.nl

Outstanding Universal Value
Brief synthesis
Founded in 1549 on a small peninsula that separates Todos os Santos Bay from the Atlantic Ocean on the northeast coast of Brazil, Salvador de Bahia became Portuguese America's first capital and remained so until 1763. Its founding and historic role as colonial capital associate it with the theme of world exploration. Salvador de Bahia's historic centre - an eminent example of Renaissance urban structuring adapted to a colonial site - is the Cidade Alta (Upper Town), a defensive, administrative and residential neighbourhood perched atop an 85-m-high escarpment. This densely built colonial city par excellence of the Brazilian northeast is distinguished by its religious, civil and military colonial architecture dating from the 17th to the 19th centuries. Salvador de Bahia is also notable as one of the major points of convergence of European, African and American Indian cultures of the 16th to 18th centuries.

The settlement of Salvador de Bahia, strategically situated overlooking an immense bay on the Brazilian coast, was aimed at centralising the activities of the metropolis in Portuguese America and facilitating trade with Africa and the Far East. The city grew quickly, becoming Brazil's main seaport and an important centre of the sugar industry and the slave trade. The historic centre's main districts are Sé, Pelourinho, Misericórdia, São Bento, Taboão, Carmo and Santo Antônio. Pelourinho is characterized by its fidelity to the 16th-century plan, the density of its monuments and the homogeneity of its construction. In addition to major buildings dating to the 17th and 18th centuries such as the Catedral Basílica de Salvador and the churches and convents of São Francisco, São Domingos, Carmo and Santo Antônio, the Historic Centre of Salvador de Bahia retains a number of 16th-century public spaces, including the Municipal Plaza, the Largo Terreiro de Jesus and the Largo de São Francisco, as well as baroque palaces, among them the Palácio do Arcebispado, Palácio Saldanha and Palácio Ferrão. There are many streets lined with brightly coloured houses, often decorated with fine stucco-work, that are characteristic of the colonial city. Salvador de Bahia was also, from 1558, the first slave market in the New World, with slaves arriving to work on the sugar plantations. Echoes of this multicultural past survive to the present day in the historic centre's rich tangible and intangible heritage.

Criterion (iv): Salvador de Bahia is an eminent example of Renaissance urban structuring adapted to a colonial site having an upper city of a defensive, administrative and residential nature which overlooks the lower city where commercial activities revolve around the port. The density of monuments, with Ouro Preto (included on the World Heritage List in 1980), makes it the colonial city par excellence in the Brazilian northeast.

Criterion (vi): Salvador de Bahia is one of the major points of convergence of European, African and American Indian cultures of the 16th to 18th centuries. Its founding and historic role as capital of Brazil quite naturally associate it with the theme of world exploration already illustrated by the inclusion on the World Heritage List of the Old Havana (1982), Angra do Heroismo (1983), San Juan de Puerto Rico (1983), and Cartagena (1984).
Integrity
Within the boundaries of the Historic Centre of Salvador de Bahia are located all the elements necessary to express its Outstanding Universal Value, including the escarpment that divides it into Upper and Lower towns; the Pelourinho district's underlying 16th-century urban plan; and the web of streets with rows of uniform houses interwoven with notable examples of religious, administrative, military and commercial and monumental architecture dating from the 17th to the 19th centuries. The city's 78.28-ha historic centre is of sufficient size to adequately ensure the complete representation of the features and processes that convey the property's significance. The Historic Centre of Salvador de Bahia does not suffer from adverse effects of development and/or neglect. Nevertheless, the greater city's population has grown quickly since 1966 due to the region's industrial development, resulting in the historic centre becoming enclosed on three sides by a very dense urban zone.
Authenticity
The Historic Centre of Salvador de Bahia has a high degree of authenticity in terms of location and setting, forms and designs, and materials and substances. In the 1990s, some 1,350 properties were restored in the Pelourinho district with the objective of developing the economic potential of the area by exploiting tourism. Concurrently, the number of residents in the historic centre decreased from 9,853 in 1980 to 3,235 in 2000 in a process of depopulation.
Protection and management requirements
The Historic Centre of Salvador de Bahia is protected by laws enacted by the three levels of government: Decree-Law 25/1937, implemented by the federal government through the Instituto do Patrimônio Histórico e Artístico Nacional (National Institute of Historical and Artistic Heritage - IPHAN); Law 3660/1978, passed by the Bahia state government through the Instituto do Patrimônio Artístico e Cultural da Bahia (Artistic and Cultural Institute of Bahia - IPAC); and Municipal Law 3289/1983, setting forth Specific Municipal Legislation for the Protection of Cultural Property, through which a protection area encompassing the IPHAN-designated cultural site is established and joint reviews by the three levels of government of all proposed projects within the protected zone are required. The 2008 Plano Diretor Urbano de Salvador (Urban Master Plan for Slavador - PDDU) formally certifies the existing federally designated heritage areas and those covered under the Specific Municipal Legislation statute (Law 3289/1983). In addition, the Escritório Técnico de Licenciamento e Fiscalização (Technical Licensing and Oversight Office - ETELF) was created to facilitate the implementation of concerted and coordinated measures and oversight by the three levels of government in the Historic Centre of Salvador de Bahia, with a view to enhancing integration in this area.

The 2010 Plano de Reabilitação Participativo do Centro Antigo de Salvador (Participatory Rehabilitation Plan for the Old Centre of Salvador) aims to address the economic, social, environmental and urbanistic issues that were inadequately addressed in the rehabilitation programmes undertaken from the 1960s to the 1990s, which invariably centred on proposed increases in tourism and other tertiary activities in the Pelourinho district, draining the historic centre of its key management, administrative and business functions and leading to a progressive population exodus and a corresponding deterioration of the urban landscape.

Sustaining the Outstanding Universal Value of the property over time will require continuing the integrated efforts to revitalize the area and reverse the process of urban decay; advancing residential revitalization of the historic centre to counteract the progressive population exodus and to sustain the area as a living organism within the urban landscape; and establishing monitoring indicators for these and any future interventions, to ensure that such interventions do not have a negative impact on the Outstanding Universal Value, authenticity and integrity of the property.

# data[].attributes.attachment_link.description
Historic Centre of Salvador de Bahia As the first capital of Brazil, from 1549 to 1763, Salvador de Bahia witnessed the blending of European, African and Amerindian cultures. It was also, from 1558, the first slave market in the New World, with slaves arriving to work on the sugar plantations.

# data[].attributes.body
This was an important city during the golden age of Brazil, it was in the middle of a gold mining area and had an important economic value. It now shows how Brazil was like during their golden age.

# data[].attributes.attachment_link.readable_text
Outstanding Universal Value

Founded in the early 18th century 513km north of Rio de Janeiro, the Historic Town of Ouro Preto (Black Gold) covers the steep slopes of the Vila Rica (Rich Valley), centre of a rich gold mining area and the capital of Minas Gerais Province from 1720-1897. Along the original winding road and within the irregular layout following the contours of the landscape lie squares, public buildings, residences, fountains, bridges and churches which together form an outstanding homogenous group exhibiting the fine curvilinear form of Baroque architecture.The Historic City of Ouro Preto was the symbolic center of the Inconfidência Mineira in 1789, a Brazilian independence movement, and home to exceptional artists responsible for many of the most significant works of the Brazilian Baroque period, including the Church of São Francisco of Assisi by the distinguished architect and sculptor Antônio Francisco Lisboa (Aleijadinho). The area's isolation for the better part of the 19th and 20th centuries generated economic stagnation, fostering preservation of the original colonial constructions and urban pattern.

Criterion (i): Set in a remote and rugged landscape, the aesthetic quality of the vernacular and erudite architecture and irregular urban pattern of Ouro Preto makes the town a treasure of human genius. The most notable of the city's architectural works are represented by the religious monuments and administrative buildings, including the Palácio dos Governadores (Governors' Palace), today the School of Mines, and the former Casa de Câmara e Cadeia (Administrative and Prison House), home to the Inconfidência Museum. The Baroque churches carry sculptures by Antônio Francisco Lisboa, Aleijadinho, colonial Brazil's greatest artist, and the ceiling paintings of Manuel da Costa Athaide among others. These were the representatives of the initial expressions of an artistic form deemed genuinely national and developed in a region marked by difficult access and a scarcity of materials and labor in the 18th century.

Criterion (iii): The built heritage of the Historic City of Ouro Preto bears exceptional testimony to the creative talents of a society built on pioneering mining wealth under Portuguese colonial rule. Although the architecture, paintings, and sculptures are based on underlying models introduced by Portuguese immigrants, the works vary significantly from the contemporary European art, not only with respect to their spatial conception, but in their decorative treatment, in particular the stone sculptures carved on the facades, distinctive for their originality and design and in the combined use of two materials, gneiss and soapstone. The absence of formal convents or monasteries, due to the edict of the Portuguese Crown which prohibited the establishment of religious orders in Minas Gerais, led to the construction of churches and chapels displaying the full splendor, quality, and originality of the syncretized artistic traditions of two cultures.
Integrity
The Historic Town of Ouro Preto retains its urban nucleus built in the colonial period, including the diversity of civic and religious buildings marked by refined aesthetic and architectural qualities that express Outstanding Universal Value. Not all of these are in a good state of conservation; some houses and churches suffer from neglect.

The historic town is vulnerable to urban growth, traffic, industrialization and tourist impact. The expansion of Ouro Preto to the surrounding hillsides, occupying geologically unstable terrains, green areas, archaeological areas, and public spaces, poses a threat of irreversible damage to the urban setting.
Authenticity
The relevant examples of religious and civic architecture and the accompanying works of art within Ouro Preto have been preserved in terms of form and design, materials and immediate setting. Controlled growth of the city's surrounding areas and limits on the scale of new buildings have served to maintain the urban landscape of the 18th and 19th centuries within the property largely unaltered. In regard to the city's residential and commercial constructions, inevitable modifications have been authorized while safeguarding the original facades. The preservation measures adopted by the Federal Government with the support of the local government, based on urban planning norms and successive conservation and recovery projects have ensured the authenticity of the cultural property.
Protection and management requirements
Since the 1930s, the Historic City of Ouro Preto has been targeted for protection through a series of government initiatives. The first involved Municipal Decrees 13 of 1931 and 25 of 1932 issued by Mayor João Velloso, which mandated the "preservation of the colonial façade." A year later, President Getúlio Vargas designated the city a National Monument. Creation of the National Historical and Artistic Heritage Service (Serviço do Patrimônio Histórico e Artístico Nacional - SPHAN), today the National Institute of Historical and Artistic Heritage (Instituto do Patrimônio Histórico e Artístico Nacional - IPHAN), and enactment of Decree-Law 25 of November 30, 1937, put in place the necessary legal instruments, which continue in effect to the present day, to ensure the protection of all cultural property determined to be of outstanding value to the nation. Based on the Decree, the Architectural and Urban Framework of Ouro Preto was formally entered in the Fine Arts Heritage Registry (Livro de Tombo de Belas Artes) on January 20, 1938.

Beginning in the 1950s, the city experienced significant expansion and a rise in heavy traffic flows in the light of the region's emerging economic development, a direct consequence of intensified steel production and mining activities. In response, the Federal Government built a highway around the city named after SPHAN's first director, Rodrigo Mello Franco de Andrade. A second measure implemented to protect the city from excessive vehicle traffic involved construction of a bus terminal on the outskirts of Ouro Preto to clear the central section of intra- and interstate and tourist buses. With a view to enhancing management of Ouro Preto's cultural heritage, IPHAN opened a Technical Office in the city in the 1980s staffed with a multidisciplinary team of professionals. In the light of these measures, the Brazilian Government submitted an application to UNESCO requesting designation of Historic Town of Ouro Preto as a World Heritage Site. On September 5, 1980, the city became Brazil's first cultural property entered on the World Heritage List. On September 15, 1986, IPHAN expanded the site's heritage designation through inscription in the Historical Landmark Registry and the Archeological, Ethnographic and Landscape Registry.

In the 1990s, the Technical Advisory Group (Grupo de Assessoramento Técnico - GAT) was established, composed of technical experts representing IPHAN and the Municipal Government, in addition to other government agencies devoted to the city's preservation efforts. The group developed a series of guidelines to control land use and occupation in the city center, officially referred to as the Special Protection Zone (Zona de Proteção Especial). These guidelines were formally consolidated in a specific IPHAN Directive issued in 2004.

Similarly, a set of regulations agreed to by the different levels of government served to reinforce the initial version of the Municipal Master Plan approved through Complementary Law 1 of December 19, 1996. Ten years later, the Master Plan was submitted to review and updated through a specific Complementary Municipal Law.

In addition to these legislative initiatives, the Municipality adopted a number of other measures to regulate urban land use, in particular through the introduction of model Architectural Projects based on "Community Design Plans" ("Plantas Populares") for construction work within the Municipality of Ouro Preto, but outside the area entered on UNESCO's Heritage List, and the establishment of the Municipal Public Engineering and Architectural Service (Serviço Municipal de Engenharia e Arquitetura Pública), tasked with providing low-income families with free public technical assistance on the design and oversight of social interest housing building projects.

With a view to strengthening shared management of the site, in 2006 the Municipality established the Municipal Secretariat of Urban Heritage and Development (Secretaria Municipal de Patrimônio e Desenvolvimento Urbano), an agency composed of a multidisciplinary team of professionals. The Secretariat provides support to the Municipal Cultural and Natural Heritage and Urban Policy Councils (Conselhos Municipais de Patrimônio Cultural e Natural e de Políticas Urbanas) and is financed through the Heritage Preservation Fund (Fundo de Preservação do Patrimônio).

In 2010, IPHAN issued rules setting forth criteria for the preservation of Ouro Preto's Architectural and Urban Framework, regulating interventions in the federally protected area, and repealing, in the process, all previous regulations governing (includes the declared area) the related questions. Also in 2010, IPHAN issued two normative rules aimed at enhancing the city's management: Directive 187 of June 11, 2010, governing the procedures for conducting investigations into alleged administrative violations involving conduct and acts which are deemed to be harmful to or damage the city's cultural heritage structures, and Directive 420 of December 22, 2010, which sets out the procedures for authorizing interventions in protected heritage structures and the respective surrounding areas.

A number of challenges remain to ensure proper management of the city, enhance urban expansion planning through additional controls on the occupation of the surrounding hillsides, regulate general traffic planning in the urban zone surrounding the protected area, and effectively develop the area's tourist-cultural potential, transforming the city into an international cultural destination, recognized for its rich cultural heritage.

The substitution of traditional materials and techniques with new ones and the occupation of open spaces at the back of existing lots and within the heart of the complex has been spurred by demands for new housing, a contributing factor for which has been the significant expansion of the Federal University and local Technical School. Measures have been taken at both the federal and municipal levels to stem this trend, an effort which has secured modest success to date.

Throughout the period described above, the Historic City of Ouro Preto has received significant investments aimed at conserving and restoring its cultural heritage and ensuring, in this way, the site's perpetuation and use for current and future generations.

# data[].attributes.attachment_link.description
Founded at the end of the 17th century, Ouro Preto (Black Gold) was the focal point of the gold rush and Brazil's golden age in the 18th century. With the exhaustion of the gold mines in the 19th century, the city's ...

# data[].attributes.body
This is a special dish in the Amazon rainforest. It is made with leaves of the Manioc plant, which actually has poison. Therefore, the leaves of the Manioc plant should be ground and boiled for seven days. Nowadays, less people make this dish because it takes too long to cook.

# data[].attributes.body
This is a delicious dish from Brazil, which is basically cheese bread balls. Brazilians eat them for breakfast and sometimes as a snack. However, it is slowly replaced by other western types of breakfasts.

# data[].attributes.body
Cuica drum is a special type of instrument from Brazil. Unlike other drums, you do not hit a chic drum. Instead, you have to pull the stick in the drum back and forth to create a unique sound.

# data[].attributes.body
Chocalho is an instrument used for creating samba music, and is widely used in the Carnival Rio.

# data[].attributes.body
This is a festival for the Gaucho people, also known as the cowboy festival. Sadly, most Gaucho people are now urbanised, so their culture is no longer shown so often.

# data[].attributes.body
This is an instrument where the two parts of metal makes a different pitch sound. You can create a rhythm by hitting the two pieces of metal.

# data[].attributes.body
This is a unique martial art in Brazil. It began in the 16th century and is a combination of dancing, music and acrobatics.

# data[].attributes.body
These are some of the most important artists in Brazil throughout history.

# data[].attributes.attachment_link.description
Create an online photo album for free and share photos and videos online. Order your online album as photo book to enjoy your albums anywhere.

# data[].attributes.body
https://myalbum.com/album/XAoJxEZ5mKUVrT/

This is a special type of beadwork in Brazil. Yet due to the fading tribal culture and the amount of time it takes up, there are now a lot less people making it.

# data[].attributes.attachment_link.description
Create an online photo album for free and share photos and videos online. Order your online album as photo book to enjoy your albums anywhere.

# data[].attributes.body
This is a special type of dance in Brazil that represents joyfulness and happiness.

# data[].attributes.attachment_link.title
Brazilian Samba Dancing Performance in San Diego

# data[].attributes.body
The Wari tribe is famous for cannibalism, which is basically eating humans. Their tradition was that cannibalism is a punishment for people in the tribe. However, they are not allowed to do so anymore.

# data[].attributes.body
The tribal people are the first ones to live in Brazil. So when the new people (Neo-Brazilians) came from other places, it created conflict. This can create urbanisation or disappearance of tribes, which in either way causes the loss of culture. Even nowadays, some tribes, such as the Mura tribe, still has to deal with these conflicts.

# data[].attributes.body
This is one of the most popular type of music in northeast Brazil. Yet because of the popularity of western pop music, less people are now listening to forró.

# data[].attributes.attachment_link.title
[MP3FY] Luiz Gonzaga - O Xote Das Meninas

# data[].attributes.body
This is a newer type of music from Brazil. It originated in the 1950s to the 1960s, and is based on the traditional Brazilian samba music.

# data[].attributes.attachment_link.title
Bossa Nova Covers Popular Songs (5 Hours)

# data[].attributes.body
Axé music is basically known as the Africa-Brazilian music. It originated from the African immigrants and is now an important part of Brazil's music culture. However, axé is also in threat because of western pop music.

# data[].attributes.attachment_link.title
Axe: Music of the People of a Place | Trailer