MUSEU URBANO DE SALVADOR

1. M U S A
The Museum of Urbanism of Salvador
Privileged, Proprietary and Confidential Information

2. TTTTTaaaaabbbbble ofle ofle ofle ofle of ContentsContentsContentsContentsContents
1. Executive Summary ......................................................................................................................... 3
2. About Salvador ................................................................................................................................. 4
3. About MUSA .................................................................................................................................... 4
4. Pilot CD ROM .................................................................................................................................. 6
5. Freestanding Exhibit ......................................................................................................................... 6
6. Experience MUSA ............................................................................................................................ 8
7. Key Personnel & Executive Board ................................................................................................... 9
8. Technology Request ........................................................................................................................ 10
9. Budget: Pilot CD ROM Production/Distribution/Support.............................................................. 10
10.Acknowledgements ....................................................................................................................... 11
11. Letters of support.......................................................................................................................... 11

3. MUSA
Page 3
1. ExExExExExecutivecutivecutivecutivecutive Summarye Summarye Summarye Summarye Summary
We are honored to invite IBM to participate in the
birth of a new, digital, total immersion concept designed
to explore the relationship between history, culture and
the evolution of cities. The city that inspired this project is
Salvador, Bahia; a legendary seaport, former wealthy
lynchpin of the Portuguese maritime empire, the origin of
Afro-Brazilian culture and perpetual font of one of the
most vital musical traditions in the world. The museum
being built around this concept is called MUSA; the
Museu Urbano de Salvador.
MUSA will be realized in the following phases:
I. Planning, Pilot CD ROM, Support-Building (par-
tially complete)
II. Free Standing Exhibit “Salvador in the 19th
Century:
from Independence to Republic.” for installation in
Salvador and replicated traveling exhibits. (to open
December 2003)
III. Develop and construct MUSA’s exhibits and
permanent facility (to open June 2005)
These phases are described in the following sections of
this proposal.
MUSA is asking IBM to fund production and distribu-
tion of a pilot CD ROM; a four month long task with a
budget of $53,000.00. In return for IBM’s full funding of
this initial request, MUSA will provide recognition in
forms including, but not restricted to:
• IBM’s logo and sponsorship acknowledgment
displayed at all presentations and on all printed
publications
• Links to IBM on research station opening screens and
MUSA web homepage
• IBM’s logo and other graphics as desired on eventual
kiosk displays
• A statement of thanks to IBM at the opening and
closing of the presentation on CD ROM, and on its
face and packaging
• IBM’s right to use the CD ROM product or its
content for any developmental or promotional use not
injurious to MUSA
We would like to establish a continuous, creative
relationship with IBM for co-development of user
interfaces, hardware and software products, product
contributions and partial funding for the subsequent steps
towards realization of MUSA. Recognition for these
efforts will include naming of display halls or other areas,
sponsorship acknowledgment in all MUSA marketing and
publicity, sponsorship acknowledgment in traveling
exhibits, IBM’s shared right (terms to be negotiated) to
use all products developed for MUSA, and other forms of
market exposure.
This executive proposal focuses on the CD ROM and
gives a brief outline of the rest of the project. A previous,
detailed institutional proposal for MUSA is available at:
http://pelourinho.com/musa (English).

4. MUSA
Page 4
2. About Salvador
MUSA, the Urban Museum of Salvador, is dedicated
to presenting the dramatic history and culture of São
Salvador da Bahia de Todos os Santos. Salvador was
founded 1549 on the northeastern coast of Brazil. It
remained the capital of Brazil for two hundred fourteen
years and it is the cradle of the unique blend of European,
African and indigenous influences which forms Brazilian
culture.
This blending of peoples and cultures into one makes
Salvador’s story of urgent interest to the world today.
Salvador had a key role in the development the new
world. It’s global domination of Atlantic shipping and
sugar exportation in the 16th
through 18th
centuries was
inextricably linked to its darker role as the slave trading
capital of the Americas. With one of the largest concentra-
tions of people of African descent outside of Africa today,
Salvador preserves unique religious and cultural tradi-
tions of the Yoruba, Nago, and other African ethnic
groups. It is a critical location for study of the African
Diaspora. Known world wide for its extraordinary music,
Salvador has produced great riches in fine art, architec-
ture, literature, film and a complex and unique cuisine.
Contemporary Salvador, with a youthful population of
approximately three million, is the capital of the state of
Bahia. It’s historic center, Pelourinho, was named a world
cultural patrimony site by UNESCO in 1985. Recently,
the state of Bahia spearheaded a large and successful
restoration of Pelourinho, resulting in a stunning and
lively culture and entertainment center. Visitors from all
over Brazil, Latin America, Europe, and increasingly, the
U.S come to Salvador to explore these riches, to enjoy its
popular festivals, especially Carnival, and its stunning
beaches.
State and city governments recognize tourism as one
of the most important sectors of Bahia’s economy.
According state data, 1,723,800 people visited Salvador in
1999.
3. About MUSA
In spite of Salvador’s architectural wealth and cultural
treasures, it is difficult for citizens and visitors alike to
learn about the history of the city. Few books on local
history are available. Existing materials are scattered in
difficult to access libraries, private collections and
specialized institutes within the city, the country and
around the world. MUSA is a passionate response to this
need. Inside of MUSA these resources will finally be
gathered together in a revolutionary museum of the
twenty-first century.
MUSA will be an unprecedented cultural institution
for two reasons; the nature of its content and its
groundbreaking use of multimedia computer technology
to create an immersive, narrative driven presentation.
This presentation package is referred to as infoMuseu. It
was inspired by the creative culture of Salvador to
dynamically integrate music, spoken word, still images,
film and video into a new museum experience utilizing
multimedia and intranet technologies. The InfoMuseu
system will pull information from a huge database server
archive for use in fixed and interactive displays. This
presentation system will allow the material developed by

5. MUSA
Page 5
• Galleries for exhibition of traveling and/or permanent
collections of paintings, photographs, maps, objects
from daily life and popular festivals
• Educational programs in conjunction with the
Federal University of Bahia and other universities, in
the fields of history, architecture, computer simula-
tion, restoration technology, etc.
• Educational programs in conjunction with the local
board of education targeted at elementary, secondary
and adult-education audiences.
• An auditorium for lectures, conferences and other
public events
• Museum bookstore to market publications produced
in Salvador and/or by MUSA, including books,
periodicals, CD-ROM’s, DVD’s, videos and cassettes.
• Traveling exhibits that will bring Bahia to a wide
Brazilian and international audience.
The full program of MUSA requires approximately
36,000 square feet. MUSA will occupy a historic building
or a group of buildings close to the historical center of
Salvador. The exterior will be carefully restored and
preserved. The interior will be adapted for the installation
of the museum and its sophisticated technical systems.
Three potential locations have been proposed by the State
Secretary of Culture and Tourism.
MUSA will bring positive effects to the local economy
in three ways:
1. It will increase cultural tourism in Salvador and in
the State of Bahia.
2. MUSA will help local education; an urgent priority
for local government, by serving as an adjunct facility
to the school system and by pursuing active outreach
programs.
3. The content of MUSA will be produced locally by
young professionals and graduate students. This will
generate a nucleus of advanced, highly trained
specialists in the computer science area, capable of
meeting extraordinary creative challenges. The
Cultural Virtual Reality Lab of UCLA will train a
group to lead the three-dimensional modeling work.
Introducing a radically new, technology-powered
museum in Bahia will dramatically draw interna-
tional attention and investment to the capabilities of
its nascent, high-tech sector.
This daring project will be created with combined
donations of financing, equipment and services from
corporations, Brazilian and international foundations, and
some government participation.
MUSA to be easily replicated for traveling exhibitions,
CD-ROM/DVDs and videos. It will make it possible to
bring information on this inspiring city to the rest of the
world. It will also permit continual updating of content to
modify, expand and renew exhibits.
MUSA will use the urban evolution of Salvador as a
framework to organize the historical factors that formed
the city; the mixture of peoples, maritime commerce,
armed struggles for liberty, the economic cycles of sugar,
tobacco, cotton and cocoa economic cycles, European
power struggles, etc. and the rich, enduring culture that
grew here. A cinematic quality, virtual model of the city
will be constructed, allowing visitors to explore and
witness change over time. Multimedia servers will deliver
an ongoing digital collage of music, films, video, litera-
ture, journalism and poetry , based on era and specific city
locations. The result will be an exciting, full immersion
experience of the history of Salvador.
The exhibition will be presented in a series of chrono-
logically divided halls.
• Indigenous inhabitants and ecology; to be presented
in a courtyard or other open air space
• 1549 - 1624 The fortress city is built; Portuguese
conquest and defense against invaders, contributions
of captive African and indigenous peoples.
• 1625 - 1763 Empire of sugar, the conquest of
Reconcavo, Bahia grows rich, great urban projects
• 1763 - 1823 The loss of the capital, the war of the
independence
• 1823 - 1889 Independence, slave revolts and cultural
resistance, economic change, abolition, declaration of
the Republic
• 1889 - 2000 The Modern Era
Each hall will feature two large video screen environ-
ments displaying the main program for the era. These
will feature virtual explorations of the city streets as they
were at the time, integrated with the major historic events
and principal forms of cultural expression of the era.
These programs will illustrate the causal relationship
between the forces of history, economy, urbanism and
culture. The visitor will then move to one of the many
interactive discovery stations scattered about the hall for
a self-directed journey into the past. In each hall, evoca-
tive scenic design, paintings, photographs, and artifacts
will augment the sensory experience of the historic
period. The music of Bahia, as it developed over time,
will be used everywhere.
Besides the principal exhibition halls featuring the
infoMuseu© system, MUSA will provide:
• A well equipped research hall with individual
workstations, offering full access to the display
archives plus multimedia and conventional libraries
for research and study

6. MUSA
Page 6
4. Pilot CD ROM
MUSA will create a pilot CD ROM to demonstrate the
unique combination of content and presentation technol-
ogy that the museum will feature. This CD ROM will be
used:
• As a venue for developing our software, user interface
and other technical concepts, content and presenta-
tion style
• As a fund-raising tool for presentations to
• As the centerpiece of presentations to commercial
sponsors, foundations and local government agencies,
UNESCO in Brasilia and the World Bank
• As the feature presentation on MUSA’s website, with
links to and from IBM’s home page
• After initial funding has been secured, a refined
version of this material can be installed at kiosk
locations in Salvador, other Brazilian cities and in
international travel locations to promote IBM and
MUSA
• To create anticipation and interest in the 19th
century
exhibit and the future museum
This presentation will present samples of each of the
key elements in the infoMuseu system:
• The recreation of a portion of the city as it existed in
the 19th
century through a three-dimensional digital
model. Cultural Virtual Reality Laboratory at UCLA
proposed to produce the model using Creator softwear
by Multigen and render it with the Lightscape and/or
Totality Engine/Sky Engine, by Elixer Studios. An
MPEG video will simulate the real time walkthrough
journeys projected for the museum system.
• A narrative script developed by eminent historians
and writers, featuring the relationship between
history, culture and the changing face of the city in a
selected period of the 19th
century
• Presentations on dynamic, historical personalities
using short mpeg videos and collages of still images
w/ dramatic readings, etc.
• Media collages illustrating the dance, theater and
Carnival of the period
• Painting, photography, maps and other artifacts of the
period
• Music and poetry of the period
5. Freestanding Exhibit
MUSA will be introduced to the public through a
debut exhibit; “Salvador in the 19th
Century: from
Independence to Republic.” This freestanding exhibit will
later be expanded in content and updated to form the 19th
century component of the completed museum. The exhibit
will be produced in two versions: semi-permanent and
traveling, using identical server content:
Semi-permanent exhibit
• Approx 6000 sq. ft including 2 video environments &
artifact collection on loan
• 6 discovery stations
• Presented in Portuguese for all age and education
levels. Other languages (Spanish, English) added
according to visitor needs and budget.
• Research room w/access to display files in server plus
selected digitized texts, 8 workstations.
• Exhibition period - until 3 months prior to opening of
museum.
Traveling exhibit
• Approx 3000 ft
• 2 video environments & small artifact collection

7. MUSA
Page 7
• 4 discovery stations
• Translated into English, Spanish, other languages to
follow
• Informal research area w/access to display files in
server plus selected digitized texts, 4 workstations
The nineteenth century has been selected for the
freestanding exhibit because it was critical for the
formation of the Brazilian national identity, and in
particular, the identity of Bahia. During the 19th
century,
Bahia achieved autonomy from Portugal in one of the
most difficult regional struggles for Brazilian indepen-
dence. It saw the rise of multiracial professional and
working classes. It was a critical port for the war in
Paraguay and fomented the Republican and abolitionist
movements. During this period, Bahia’s economic base
shifted from sugar to coco and tobacco, and eventually to
textile manufacture. Following the transfer of the colonial
capital from Bahia to Rio, Rail and shipping lines were
established linking Salvador with the other cities and
agricultural production areas of the state. The port grew
in size and luxury, and the city’s population exploded,
creating extensive popular suburbs, while its center
became ever more sophisticated and cosmopolitan. The
arts flourished, especially literature. The aesthetic
language of the city transformed from baroque to roman-
tic. This century produced the work of Castro Alves, poet
laureate of the city and great rhetoricians of the Republi-
can and Abolitionist movements.
The Afro-Brazilian identity of Bahia was forged in this
century. From the founding of the Candomblé temple
Casa Branca and the Sisterhood of Our Lady of the Good
Death, the foment of the Revolt of the Males, to the huge
political, scientific and cultural contributions of the small
but vigorous, non-white, educated class, Brazilians of
African descent were key in the transition of Bahia from a
European colony to a unique state in an independent
nation.
The nineteenth century offers exceptional opportuni-
ties to demonstrate the power of the Infomuseu system to
transport the visitor into the past. There is a rich body of
images which can be digitalized to depict this era. There
are extensive photographs from the 1850’s on by Marc
Ferrez, Benjamin Mullock and others. In the nineteenth
century, Brazilian art began to address secular topics;
social and domestic life. Paintings from the first half of
the century, formal and official in character, depict
political events, the aristocracy, and the landscape. There
is a wonderful body of work by European visitors depict-
ing what they found in Bahia. The lush and seductive art
of the second half of the century, influenced by the
European Romantic Movement, truly reflects the intense
debate about Bahia’s identity and future that raged
throughout this tumultuous century. There are many
antique maps to help tell the story.
The appearance of the city changed drastically in the
19th
century. New public buildings appeared in the center
and tall commercial structures the port. Many nineteenth
century buildings still exist today, their facades disguised
by renovations, marquees and signage. These architectural
clusters can be photographed, digitalized and revised to
reveal their late 19th
century appearance; producing a
faithful, 3-d digital model of these areas. Extremely
significant buildings in the19th century landscape were
subsequently lost, such as the St. John Theater and the
original cathedral of the city. Most of the splendid 19th
century mansions along the Victoria Corridor were
supplanted by residential towers in the late 20th
. All these
will be recreated from photographs, paintings and plans to
be reintroduced into the digital cityscape.
This is an era of unique, audacious personalities that
speak to us across time; Luisa Mahin, the mysterious
African beauty who was the communications heart of the
Revolt of the Malês, her son, abolitionist lawyer and poet
Luis Gama, Maria Quitéria, who fought in the war of
Independence disguised as a man, ambitious social and
economic reformers like the Count of Cairu and Luiz
Tarquinio. Their stories will be featured in the exhibit, as
drawn from literature and journalism of thier time. Daily
life and traditional celebrations will also be addressed,
especially the evolution of the Portuguese “Entrudo” into
“Carnival”
In addition to the Infomuseum exhibits, a collection of
artifacts such as nineteenth century photographs, paint-
ings, maps, tools and clothing will be displayed for a
more tactile experience of history.
IBM is invited to participate in developing the
hardware and software systems for this exhibit, which will
be the prototypes for the Museum itself. Servers, worksta-
tions for content development and presentation stations
and screens will be required; please see the technical
specifications section that follows. There is no budget
written for this phase as of yet, but MUSA will need to
pay professional staff in Brazil and the US to prepare the
electronic exhibits, and we would be pleased to have
IBM’s assistance with that cost as well.

8. MUSA
Page 8
6. Experience MUSA
You enter a hall dedicated to the second half of the
nineteenth century; an era bringing the ending of slavery
and the creation of the Brazilian Republic. Near the entry
of the space shimmers a hologram model of the city at
mid-century. The exhibit environment recreates features
of local fin de secle architecture. Objects of everyday life
from the period are mixed with works of art; all exhibits
include explanations of the objects’ uses and origins.
There are interactive opportunities to try out tools and
touch or smell materials. There is an area for young
people to try on hats and clothing of the time. You are
drawn to a three sided video environment, where
Salvador’s evolution envelopes you in film clips, music,
photographs, paintings, news articles, dramatic speeches,
poems and readings from personal diaries.
Main Program
The main program begins with a three-dimensional
overview of the city in the early 19th
century, and zooms
into the Lower City. You walk through the bustling
waterfront zone, the Comércio, as the last and finest
commercial buildings are constructed. Based on old
photographs, drawings and maps, a computer generated
simulation of vanished buildings from the past is merged
with retouched video footage of the area today to create a
digital, three dimensional model of this area at its zenith.
You explore streets, the wharf area and the interior of the
stately Commercial Association Hall.
The walk-through pauses for historical narratives told
using audio-visual resources. Prosperity falters as compe-
tition from Caribbean sugar trade hits Bahia’s economy.
Thousands of slaves are sold off to the coffee-growing
Paraíba Valley, traveling south by foot like a great human
river. Others, liberated by impoverished owners, seek
work and a new life in the streets and suburbs of the city.
Emperor Dom Pedro II visits the city. Benjamin
Mullock photographs the building of the Bahia and São
Francisco Railroad. Suburbs spring up to house newly
freed slaves fleeing the countryside. The largely black and
mulatto troops amass for the Paraguayan War; sailing
from the quays of the Lower City in a fleet of English
ships. On the screen, events are related in a fast-moving
collage of paintings, photos, songs and newspaper stories
At the war’s end, talk of creating a Republic and of
the abolition of slavery buzzes from street corner to salon.
“The Revolution of Minas” by Salvador’s poet laureate
and hero, Castro Alve’s, debuts at the Teatro São João.
You enter the theater, which burned to the ground in
1923; via another meticulously researched, three-dimen-
sional, digital simulation. In a front-page newspaper
story, a photo shows a crowd of fans and patriots bearing
the triumphant playwright on their shoulders across the
plaza. Cheers, scenes from the play and popular music of
the 1860’s accompany the images.
The 3-d map reappears periodically to orient you.
Locations of events are illuminated, new urban monu-
ments and suburbs blossom across the landscape. When
the program ends, you continue your own tour of the city
at one of the “discovery stations ” scattered throughout the
hall.
Discovery stations
A map of the city in the late 19th century fills the
monitor before you. You choose a topic of interest or a
specific date from a pull-down menu. You choose “The-
ater” and touch a spot on the PraVa (Plaza) do Teatro;
today’s Praça Castro Alves. A dynamic photo collage and
narrative about the Theatro Sao João bursts across a
second, larger screen above you. On the monitor, along-
side the city map, a new menu lists the categories of

9. MUSA
Page 9
material about the theater stored in MUSA’s data base:
photos, paintings, costume sketches, theater reviews,
video excerpts of plays produced there, songs popular at
the time, etc.
In the same location, you return to the general menu
and select the inquiry topic “Faith”; the Barroquinha
church appears. You discover that the Sisterhood of Nossa
Senhora da Boa Morte (Our Lady of the Good Death) was
formed here in the 1820’s. Beyond it’s religious mission,
this association of older black women played a key, yet
secretive, role in organizing the black community to buy
individual slaves out of captivity and help others to
escape. Members were equally committed to Catholic and
African spiritual traditions. A link informs you that you
can experience the feast days of the Sisterhood every
August in the nearby town of Cachoeira, where they
moved during the tobacco boom.
Another visitor takes a turn at the controls and leads
you down the Rua de Sodré to the house where Castro
Alves spent his last months. You decide to explore
MUSA’s archive of Castro Alves’ writings in the Research
Hall.
7. Key Personnel &
Executive Board
MUSA’S founders, Susan Di Giulio and Jorge
Vismara, are dedicated to the dissemination of Bahian
culture. Susan Di Giulio is an architect who has built
institutional, commercial and residential projects in the
US and Italy. She holds a master’s degree from UCLA and
contributes to professional journals. She actively promotes
Brazilian culture in Los Angeles. Jorge Vismara is a
System Analyst, graduated from the Brazilian Institute of
Computer Science Research of Rio de Janeiro. He has also
studied restoration of antiques in France and film-making
in Germany. He has developed computer systems for
Odebrecht S.A., KLM, Salgema Industrias Químicas and
Carbocloro Industrias Químicas, among other companies.
Mr. Vismara has created and maintain the
Pelourinho.com website; a guide to Brazilian activities in
Los Angeles and around the world.
MUSA enjoys the support of the Bahia office of
UNESCO, Secretary of Culture and Tourism of the State
of Bahia, Paulo Gaudenzi, the international recording
artist Gilberto Gil, and other scholars and community
leaders.
Research Hall
The Research Hall is a quiet, airy, well lit space where
you find students from the Federal University at computer
workstations researching their theses, and a high school
teacher preparing a lesson on the Dutch invasion of 1623.
Almost every existing written work about Salvador is
available from the research server, as well as related
material about the state of Bahia, Europe, and Africa.
There is also a climate-controlled cabinet where rare
books are kept.
Your query on Castro Alves comes back with his
complete works, biographies, criticism, even a 1928
recording of “The Gondolier of Love”.
When you walk out again into the bright Bahian
afternoon, your new understanding of the city makes its
streets seem even more beautiful, fascinating and mysteri-
ous than before. Thanks to MUSA, you can now see the
hidden layers of the past in the city of the present.
The Executive Board includes:
• Susan Di Giulio; co-founder (president)
• Jorge Vismara, co-founder (treasurer)
• Romeu Temporal; author, economist and entrepreneur
(vice-president)
• Eneida Leal Cunha; Professor of Literature at the
Federal University of Bahia (secretary)
• João Sá; President of the Commercial Association of
Bahia and one of the Directors of multinational
construction giant Odebrecht S.A.
• Claudius Portugal; author and director of the Jorge
Amado Foundation
• Waldette Santos; President of the Salvador Chapter of
the Los Angeles/Salvador Sister Cities Association
MUSA is proud to have the promise of participation by
esteemed UFBA professor of history and former President
of the Gregorio de Mattos Foundation, Cid Teixeira.
Professor Teixeira’s lively commentaries will enrich
MUSA’s presentations.

10. MUSA
Page 10
8. Technology Request
I. Pilot CD ROM
A. Loan of a presentation notebook (Think Pad with
large screen and fast processor)
B. Loan of a light weight projector for presentations
C. Use of a drum scanner in Salvador and Los Angeles.
Use of a drum scanner in Rio de Janeiro and Recife,
Brazil (where some key archives are housed) could
prove useful.
II. Exhibit:
“Salvador in the 19th
Century: from Independence to
Republic.”
A. Content Development
• Workstation(s) for 3-D development and image
processing
• Computer(s) for content (text, video and graphics)
input
• Multimedia server w/DBMS (probably a multi box
server farm, depending on implementation and
dimensions to be defined)
9. Budget: Pilot CD ROM
Production/Distribution/Support
Amounts are in dollars. Expenses generated in Brazil
may vary with fluctuations in the exchange rate. Budget
details are available on request.
Items This Grant Item Totals
I Personnel & Contractors
A Personnel Compensation
B Contractors/Consultants
Personnel & Contractors Subtotal
II Non-Personnel
C Operating Expenses
D. Traveling (acquire materials,
supervise work, present project)
E Misc. Production Expenses
Non-Personnel Subtotal
Total Program
• Web server linked to the Multimedia server
• Video walls for simulation of presentation (simula-
tion lab)
• Drum scanners and flatbed scanners.
• Network and backup infrastructure (switches, routers,
hubs, firewalls, NIC’s. etc.)
B. Semi-permanent Exhibition
• 2 three panel Video Walls
• 6 LCD screens for Discovery Stations + touch pad
screens for user’s input
• 8 computers for Research Stations
C. Traveling Exhibit
• 2 three panel Video Walls
• 4 LCD screens for Discovery Stations + touch pad
screens for user’s input
• 6 computers for Research Stations
• Multimedia server w/DBMS
• Web server linked to the Multimedia server

11. MUSA
Page 11
10. Acknowledgements
Adriana Almeida Couto de Castro
Antonio Imbassahy
Bernard Frisher
Carlos Antonio Daltro
César Augusto Isabello Borges
Charles Merewether
Cid Teixeira
Constance Cornell
David McKenna
Fernando Silva
Francizs Toledo
Francisco Soares Senna
Gilberto Gil
Howard Dratch
Jandira Orico
Julian Zugazagoitia
Luis Augusto Rocha
Luis Carlos Sampaio Azevedo
Luis Carlos de Vilas Boas
Marcia Argolo
Mário de Rosário
Mauricio Chagas
Paulo Renato Dantas Gaudenzi
Pedro Godinho
Raul Lody
Romeu de Figueiredo Temporal
Salvatore La Spada
Solange Carybé
Susan Clare Parker
Vivian Lene de Correia Lima e Costa
Waldette Mario dos Santos
Yara de Alencar
11. Letters of support
(see attachments)
1. Paulo Gaudenzi, Secretary of Culture and Tourism,
State of Bahia
2. Djalma Ferreira, Coordinator, Bahia Regional Office
of UNESCO
3. Prof. Francisco Senna, President, Gregório de Mattos
Foundation, City of Salvador and Professor of
Architecture, UFBA
4. Gilberto Gil, internationally renowned composer and
musician, former member of the City Council of
Salvador, founder of Onda Azul, an environmental
NGO based in Salvador
5. Prof. Cid Teixeira, Professor of History, UFBA,
author and Secretary of the Academy of Letters of
Bahia
6. Dr. Charles Merewether, Collections Curator, Getty
Research Institute, Los Angles, CA