EXPERIENCE IN THE TECHNICAL RESERVE OF MARIANA: TECHNICAL PHOTOGRAPHY OF THE RESCUED ASSETS FROM THE BENTO RODRIGUES TRAGEDY

Abstract

ABSTRACT

The collapse of the Fundão dam on November 5, 2015, in the district of Bento Rodrigues, Mariana, Minas Gerais, marked a tragic turning point in contemporary Brazilian history. This disaster triggered one of the largest socio-environmental catastrophes in Brazil, affecting the environment, the local population, and the region’s cultural heritage. Among the numerous damages, the losses to the collection of sacred artworks and other material elements from the 17th and 18th centuries stand out, as they were buried by the mud, turning the territory into an involuntary archaeological site. In response to the tragedy, the Renova Foundation was created to manage reparation actions, such as organizing a technical reserve aimed at hosting, treating, and providing emergency conservation for the rescued assets. This article presents an experience report on the process of technical photographic documentation within this reserve, reflecting on its importance for heritage preservation, symbolic reconstruction, and the potential educational and touristic uses of the records produced. The central objective of the study is to reflect on the role of technical photography as a preservation tool and how it can contribute to valuing heritage in emergency situations. The article also discusses how the resulting photographs can be used as instruments for memory tourism practices, participatory musealization, and heritage education. The analysis is grounded in theoretical frameworks addressing Scientific Documentation by Image of cultural assets, the understanding of heritage as a mobilizer of emotions, identities, and memories, as well as community and educational practices in the fields of social museology and cultural tourism. The methodological approach adopted was the experience report, focusing on the systematization of professional practices for scientific purposes, based on the documentation of approximately 1,200 rescued pieces. Over three months, work was carried out in a photographic station within the technical reserve, equipped with a digital camera, artificial lighting, a seamless white background, and a calibrated monitor for image processing. The initial absence of a color reference chart was one of the main challenges faced, compromising color accuracy and highlighting the need for rigorous technical planning. Among the main results, the feasibility of using the images for exhibitions, virtual collections, educational materials, and memory tourism initiatives aimed at valuing and engaging affected communities stands out. The photographs enabled the visualization and interpretation of the assets even when physical display was not possible. The production of images became a support for digital musealization practices, as well as for community tourism initiatives that value listening, local memory, and post-disaster social reconstruction. As a final consideration, it is emphasized that technical photography, when carried out with methodological rigor, constitutes a powerful tool for preservation and symbolic resistance in the face of loss. The experience also exposed operational weaknesses in reparation actions, reinforcing the need for clear protocols, adequate resources, and the appreciation of professionals involved in heritage emergency processes.

Keywords: Bento Rodrigues; Scientific documentation; Technical photography; Cultural heritage; Memory tourism.