To regard museology, in a special way, the so-called social museology or sociomuseology, conversing with ideas and notions that might be considered obvious, but which, perhaps, if examined by another angle, have something new to offer, is part of this essay’s objectives. Besides, it is relevant to ask: to whom is the obvious, obvious? Frequently, that which seems obvious to certain groups of specialists may not be obvious to a great majority of people. It’s in this sense that, wandering through obviousness, we may affirm that Social Museology or Sociomuseology did not arise out of nowhere and neither is it the result of illuminated intellectuals who brought out of themselves, of their essences, the museal or museistic light that was to illuminate the world; on the contrary, it emerged from wide-ranging discussions and clashes, of built-up of tensions, criticism, confrontations, experiences, reflections and practices that impacted museology and museums which had advanced from the 19th century into the 20th without submitting their paradigms to a critical analysis.In other words: social museology, or sociomuseology, is not the result of a theoretical construction that wants, at any cost, from the top down, to frame museums and different forms of thinking and practicing museology to its technical, scientific, artistic and philosophical dictates; on the contrary, it is a construction resulting from a specific historical context, that doesn’t have, and doesn’t want to have, a normative character; that presents singular answers to also singular problems and that, above all, explicitly assumes political and poetical commitments. Keywords: Museology; social museology; sociomuseology; education; memory; social role of museums.

In this paper, we propose a reflection on the use of biographical objects in museum studies, as a process of production and inclusion of knowledge in society. The theoretical renewal of sociomuseological approach, a process that has been conducted by MINOM and several universities, is founded on the premises of theories adequacy of museum structures and processes to the rhythms and needs of contemporary societies. Globalization has been influencing the opening of organizations and processes through which they are involved in an intimate relationship with the communities and territories that become integrated in their diversity. In this transformative movement emerge new museum objects that trigger a need to develop and clarify relationships, notions and concepts to realize these processes. Through these new objects ripping new perspectives for research and action that reactualized methodologies and renew the action of museum and heritage organizations. These new narratives allow adaptation and adjustment of museological processes to social processes. Keywords: Sociomuseology, Intersubjectivity, Oral Narratives, Critical Museology, Social Change

In the context of the Museology of Scientific Research, in recent decades, it has gained more importance as the themes and approaches connect with socio-cultural and political-economic realities. This article approaches an investigation in the field of sociomuseology and how it articulates with some of the challenges of contemporaneity and what are their articulations with local and international contexts. Therefore, it aims at a better understanding of the issues that impact on contemporary society and, consequently, in the area of ​​Museology. During the most recent period of a change in the Museology sector, sociomology research has been expanded both in the breadth of approaches and topics addressed, as well as in the new threats that feed back the work done. The article will be based on the reflection and practice of the Ibero-American Museum, but whenever possible from an understanding of a broader context. Keywords: Sociomuseology, Museology, Research, Research, Contemporary.

A frase «nunca mais o silêncio» é sobre memória, verdade e justiça para as vítimas do totalitarismo, mas com ela queremos falar sobre o apagar das memórias das mulheres na História, apesar de muitas delas não terem silenciado ante a repressão. Com esta frase, também reafirmamos a ebulição dos movimentos sociais feministas contemporâneos, cujo amplo conjunto de pautas evidencia o amadurecimento e os avanços das suas lutas globais. Este artigo reitera as mulheres como produtoras de uma história transformadora e, sobretudo, lança uma questão fundamental à museologia contemporânea: o que temos feito para pesquisar, registrar e difundir essas histórias?

The notion of social started to take shape as an object of study of museology from the 70 years of the twentieth century. The social, political, cultural, educational and economic transformations that have been unleashed throughout the second half of the twentieth century were engines for the changes in the theoretical-methodological field of Museology. The New Museology Movement gained strength in almost all of the Western world, proposing and carrying out actions and interactions that aimed to transform the museum-Temple to the consolidation of the Museum-Forum (Cameron, 1971), calling on social subjects to withstand determinism history of heroes and glorious past and actively intervene in favor of a social and culturally transformative present. Keywords: New Museology; Museum; Heritage; Identity; Comunity