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GALLETAS DE LA FORTUNA: THE TEACHING
OF HISTORY OF LATIN AMERICA AMONG
MEMORIES, FORGETTING AND CULTURAL
HERITAGE
DRA. JANAINA CARDOSO DE MELLO (DHI-UFS)
BEATRIZ DE FRANÇA ALVES (DEF-UFS)
LUAN FELIPE SILVA DOS SANTOS (DHI-UFS)
Abstract: The Teaching of American History in Basic Education, by breaking
with the paradigms that outline some knowledge far from the reality of
students, centered on economics, politics, and society, disconnected from
culture, opens new doors for decolonial theories in the use of gastronomy and
games of board to develop a critical knowledge of societies in time in their
relations with memory, oblivion, and cultural heritage.
Keywords: History Teaching; Transdisciplinary; Game.
Introduction
Studies on memory and cultural heritage invariably
interfere in the research of local history since what is closest to us
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has a double antagonistic tension on the threshold of
remembrance and oblivion. Thus, we remember what tells us
something, which provides us with a reference of identification,
acceptance, a subjective process of approximation that molds
itself in our minds and affections. We forget what does not
communicate a sense of belonging, which displeases us,
traumatizes us or is indifferent to us (RICOEUR, 2003).
This double memory/forgetting is also an element that
configures power relations (what should be kept, what should be
passed on to the next generations as a cultural heritage)
according to the interests of groups and individuals where
culture is correlated with socioeconomic and political dictates. In
this area, the school is also a space for this double
memory/forgetting as knowledge to be taught/learned and
knowledge that does not even permeate textbooks, classes, and
pedagogical projects.
Historical teaching approaches, in their didactics, are
intrinsic to the traditional epistemologies that center, in Brazil,

knowledge in a Eurocentric relationship based on colonization,
enslavement, political emancipation and our trajectory between
dictatorships and democracies to constitute ourselves as a
population amidst the conflicts of a plural, multifaceted and
largely negating identity of our Latin American insertion. Thus,
building another epistemology in which Latin America is part of
us and vice versa, with cultural heritage being a fundamental
presence in this re-encounter with ourselves. That is because,
the preservation of historical heritage is seen today
as a matter of citizenship and, as such, is of interest
to everyone as it constitutes a fundamental right of
the citizen and a support for the construction of
cultural identity (ORIÁ, 2004, p.137).
Therefore, the work carried out from the digital
documentary research of local history in São Cristóvão
(Brazil/SE), comparing the investigations of international digital
sources about Lima (Peru), sought to think of new ways to teach
the contents of the History of America in the Elementary level
History teaching through cultural heritage bias.
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We raise the following questions: What is meant by
historical heritage, in its converging and distant apprehensions,
in Brazil and Peru? What heritage from the past and what
meanings do their peoples add to them? What political, economic
and recreational uses of this cultural heritage, in both countries,
are they produced?, How to develop an evaluative but also
critical perception based on the historical context and the tourist
dynamics that inhabit these two spaces?, How can American
History Teaching incorporate this knowledge into its contents
taught for Elementary Education?
Based on the qualitative methodological preliminary
studies of Marc Bloch (1928) in the context of Comparative
History, an analytical look at Brazil and Peru was sought as a
guideline, evidencing the similarity of facts and certain
dissimilarities in the environments in which this similarity
occurs. In this perspective, the British historian John Elliott
(1999) affirms the need to reclaim national, regional and local
history by restoring in the discipline of Comparative History the

role of national and local identities in a given process, event or
historical fact, aiming at a deeper understanding of the
peculiarities of each society. Therefore, problematizing the
similarities and differences between Brazil and Peru in dealing
with their Cultural Heritage is a challenge and a method applied
to the reading of information collected in the relevant literature,
articles, monographs, dissertations, PhD’s thesis, and image
documents (photographs and videos).
The article presented brings part of the reflections of the
PIBIC research project (2020-2021) entitled “Galletas de la
Fortuna: History, Gastronomy and Cultural Heritage (Peru-
Brazil)” with Copes and CNPq research assistance.
At the flavor of memory and culture: A comparative
Latin American history of local histories
Brazilian and Peruvian histories, in socioeconomic and
political terms, have many similarities, since the process of
European conquest that subjugated original cultures, promoted
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the enslavement of the other and with this built a society based
on structural racism and a profound inequality in access to
goods, services and decision-making actions. The formation of
territorial and symbolic power niches whose idea of civilization
was guided by the mirroring of the Iberian European culture, the
State's violence against protests and the restriction of freedoms
for long periods, bring us closer together, although each space
and people also have its singularities and distinctions.
As stated by Eduardo Galeano (1994, p.14) “it is Latin
America, the region of open veins. Since the discovery until our
days, everything has become European capital or, later, North
American, and as such it has accumulated and accumulates until
today in distant centers of power”.
In this regard, to subvert this perspective, which is also
epistemological, the local history that dates to native and Afro-
descendant peoples provides opportunities to reflect on the
encounters and disagreements with European culture, contesting
the patterns of hierarchy, still looking for similarities and

similarities in the History of Latin America. respect for alterities
for the constitution of solidarity networks and knowledge
sharing. Thus,
Local History is not opposed to global history or
“macro history”, its cut only designates a thematic
delimitation marked by historical, cultural, political,
etc. particularities, almost always hidden by larger
generalizations. The great value of local history is,
above all, in its fruitful dialogue with global history
(FERREIRA, 2017, p.94).
In this dialogue with a global that does not make the
particularities invisible, the flavors of Latin American memory
and culture are manifested in the convent sweets of São
Cristóvão (Sergipe) and Lima (Peru). Through them, it is possible
to revisit the concepts of cultural heritage, social protagonists
and affirm new possibilities for a historiographical writing that
enables other ways of teaching American History in schools
based on their micro-history.
But how to answer the first two questions: what is
meant by historical heritage, in its converging and distant
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apprehensions, in Brazil and Peru? What heritage from the past
and what meanings do your peoples add to them?
When dealing with the different categorizations of
"cultural heritage", as a concept with limitations and
possibilities, the anthropologist José Reginaldo Gonçalves
(2009) pointed out the complexity of its use, so every day and
essential in our lives and at the same time so imprecise in his
disputes about thought and attribution to the tangible and the
intangible, to ethnic plurality, to governmental institutions
and/or intellectuals for safeguarding. He thought of it as a “total
social fact”, adopting as a reference Marcel Mauss (1974 apud
GONÇALVES, 2009), since
Such goods are, simultaneously, economic, moral,
religious, magical, political, legal, aesthetic,
psychological and physiological in nature. They are,
in a way, moral extensions of their owners, and
these, in turn, are inseparable parts of social and
cosmic totalities that transcend their condition as
individuals (GONÇALVES, 2009, p.27).

By historicizing the practices of studies, definitions and
safeguarding of cultural heritage in its potentialities and
conflicts, advances and setbacks, institutions and popular groups
that produce and maintain culture in Brazil, historian Márcia
Chuva (2012) highlighted the change in the bond of the notion of
“national heritage” (homogeneous) to “cultural diversity”
(heterogeneous), the result of “democratic construction, through
new networks, social movements and redirecting global tensions”
(CHUVA, 2012, p.73). The own action of to “recognize as cultural
heritage” needed to be guided by the expansion of new and
different theoretical-methodological references, thus reaching
the understanding that
Heritage is to select a cultural asset (objects and
practices) by assigning a cultural reference value to
an identity group. Patrimonialized property has as
an attribute the ability to amalgamate identity
groups (CHUVA, 2021, p.73-74).
For the Peruvian case, debates are also recurrent and the
multidisciplinary contribution of anthropologists, historians,
archaeologists, architects, literati, communicators, museum
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curators, among others, as in Brazil, is beneficial for the
development and expansion of perceptions of the world to which
the concepts of cultural heritage (in continuous transformation
in keeping with the dynamics of culture) are applied.
Lima, the Peruvian capital, was founded in 1535 under
the auspices of the Spaniard Francisco Pizzarro “on the
preexisting agricultural area and the urban complex
administered by the chief Taulichusco”. The historical heritage of
the Center of Lima, except for urban archaeological sites, is
predominantly colonial (from the 16th century to the year 1821)
and from the beginning of the republican period (nineteenth
century to the first half of the twentieth century) (ANDRADE;
SOARES, 2013, pp. 28-29). Wars, invasions, earthquakes,
dictatorships, as well as neoliberal public policies contributed to
this scenario.
In Peru today, there is an intense search for
understanding and reversing “the processes of acculturation”
arising from colonization, especially in the capital Lima, which

for a long time represented the signs of the Spanish conquest.
Thus, through the pre-Hispanic memories reassembled from the
shared experiences of riverside communities through their
orality and handling of ancestral fishing techniques, the study,
excavation and safeguarding of urban archaeological sites and
museums in situ, correlated to the actions of historical and
natural heritage concepts are rethought and their practice in
territories and communities (BONNET; SOULAGES; ZEVALLOS
TAZZA, 2014, p.13).
With approximately eleven million inhabitants, the
capital Lima, facing a 21st century permeated by scarcity of
resources, climate change and profound social inequalities,
brings together challenges in the face of memory, history, and the
safeguarding of heritage. One of the major problems identified in
the diagnosis of local heritage development agencies was the
“inexistence of cultural and educational policies linking citizens
with the city's history for a longer period, since the official
historical narrative begins in 1535; there is still a profound lack
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of knowledge of cultural heritage issues on the part of authorities
and citizens; of the 385 urban archaeological sites as of 2013,
only 17 of them had received government protection; real estate
speculation accentuated the conflict between economic
development and the protection of cultural heritage, causing the
destruction of many (LIZARZABURU, 2014, p.116-117).
Having raised this situation of concern, the Ministry of
Culture of Peru, municipal authorities in partnership with the
local press and universities, started the “Millenary Lima”
campaign with the objective of returning to the 2,000-year-old
roots of the different pre-Hispanic peoples through a memory
that integrates them to the collective imagination and the official
historical narrative, showing the impact of their presence on
constructions, development, transformations, cultures and their
continuities today (LIZARZABURU, 2014, p.117).
The concept of “cultural heritage”, therefore, seeks these
ancient roots in Lima's memories, but also a social inclusion that
combats racial and social prejudice against native peoples,

blacks, and peasants. The “people's creativity” must be the
sediment of union, where Spanish citizenship gives way to a
historical identity based on the ancestry of Pacha mama (“mother
earth” in Andean cosmology). Citizenship management as a
process of belonging should guide information about cultural
heritage to all people. Lima must position itself and project its
image, its concept with a plural historical identity, based on
diversity, millenary roots, and its continuity over time. This “city
brand” should give Lima pride and a defined personality
(LIZARZABURU, 2014, p.117-118). Thus,
Along with the recognition of the millennium, the
concept of City of Cultures appears. This is a way of
recognizing the different developments that took
place on this territory before 1535. It begins with the
people of the so-called U-shaped Temple Culture,
and is followed by the Lima, Wari, Ichma and Inca
cultures (LIZARZABURU, 2014, p.118).
São Cristóvão, the fourth oldest Brazilian city,
founded in 1590, was the first capital of Sergipe and since 3
August 2010 it has preserved the title of “heritage of humanity”
granted by UNESCO to São Francisco Square for holding “an
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exceptional monumental complex and homogeneous, composed
of public and private buildings that represent the unique
testimony of the period during which the crowns of Portugal and
Spain were united, between 1580 and 1640” (IPHAN, 2021).
Actions to safeguard cultural heritage in the city of
Sergipe were boosted by the holding of the 1st National Heritage
Education Meeting (ENEP), at the initiative of the National
Historical and Artistic Heritage Institute (IPHAN), in 2005,
followed by the “Education Meeting Heritage”, organized by
professors and students from the Department of History of the
Federal University of Sergipe (DHI-UFS) in two editions (2009
and 2011), in addition to Heritage Education workshops
conducted by Casa do IPHAN since 2012 and the resumption of
São Cristóvão Art Festival – FASC, in 2017 (ARAGÃO; SANTOS;
SILVA, 2019, p.159).
Although the actions, in large part, still orbit around a
local historiography tributary to European theories regarding the
concepts of cultural heritage and memory, related to the works of

Pierre Norá, Roger Chartier and Françoise Choay, other
interpretative possibilities that evoke black protagonists in
Sancristovense culture, constituting field research and
elaboration of booklets on black heritage in the city, highlighting
the Queijada’s House by Dona Marieta Santos (descendant of the
enslaved and matriarch of the sweet shop tradition), Twines and
Woodcuts, Graffiti, by black artists such as Nivaldo Oliveira,
among others, using readings by the black historian from Sergipe
Beatriz Nascimento (SILVA; SANTOS SOBRINHA, 2019).
These movements to revitalize the decolonial
epistemological view, although embryonic, were preceded by
actions to restore houses in historic cities, starting in the 2000s
and lasting ten years, by the Program for the Preservation of
Urban Historic Heritage, the Monumenta, governed by federal
government through the Ministry of Culture (MinC) in
partnership with Brazilian city halls, with financing from the
Inter-American Development Bank (IDB) and the support of
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Unesco, "activating the economy of cities through occupation and
income generation for the population" (IPAC, 2021).
Dated January 1, 2019, after the administrative reform
carried out by the newly inaugurated government, the extinction
of the MinC by Provisional Measure No. 870, published in a
special edition of the Official Gazette of the Union. This action
has generated a lack of coordination of policy actions cultural
public and directly affected projects and promotions for the
safeguarding of the Brazilian cultural heritage. Without federal
public notices and with low budget allocation, especially in the
context of economic retraction of the Covid19 epidemic, states
and municipalities have seen themselves orphans of federal
support. Universities have sought, through research and
extension projects, not to let the blanket of oblivion fall on
cultural assets and their population. However, higher education
institutions have also faced several cuts in funding and grants
from projects with immense losses, especially in the humanities.
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Seeking other solutions, given the national context, the Image 1. Ogãs Circle at São Francisco Square and Artes da Terra Shop
(São Cristóvão, SE)
City of São Cristóvão and the João Bebe Água Culture and
Tourism Foundation have articulated a network of handicrafts
with the objective of valuing culture, local production, and
income generation in the city (PROGRAMME SUSTAINABLE
CITIES, 2020). The investment in entrepreneurship through the
creative economy and the strengthening of small businesses has
allowed the continuity of the commercialization of traditional
ways of knowledge in the candy store, handcrafted rag dolls,
twine and Sanchristovense woodcuts (image 2).

Source: Sergipe Historical Museum Blog (MHS). Available at:

http://museuhsergipe.blogspot.com/2015/01/, accessed on: 20/06/2021.

In Peru, the presence of the Ministry of Culture has acted

on issues related to the regulation of archaeological sites,
supporting projects to digitize these spaces and museums – in

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partnership with universities and technology companies – for Image 2. Actions by the Ministry of Culture of Peru
virtual access to the public during the extended period of social
isolation caused by the pandemic. It has expanded its
communication to social networks, where the Peruvian Ministry
of Culture's Facebook page is continuously updated with actions
of different natures.

Source: Social Network - Facebook page of the Ministry of Culture of Peru,

Available at: https://www.facebook.com/mincu.pe/?ref=page_internal,
accessed on: 20/06/2021.

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Among the actions publicized in the media are (image 2): Image 3. Inca Bicentennial Campaigns and International Day against
Racial Discrimination in Peru
[1] the protection of cultural heritage in archeological sites with
Heritage Education actions; [2] the “viaje del user” tool
encourages digital entrepreneurship with a workshop aimed at
teaching “How to create a cultural activity integrating the needs
of the virtual community” and [3] awareness campaign for the
use of masks and adherence to the vaccine against to Covid19 in
Peruvian archaeological sites and museums.

Source: Social Network - Facebook page of the Ministry of Culture of Peru,

Available at: https://www.facebook.com/mincu.pe/?ref=page_internal,
accessed on: 20/06/2021.

Although in Peru there is an intense campaign against

racism and the promotion of the culture of Andean and Afro-
Peruvian indigenous peoples, taken over by the Ministry of
Culture (image 3), in Brazil, and specifically in Sergipe, the issue
of structural racism is not treated as a direct commitment of
public cultural bodies. Therefore, the protagonist of an anti-
racist education is the responsibility of social agents, teachers
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and researchers who organize moments of occupation of spaces Image 4. Traditional São Cristóvão sweets (Queijadas and Bricelets)
such as the Ogãs circle in São Francisco Square (SE) (image 1) or
the African dances in the performances of the activities of the
Historical Museum of Sergipe in 2013.
Another similarity between the cities of São Cristóvão
and Lima is in the traditional and artisanal knowledge of convent
sweets or of African ancestry. Thus, Dona Marieta’s queijadas
cooked in a wood stove, made manually, one by one, and the
bricelets that originated with the Sisters of the Congregation of
Immaculate Conception, bring the flavor of memories and
stories, of affections and experiences, as well as to foster the local
creative economy.

Source: Sergipe Historical Museum Blog (MHS). Available at:

http://museuhsergipe.blogspot.com/search/label/quejada, accessed on:
06/20/2021.

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Sancristovense sweets and Lima sweets represent an Image 5. Peruvian convent sweets (Lima)
exercise in cultural creativity, since their recipes need to be re-
elaborated with fruits and other spices from the Latin American
territory, thus modifying the original recipe and creating
pleasant sensibilities to the taste. A large laboratory for new
experiences, Latin America becomes a space for gastronomic
innovation and writes its story of sweet and bitter mishaps.
The same happens with the Galletas de Vainilla of the
Monastery of Las Concepcionistas Descalzas de San José, which
bring “criollas” adaptations of the classic “mazapanes
castellanos”, the Niditos made at the Monasterio de La
Concepción that evoke feminine knowledge and the famous
Alfajores from the Monasterio de las Trinitarias (image 5),
located in Lima (PLEVISANI; MUÑOZ-NAJAR, 2018).
We emphasize that “In Peru, food practices are framed
within a complex and dynamic symbolic, expressive and sensory
system, also becoming benchmarks of regional and national Source: PLEVISANI; MUÑOZ-NAJAR, 2018, p. 26, 37, 70.
identity” (KOCH et al., 2011, p.18).

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In this way, the History of America can reinvent its
teaching practice, leaving the usual political and economic orbits
centered on the European colonization process to the culture of
traditional knowledge, sweets, inventiveness, and the
relationship of memory in its sensory subjectivity of " well eat”
and thus feel “welcomed”.
In 2007, the National Institute of Culture (which would
be replaced by the Ministry of Culture in 2010), declared
Peruvian cuisine “the cultural heritage of the Nation”. If before,
cultural diversity was used as a pattern of hierarchization (“food
for the wealthy classes; food for the poor”), now it is seen as an
advantage. Thus,
The diversity in the kitchen, the fusion, and the miscegenation of
various culinary configurations, such as Chinese, Japanese,
African, indigenous and jungle, are considered advantageous and
positive for the differentiation of Peruvian cuisine with respect to
others (ZERGA, 2015, p.198).
Since 2010, there has been a strong campaign by the
Peruvian government to obtain recognition of traditional
Peruvian cuisine as an “intangible cultural heritage of humanity”
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by UNESCO, in the example of Mexican food, the Mediterranean
diet, French and Japanese cuisine. In 2011, the Organization of
American States (OAS) distinguished Peruvian gastronomy as a
World Heritage Site of the Americas, in a special ceremony to
celebrate the Inter-American Year of Culture. The success of
Peruvian cuisine was repeated in 2019 at the World Travel
Awards, where for the eighth year Peru was elected as the
country with the best cuisine in the world. As Matta highlighted
(2021, p.2), the search for the heritage of Peruvian cuisine
reflects the close relationship between culture and flavor, tasting
memories and sensory identity.
From the kitchen, food, themes such as work, economics,
social hierarchies, politics, solidarity, food security, public
policies, transformation of customs, sustainability, culinary
geographies, can be worked on in the classroom in History
Teaching. This is because “food as a cultural element helps to
demarcate multiple traits of different identities in societies over
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time and in different historical contexts” (PEIXOTO, 2020, Image 6. Board Games Peruvian Cultural History (Chess and Ludo)
p.109).
Another playful way of approaching Peruvian history
occurs in the chess board games, where the pieces are composed
by Incas x Spaniards and in Ludo, which brings the symbology of
the culture of the native peoples of the Andes (image 6). This use
of games, in addition to being a good cultural extroversion tool,
is also an interesting pedagogical tool to be used in the
elementary school classroom, since:
With games and games, children can create an identity
and develop their autonomy, logical reasoning, and language.
Because games encourage children to use their mind a lot to
formulate strategies for each move (LAMBLEM; JESUS, 2018).
Source: SANTOS, 2015.

The Teaching of American History can incorporate the

knowledge of gastronomic culture, of local history in its
relationship with the material and immaterial heritage,
articulating them to its contents taught for Elementary

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Education. Images, seminars where students reproduce the Table 1. Comparative History of Culture São Cristóvão (SE, Brazil)
and Lima (Peru).
recipes and can enjoy the culinary delicacies in the classroom, Assumpt Similarities Distinctions
literally "eating the heritage" or through board games where they ion
Territori São Lima São Lima
playfully apprehend knowledge by "playing" and making healthy es Cristóvão Cristóvão
studied
competition, with rules, a collective work action. From these
New New Formulation New
exercises come the attribution of meaning to the world around perspectives appreciation marked by Formulatio
Cultural on Afro- of the UNESCO/IP n Linked to
them. Heritage descendants traditional HAN Pre-
The project “Galletas de la Fortuna: History, Gastronomy Concept and cultures of recognition, Hispanic
Sanchristove native based on Cultural
and Cultural Heritage (Peru-Brazil)” is developing a board game nse culture peoples and European Ancestry
through the the Afro- colonization
with knowledge trails that combine conceptual knowledge of sweets and Peruvian criteria
memory, local history, cultural heritage with the gastronomy cultural population
manifestatio
issues of Peruvian sweets and Sanchristovenians. ns of groups
and artists
In the comparative scheme below, we have the following Concept of Concept of Notion of Notion of
configuration of the two countries: memory memory memory still inclusive
linked to linked to delimited by memory of
Memory cultural cultural French and different
Concept traditions traditions, Portuguese forming
and territory, and studies. Still peoples,
historicity. historicity. with citizenship,
coloniality and
very present. territory.

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Latin Playfuln theatrical theatrical woodcuts, heritage

American ess presentation presentation handmade board
authors. s, Cultural s, Cultural dolls games
Decoloniali Meetings Meetings
ty. (commemora (commemora
Sweets, Sweets, tive dates), tive dates),
Savory foods, Savory foods, Popular Black Peru Parties Parties
Inherita traditions, traditions, Culture (dance, Gastronomy Gastronomy Iphan House Barranco
nce popular buildings, Groups musical as a heritage as heritage and related neighborho
from the culture museums, (Folguedos) poetry, (bricelets, (Fruititas de actions to od as an
Past groups, memory, theater, cheesecakes Mazapán, enhance expression
buildings, documents songs) Valuatio and fruit Galletas de local of culture,
museums, n sweets varied Vainilla, heritage; gastronom
memory, in jams, Galletas de FASC y; Public
documents liqueurs, Ajonjoli, Bola Markets
Political Political Disarticulati Articulatio jellies, de Oro,
campaigns, campaigns, on Ministry n Ministry biscuits, etc.) Alfajores)
UNESCO Tourism, of Culture, of Culture, Profusion of Profusion of Combating Combating
Political recognition Entrepreneu City Hall of City Hall of historical, historical, the neglect the official
and of São rship. São Lima, Criticalit archeological archeological of built historical
economi Francisco Search for Cristóvão, Local Press y , , heritage and narrative.
c uses Square as a recognition Government and Local architectural, architectural, the lack of Anti-
World of Peruvian of the State Interest anthropologi anthropologi promotion racism
Heritage cuisine by of Sergipe Groups. cal and cal and of advertisem
Site, Unesco. and Local museum museum immaterial ents.
Tourism, Interest curator curator culture.
Entrepreneu Groups research research
rship. Use of Use of Isolated Use of
Outdoor Outdoor Twine, Cultural History Museums, Museums, actions of Games for

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teaching Pedagogical Pedagogical Heritage Teaching not do without the playful, the fun and the richness of our
Booklets Booklets Education Peruvian
(Iphan, History multicultural roots.
Schools, and
University) Identity
Source: Own elaboration with research data, 2021. References

Conclusion
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Translator:

Janaina Cardoso de Mello

PhD in Social History (UFRJ) and Post-Doctoral Student in Cultural Studies
(PACC-UFRJ)
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