Cemitério Santana

Goiânia (Goiás – GO)

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The cemetery was named after Saint Ann , mother of Mary and patron of the settlement originally known as Arraial de Sant-aspas-Ana (thence “Santana”), which later developed into the town of Goiás . The land destined for the Santana Cemetery was situated on the border of the townships of Campinas (later extinct) and Goiânia, currently the capital of the state of Goiás. At first the state government, which owned the land, managed the cemetery (Decree n. 90 A/38) that turned out a typical example of a secularized conventional cemetery. Prior to the proclamation of the republic in Brazil , cemeteries belonged to and were run by religious orders.

Timeline:

1933 – The cornerstone of Goiânia, the new capital of the state of Goiás, is laid on October 24.
1935 – Creation of the township of Goiânia and extinction of the township of Campinas.
1939 – Early occupation of the government-owned land destined for the cemetery.
1940 – End of construction of the following buildings at the cemetery: management, stockroom, viewing hall, and restroom. The first burial, of Antônio Augusto de Carvalho, took place on December 9.
1945 – Construction of cemetery wall and ossuary.
1959 – The state government deeded both the cemetery land and management to the Municipality of Goiânia in abidance by Law n. 1637/59.
1960 – The township approves a set of services regulations for the cemetery according to Decree 029/60.
1964 – Additions to the cemetery: enlargement of management building and water supply system; planting of trees and shrubs; external sidewalk, paths and alleyways paved with small concrete block pavers.
1991 – Listing of the tomb of the family of Pedro Ludovico Teixeira, the founder of Goiânia, according to Municipal Law n. 6962, of May 21 (Qd. F n. 1).
2000 – Listing of Santana Cemetery , according to Decree n. 1879, of September 26.
2001 – Early implementation of the Cultural and Heritage Education Sub-Project at the cemetery with a view to the restoration and preventive conservation of the property, including its buildings, landscape, rainwater drainage system and lighting.

The layout design of Santana Cemetery is similar to that of a planned city. The quadrangular sections are subdivided in such a way as to form a grid pattern of drives, paths and alleyways. A devotional cross is planted halfway along the tree-lined entrance lane leading to the chapel, right at its intersection with a wider lane. The intersecting lanes form the design of a Latin cross.

Santana Cemetery is where many notorious personalities of the state of Goiás are entombed. One example is Pedro Ludovico Teixeira (†1979), founder of Goiânia, and his family, including wife D. Gercina Borges Teixeira and their children. Another popular tomb is that of Fr. Pelágio, C.Ss.R. (†1961), a priest who enjoyed great prestige in the early days of the state capital and whose gravesite is attended by numerous devotees for miracles attributed to him. His remains were transferred to the Mother Church of Campinas, in 1993.

Tombs of other outstanding personalities include those of former state representatives Alfredo Nasser (†1965) and Jamel Cecílio (†1980); the presenter of a country music show in the 1970s, known as Colonel Hipopota (†1981); poet and writer Leo Lynce (†1954); journalist and former Goiânia mayor Jaime Câmara (†1989), who founded “O Popular” newspaper and a TV station named after him; and the first mayor of Goiânia, Venerando de Freitas Borges (†1994).

Among the tombs of politicians, jurists, intellectuals and artists there are numerous graves of ordinary people, youths, and children who lived in Goiânia and whose lifetime contributions and memories also played a part in shaping the history of the capital city as well as of the state of Goiás.

The cemetery entranceway features art deco motifs; the portico features geometric elements rendered in high and low relief, such as for example the symbols of the morning and of the evening stars, and vertical freezes. The horizontal freeze that decorates the upper part of the wall surrounding the cemetery deserves special mention. The cast iron gate of the cemetery is embellished with stylized designs of fish (ichtus) and the cross, the principal symbols of Christian culture.

ART DECO MAUSOLEUM, 1940s. Curved shapes and bold, geometric lines are combined with traditional constructive methods. A Latin cross symbolizing hope in resurrection celebrates death.

ATHLETE, 1990s. Sculpture depicting a young basketball player who died at the age of 17. The realistic form and the life-size representation indicate the wish of the youth´s family to keep him alive in their memory.

FLIGHT TO EGYPT , 1970s. According to researcher Clarival do Prado Valladares, this scene taken from the Gospel was widely adopted as a symbol by farmers and ranchers who found it representative of peaceful, countryside living.

ECLECTIC TOMB, 1950s. In those days there was a general concern with having the Church represented in cemeteries. In this case, this purpose was achieved by means of a small and elegant niche flanked by columns, bearing the statue of a saint.

MODERN MAUSOLEUM, 1970s. The pyramid inspired in funerary Egyptian monuments is considered an ideal of progressive architecture. Its simple structure of geometric shape casts an aura of mystery, austerity and grandiosity.

ICARUS, 1950s. Bewitched by the beauty of the sky and the songs of birds, the son of Daedalus flew too close to the sun and ultimately fell into the Aegean Sea . The Greek myth of Icarus symbolizes the dream of freedom.

CAMEO, 1950s. Stoneworkers from the Midwestern region of Brazil rendered in high relief the young woman´s idealized face in a cameo, in agreement with the canons of neoclassic art. The cameo was installed on the tombstone decorated with carved designs.

CHAPEL MAUSOLEUM, 1980s. The overdone and exuberant decorations of this mausoleum viewed as kitsch include colorful plastic flowers that lend it a spirited and unique atmosphere.

MODERN TOMB, 1960s. The urn-shaped tomb bearing a statue of a Fallen Christ presents a subtle game of horizontal and inclined planes, in agreement with the canons of modern architecture. The rural scenes designed on the door exalt agriculture in Brazil.

CHAPEL MAUSOLEUM. In open air cemeteries, well-to-do families used to erect private buildings in which to inter their dead. The eclectic architectural elements used in the design of these buildings usually included columns and oval porticos.

CHRISTIAN SYMBOL, 1950s. In the mid-western part of Brazil , stoneworkers decorated stone slabs with designs resulting from polished and dot-punched areas. The dove symbolizes the Divine Holy Spirit, and the rose petals, the freshness of paradise.

OUR LADY OF SORROWS, 1950s. The artist-artisan Conrado Sargenicht brings up the idea of light as an element of spiritual consolation. The saint symbolizes a connection between human and divine.

WEALTH SYMBOLS, 1940s. This tomb epigraphy rendered as paintings on tile reveals the trajectory as well as the social and economic rise of a migrant whose objective was to live “a life of hard work and probity.

AVIATOR, 1960s. This tile mural replaces the traditional tombstone epitaph. It bears the name, a photograph, and the dates of birth and death of the deceased. The paintings translate a deep feeling of sorrow in that they relate the airplane crash to the passion of Christ.

MODERN TOMB, 1970s. The statue of Christ the Good Shepherd knocking on a door is an image taken from a biblical passage described in the Apocalypse. The tomb was listed by the Goiânia Historical Heritage for keeping the remains of Pedro Ludovico Teixeira, intervener and governor of the state of Goiás.

FOLDER: PREFEITURA MUNICIPAL DE GOIÂNIA. Cemitério Santana. Goiânia, 2001.

Credits:

Project coordination and research: Maria Elizia Borges.
Website design: Catu Design, 2008.
Researcher: Marissol Santana – CNPq.
Photography: Aurisberg Leite Matutino, Eva Aparecida da Costa Nogueira, Marissol Martins de Santana.
Pictures taken at the cemetery in 2001.

Contact:

maelizia@terra.com.br
CEMITÉRIO SANTANA: Avenida Independência, s/n., Qd. P 89, Setor dos Funcionários. Goiânia – GO / CEP: 74543-020. Fone: (62) 3524-2485.
Hours: daily from 7 AM to 6 PM.
Catholic mass: on Monday, at 7 AM and 5 PM.
ADMINISTRATION: (Fumdec) Fundação Municipal de Desenvolvimento Comunitário. Rua 25-A, Qd. 63, Setor Aeroporto, Goiânia-GO. CEP: 74070-150. Phone: + 55 (062) 5242641. E-mail: fumdec@zaz.com.br.