As ceramistas Karajá e o processo de registro de suas bonecas de cerâmica como patrimônio cultural do Brasil
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2014-12-19
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Universidade Federal de Goiás
Resumo
It is through their pottery dolls that Karajá women (self-named In ) convey the picture
their people have of themselves and their identity. By modelling clay, they take on an
important role on the legitimation of the “Karajá way of being”, creating and recreating
the meanings that support their world perspective, besides cultural and ethnic identity.
This paper’s objective is to reflect upon the registration of these pottery dolls as a
Brazilian cultural heritage (by the Artistic and Historical Heritage National Institute –
IPHAN), having these potter women’s conceptions and practices as a central object in
this process. Thus, I bring some thoughts on some agencies and people’s actions in the
aforementioned process; on the recognition they have been seeking for as an instrument
of dissemination and valuation of the potters’ knowledge and work, on the circulation of
the dolls/ritxoko as a possibility for network widening and political strengthening, on
the appropriation of the institutional discourse and its re-elaboration from an ethnicpolitical
point of view, and on the feminine political protagonism that emerges from
these potters’ work and craft.
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RESENDE, M. N. As ceramistas Karajá e o processo de registro de suas bonecas de cerâmica como patrimônio cultural do Brasil. 2014. 119 f. Dissertação (Mestrado em Direitos Humanos) - Universidade Federal de Goiás, Goiânia, 2014.