Abstract:Resumo A ritxo(k)o tem sido citada na bibliografia etnográfica desde a primeira expedição que chegou ao Araguaia em 1887. Desde então tem sido traduzida como "boneca karajá" e muitas etnografias sugerem seu papel como brinquedo de criança. O presente trabalho tem como objetivo refletir sobre essa tradução, tentando entender quais as redes de relações que a ritxo(k)o engendra e participa. Mostrarei que a ritxo(k)o está inserida nas redes de relações de parentesco, ao mesmo tempo que constitui algumas dessas rel… Show more
“…Our research focus is the ritxoko , that is, the anthropomorphic figurative ceramic dolls, produced exclusively by Iny Karajá women. All dolls producers are female, their work includes collecting the clay, modeling, firing, painting, selling the dolls and they are key to the study of ritxoko (Campos, 2007; Faria, 2014; Whan, 2010). The female protagonism also stands out among the teams of researchers that have recently dedicated themselves to the study of the culture of Iny Karajá materiality, in contrast to the first decades, of male dominance:The German Paul Erhenreich, who was in the Araguaia region in 1888, was responsible for the first systematic study on the Karajá people and culture (1948), having collected many copies of “likoko” (…) and other papers of his own material culture.Fritz Krause was also among the Karajás in 1908, during the Expedition to Araguaia of Leipzig, when he studied aspects of their social organization, customs, and material culture.…”
Museums face the challenge of the lack of information on their museological documentation of ethnographic objects, specially those collected from indigenous peoples in an array of colonial and post‐colonial contexts. The PPK research project presented in this paper aims to contribute to the improvement of documentation on the Brazilian indigenous Iny Karajá dolls (ritxoko), which have been identified in museum collections around the world. This is most relevant to understudied collections in those museums expected to substantiate exhibitions, educational actions and other forms of access and communication of the collections to the public. In order to address the goal, the PPK project traces the dolls and the museums collections' trajectories, and targets at specifics such as the study of the dolls' clothing and body adornments. Participative research methodologies have proved to be critical as the interpersonal interfaces between researchers/institutions and Iny Karajá indigenous groups provides new data and a fresh understanding of the artifacts in the contexts of museum practices. The information has been organized in a database, which will be available at the digital Platform Tainacan. The usefulness of these findings to the museum field are to acknowledge and disseminate more accurately the Iny Karajá doll collections; to meet UNESCO's Recommendation on the Protection and Promotion of Museums and Collections (2015); and to account for ritxoko dress, seeking to discuss the place of indigenous artifacts at “ethnic” niches in museums.
“…Our research focus is the ritxoko , that is, the anthropomorphic figurative ceramic dolls, produced exclusively by Iny Karajá women. All dolls producers are female, their work includes collecting the clay, modeling, firing, painting, selling the dolls and they are key to the study of ritxoko (Campos, 2007; Faria, 2014; Whan, 2010). The female protagonism also stands out among the teams of researchers that have recently dedicated themselves to the study of the culture of Iny Karajá materiality, in contrast to the first decades, of male dominance:The German Paul Erhenreich, who was in the Araguaia region in 1888, was responsible for the first systematic study on the Karajá people and culture (1948), having collected many copies of “likoko” (…) and other papers of his own material culture.Fritz Krause was also among the Karajás in 1908, during the Expedition to Araguaia of Leipzig, when he studied aspects of their social organization, customs, and material culture.…”
Museums face the challenge of the lack of information on their museological documentation of ethnographic objects, specially those collected from indigenous peoples in an array of colonial and post‐colonial contexts. The PPK research project presented in this paper aims to contribute to the improvement of documentation on the Brazilian indigenous Iny Karajá dolls (ritxoko), which have been identified in museum collections around the world. This is most relevant to understudied collections in those museums expected to substantiate exhibitions, educational actions and other forms of access and communication of the collections to the public. In order to address the goal, the PPK project traces the dolls and the museums collections' trajectories, and targets at specifics such as the study of the dolls' clothing and body adornments. Participative research methodologies have proved to be critical as the interpersonal interfaces between researchers/institutions and Iny Karajá indigenous groups provides new data and a fresh understanding of the artifacts in the contexts of museum practices. The information has been organized in a database, which will be available at the digital Platform Tainacan. The usefulness of these findings to the museum field are to acknowledge and disseminate more accurately the Iny Karajá doll collections; to meet UNESCO's Recommendation on the Protection and Promotion of Museums and Collections (2015); and to account for ritxoko dress, seeking to discuss the place of indigenous artifacts at “ethnic” niches in museums.
“…Chamam-se ritxoko as bonecas de cerâmica antropomorfas e iroduxumo as zoomorfas, havendo ainda as kawa kawa, de madeira. Ritxoko são feitas não apenas como bonecas individuais, mas tamb em em forma de cenas que se relacionam com a vida cotidiana dos Iny Karaj a. Nosso foco na pesquisa, são, portanto, as ritxoko, bonecas figurativas antropomorfas em cerâmica, produc ßão exclusiva das mulheres Iny Karaj a. Todo o protagonismo e feminino, se trabalho inclui da coleta do barro a modelagem, queima e pintura e comercializac ßão das bonecas, e elas são a chave para o estudo das ritxoko (Campos, 2007;Farias, 2014;Whan, 2010). O protagonismo feminino tamb em se sobressai entre as equipes de pesquisadores que recentemente se dedicam ao estudo da cultura da materialidade Karaj a, ao contr ario das primeiras d ecadas, de exclusividade masculina: O alemão Paul Erhenreich, que esteve na região do Araguaia no ano de 1888, foi respons avel pelo primeiro estudo sistem atico sobre o povo e a cultura Karaj a (1948), tendo coletado muitos exemplares de "likoko" (.…”
Section: Ressignificando Ritxoko -Um Processo Cont Inuounclassified
Resumo Os museus enfrentam o desafio da falta de informac ßões em sua documentac ßão museol ogica de objetos etnogr aficos, especialmente aqueles coletados de povos ind ıgenas em diversos contextos coloniais e p os-coloniais contextos. O projeto de pesquisa PPK apresentado neste trabalho tem como objetivo contribuir para o aprimoramento da documentac ßão sobre bonecos ind ıgenas Iny Karaj a (ritxoko) que foram identificadas em colec ßões de museus ao redor do mundo. Espera-se que o destaque dado as colec ßões pouco ou nunca estudadas em seus museus de origem produza conhecimento que fundamente exposic ßões, ac ßões educativas e outras formas de extroversão das colec ßões ao p ublico. A fim de atingir o objetivo, o projeto PPK estuda as trajet orias das bonecas e das colec ßões dos museus, visando ainda especificidades como o estudo das vestimentas e adornos corporais das bonecas. As metodologias de pesquisa participativa têm se mostrado crucial, pois o contato interpessoal entre pesquisadores/instituic ßões e os grupos ind ıgenas Iny Karaj a fornecem novos dados e uma nova compreensão dos artefatos no contexto das pr aticas museais. A informac ßão tem sido organizada numa base de dados que estar a dispon ıvel na plataforma digital Tainacan. A utilidade dessas descobertas para o campo do museal e conhecer e divulgar com maior precisão as colec ßões de bonecas Iny Karaj a, atender a Recomendac ßão da UNESCO sobre a Protec ßão e Promoc ßão de Museus e Colec ßões (2015); e considerar a indument aria ritxoko, buscando afastar a produc ßão ind ıgena do nicho " etnico" nos museus.
“…Na massa de barro é misturada a cinza da árvore cega-machado, adenà, em língua Karajá (antiplástico mawuside), corroborando a resistência das peças que passam por duas etapas de queima para que, depois, sejam esfriadas e estejam propícias a receber o acabamento: pinturas com grafismos Karajá. Para finalizá-las, usa-se uma tinta vermelha composta de urucum e óleo de babaçu, e uma tinta preta, obtida com a casca de galhos verdes da ixarurina e a fuligem da queima das panelas ou queima de pneus, segundo relato de Farias (2014).…”
Em 25 de janeiro de 2012, a arte das Bonecas Karajá foi reconhecida como Patrimônio Cultural do Brasil. Objetiva-se investigar a arte dessas bonecas em a consonância com a BNCC/Arte. Considera-se que a Educação deve reverter a situação de exclusão histórica e, no que tange a diversidade cultural indígena, pode-se não pensá-la como 'outricidade', mas como 'natureza uníssona. Tem-se como referencial teórico, entre outros, a antropóloga, etnóloga e museóloga Berta Ribeiro .
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