Vovó Barro (ko’ko non): cerâmica Macuxi em terras de Makunaimî - Roraima
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Data
2022-06-22
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Universidade Estadual Paulista (Unesp)
Resumo
Os saberes dos povos indígenas estão interligados ao seu universo cosmológico. A cerâmica produzida por povos/mãos indígenas remete a conhecimentos advindos dos antepassados e revelam processos técnicos, rituais, regras e toda uma relação do fazer com os ciclos da natureza. Com isso, esta pesquisa objetiva tratar de aspectos culturais do fazer cerâmico do povo indígena Macuxi, dentro de uma perspectiva que aborda o conceito de “arte indígena” utilizada por Alfred Gell, Els Lagrou e Eduardo Viveiros de Castro. Debrucei-me sobre os processos e saberes ancestrais das ceramistas Macuxi que vivem em Boa Vista (RR) e na Terra Indígena Raposa Serra do Sol (RR), por meio de um trabalho de campo etnográfico, no qual passei a conviver durante alguns períodos na Comunidade Indígena Raposa I, participando de ações voltadas para a produção cerâmica e momentos de festividade, como o Festival das Panelas de Barro. Neste estudo, também trato de questões que esclarecem a relação cultural, social e cosmológica que evidenciam o modo de vida e o pensamento que giram em torno do barro nas “Terras de Makunaimî”.
The traditional indigenous knowledge is intertwined with its cosmological universe. Pottery manufactured by indigenous hands refers to their ancestor's technology and knowledge unraveling technical processes, rituals, rules, and the whole relation between making with the cycles of nature. Thus, this research intends to study cultural aspects of pottery making from the Macuxi indigenous ethnicity, within a perspective that addresses the concept of “indigenous art” used by Alfred Gell, EIs Lagrou, and Eduardo Viveiros de Castro. I looked upon the ancestors’ processes and knowledge of Macuxi potters based in Boa Vista, the capital of the Roraima state, and the indigenous land of Raposa Serra do Sol (Roraima), through ethnographic fieldwork, where I lived for certain lengths of time in the indigenous community Raposa I, taking part in activities of pottery making and festivities such as The Clay Pots Festivity. This study also discusses issues that clarify the cultural, social and cosmological relations, which evidence the way of life, as well as the thought which revolves around the clay in the “Makunaimî Lands”.
Ipu’nen pe pataako’yamî e’to wanî mîrî teeseruukonta teeko’manto’kon kaisîrî pataapo. Mîrîrî pampe, pena’ pataapai tawaa yapuri to’ya mîrî teyerinkon koneekakonpa kai’ma, itu’se’ tewanîkon kaisîrî. Sewarantî ko’kopîkon seruurî’pî yenkronpa to’ya mîrî iwe’koneekato’ moroopai yamîîto’ tera’mai, akka taa ye’kape pataa yapuri kaisîrî, Seeni’pampe, makuusiyamî’ya tawaa yenkama neepu’pai wanî mîrîrî “pataako’yemannekon” taato’ya’ tiaronkonya imenukasa tera’mai. Neepu’pai nîrî uwanî sîrî makuusiyamî non yenkamaninkon seruu tarî Kuwai kîrî’po moroopai Maikan Wei kîrî’po tîîko’mansenan, to’menuukato’kon tera’mai. Mîrîrî tonpe uuko’mantî’pî Maikan pisi’ po’, moro to’ senkamato’ moroopai to’ su’minaato’ teyerinkon yenpa’kapîîto’ ra’mapîîtî’pîuya. Tarî era’ma nîrî, makuusiyamî ko’manto’, to’senkamato’ moroopai pata’ ko’manîto’ya serukon. “Tarî Roraimîîta”.
The traditional indigenous knowledge is intertwined with its cosmological universe. Pottery manufactured by indigenous hands refers to their ancestor's technology and knowledge unraveling technical processes, rituals, rules, and the whole relation between making with the cycles of nature. Thus, this research intends to study cultural aspects of pottery making from the Macuxi indigenous ethnicity, within a perspective that addresses the concept of “indigenous art” used by Alfred Gell, EIs Lagrou, and Eduardo Viveiros de Castro. I looked upon the ancestors’ processes and knowledge of Macuxi potters based in Boa Vista, the capital of the Roraima state, and the indigenous land of Raposa Serra do Sol (Roraima), through ethnographic fieldwork, where I lived for certain lengths of time in the indigenous community Raposa I, taking part in activities of pottery making and festivities such as The Clay Pots Festivity. This study also discusses issues that clarify the cultural, social and cosmological relations, which evidence the way of life, as well as the thought which revolves around the clay in the “Makunaimî Lands”.
Ipu’nen pe pataako’yamî e’to wanî mîrî teeseruukonta teeko’manto’kon kaisîrî pataapo. Mîrîrî pampe, pena’ pataapai tawaa yapuri to’ya mîrî teyerinkon koneekakonpa kai’ma, itu’se’ tewanîkon kaisîrî. Sewarantî ko’kopîkon seruurî’pî yenkronpa to’ya mîrî iwe’koneekato’ moroopai yamîîto’ tera’mai, akka taa ye’kape pataa yapuri kaisîrî, Seeni’pampe, makuusiyamî’ya tawaa yenkama neepu’pai wanî mîrîrî “pataako’yemannekon” taato’ya’ tiaronkonya imenukasa tera’mai. Neepu’pai nîrî uwanî sîrî makuusiyamî non yenkamaninkon seruu tarî Kuwai kîrî’po moroopai Maikan Wei kîrî’po tîîko’mansenan, to’menuukato’kon tera’mai. Mîrîrî tonpe uuko’mantî’pî Maikan pisi’ po’, moro to’ senkamato’ moroopai to’ su’minaato’ teyerinkon yenpa’kapîîto’ ra’mapîîtî’pîuya. Tarî era’ma nîrî, makuusiyamî ko’manto’, to’senkamato’ moroopai pata’ ko’manîto’ya serukon. “Tarî Roraimîîta”.
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Palavras-chave
Arte indígena, Arte macuxi, Trabalhos em cerâmica, Indígenas Macuxi