The theme is complex and, despite the inadequacy of the term, many indigenous works aroused the sensitivity and / or curiosity of the 'white man' since the 16th century, a period in which Europeans disembarked for the first time in the lands inhabited by Amerindians. During this period, objects produced by these peoples were collected by kings and nobles as “rare” specimens of “exotic” and “distant” cultures.
Even today, a museological conception of indigenous artifacts remains widespread. For many, these works constitute “crafts”, considered a minor art, whose artisans simply repeat the same traditional pattern without creating anything new. This perspective ignores the fact that production is not independent of time and cultural dynamics. In addition, the design of the works results from the confluence of conceptions and the disturbing questioning collectives and individuals, although the last dimension is not in the foreground as in Western art. Manufactured for everyday or ritual use, the production of decorative elements is not indiscriminate, but may involve restrictions according to sex, age and social status. It also requires specific knowledge of the materials used, the appropriate occasions for production, and so on.
Ways of handling pigments, feathers, plant fibers, clay, wood, stone and other materials make Amerindian production unique, differentiating it from Western art as much as African or Asian women. However, we are not dealing with an “indigenous art”, but with “indigenous arts”, since each people have particularities in the way they express themselves and give meaning to their productions.
The substrates of these artistic expressions go beyond the pieces exhibited in museums and fairs (baskets, gourds, hammocks, oars, arrows, benches, masks, sculptures, capes, necklaces…), since the human body is also painted, scarified and perforated... The same applies to rocks, trees and other natural formations, not including the crucial presence of dance and music. In all these cases, the aesthetic order is linked to other domains of thought, constituting means of communication - between men and women, between peoples and between worlds - and ways of conceiving, understanding and reflecting on the social order and cosmological.
In relations between peoples, artifacts also act as objects of exchange, including trade with “whites”. In recent years, trade with the surrounding society has provided an alternative source of income based on the appreciation and dissemination of its cultural production.
Arte Baniwa, a brand created by the Baniwa Indians of Alto Rio Negro (AM), is a successful example of this type of undertaking.
Historically, handicraft has received little recognition as an art form in Brazil. However, in recent decades, it has gained popularity for celebrating local culture and restoring traditions. Naturally creative, Brazilian people value the importance of cultivating a family tradition and an art form that has been handed down from generation to generation.
The role of artisans is gaining more importance in the Brazilian economy. the industry is giving many low-income women an opportunity to become entrepreneurs and improve their family economic conditions.
See too: Afro-Brazilian Culture.
It is interesting to note that arts and crafts can be found across the country and differ from region to region.
In northeastern Brazil, many carving and sculpture techniques were inherited from African slaves. The Portuguese Jesuits also transmitted skills in carving and painting religious figures in wood. Originally they encouraged their indigenous converts in the techniques, but today others practice the art. Wood sculpture is widespread in Pernambuco and Bahia in the Northeast. The technique is also found in Rio de Janeiro and São Paulo.
In northeastern Brazil, religious figures are also made of clay. They will be found in Tracunhaém, near Recife. Another place where ceramics are even more famous is Alto da Moura, near Caruaru. Both cities are in the state of Pernambuco.
Ceramic pots are also made in the Amazon region and come in many styles.
Ceará, in the north, is famous for making lace, and beautiful pieces are sold throughout Brazil. In other parts of the north, hammocks and other woven items can be found. The hammock is, of course, a typical household item.
In the southern areas, where European immigration was heavier, many traditional clothes can be seen. Leather, although not confined to the south, can be found in any region where cattle are raised.
The most popular instruments are those linked to African music, especially hand and friction drums, such as the zabumba, cuica and reco reco, and the berimbau (used for capoeira). Here again, the best place to look is in the Northeast, where the African heritage is strongest.
Another northeastern ship are the photos made in bottles with colored sand. Lençóis, in Bahia, and Natal, in Rio Grande do Norte, are good places to buy them.
In the Amazon, a huge variety of raw materials is available to make baskets, hammocks, hammocks, slings for carrying babies, masks and body adornments. Also in the Northeast, baskets come in all shapes and sizes, mainly in Bahia, Pernambuco and Paraíba.
See too: African dance.
Traditional tourist spots, handicraft fairs are a special attraction for those visiting Brazilian cities and wanting to learn a little about their art and culture.
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