Centro Cultural Kàjre
The Associação Cultural Centro Kàjre, represents the Aldeia Pedra Branca community, Krahô Indigenous Land, municipality of Goiatins TO
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About
The hands that create, create what?
"connoisseurs of multinatures, transformed into raw materials to invent and experiment," artisans "speak with their eyes and hands." Kàjre Cultural Center
In addition to the production of objects, the notion of Artesania Krahô is a way of acting and relating to the world. His aesthetic material productions, made from traditional non-static knowledge - of a dynamic and experimental character - are central constituents of Krahô activities. Such dynamism was already revealed from the first contacts, approximately 200 years ago, and in this way art is renewed and resists over time.
The Krahô master ancestral weaving and weaving techniques with which they produce baskets, bags, taptis, mats, bracelets, necklaces, chokers, earrings, musical instruments and ritual ornaments, using the resources of buriti, tucum, gourd, bark cajá, brazilwood, tiririca seed and several others.
The natural fibers and seeds of the Cerrado are used with attention to the expression of the group and the creativity of each artisan and artisan. Tiririca, a type of common seed in the region, is the main raw material for making body adornments and various ritual objects of different shapes and sizes. Collected by older women in the period between July and August, the tiririca goes through a long and delicate process until it is transformed into an account for weaving.
Some of the patterns used are known, such as tortoise (kapran hôc), rattlesnake (patti hôc), boa constrictor (hàkati hôc), etc. However, so many others are created by women in the act of weaving, who refer to them as "it has no name, it comes from my thought" (ita mã ite amjikãm iapaxà) reflecting the creativity of each woman's thinking.
Who creates?
The Krahô are an indigenous people of the Brazilian Cerrado, belonging to the Jê family and the Macro Jê linguistic branch. The rich ritual culture, musicality and material culture encompass countless aspects of their lives, with preserved ways of living and feeling the world.
Since the first contacts, the artisanal production of household utensils has always been present in exchanges and exchanges with country people and riverside dwellers. The elders say that their grandparents used to make rafts of stems from buriti to go to Carolina / MA by the river, taking bags, baskets, taptis, gourds, gourds etc to exchange for salt, coffee, tobacco, clothes, tools, shotguns and ammunition. This custom is reflected in the still present habit of taking handicrafts to sell almost every time they go out to the city, especially to the more distant.
In this context, in 2003 the village created the Centro Cultural Kàjre Association to seek resources to promote ritual and material culture. Since 2010, advisor Vitor Aratanha, started working with the community to organize the sale of handicrafts. Today there are approximately 120 artisans and 20 active artisans working on the most diverse materials.
There is also the group Mentuwajê Guardiões da Cultura, created in 2011 for audiovisual and written recording of Krahô stories, songs and rituals.
Where do they work?
Põ is what the Krahô call the Cerrado, also recognized as pjê cunẽa which means "our land".
Demarcated in 1944 after an attack, the Krahô indigenous land, located in northwestern Tocantins, close to the municipalities of Itacajá and Goiatins, covers 3,2000 km² and is considered one of the largest continuous areas of preserved Cerrado in the country.
Aldeia Perda Branca is the largest and oldest village in the territory and has a population of approximately 450 people. The main economic activity of the inhabitants is the production and commercialization of their handicrafts; it is through the income generated that autonomy and food, environmental and cultural sustainability are sought, the "living well" of the Krahô people.
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As mãos que criam, criam o quê?
"connoisseurs of multinatures, transformed into raw materials to invent and experiment," artisans "speak with their eyes and hands." Kàjre Cultural Center
In addition to the production of objects, the notion of Artesania Krahô is a way of acting and relating to the world. His aesthetic material productions, made from traditional non-static knowledge - of a dynamic and experimental character - are central constituents of Krahô activities. Such dynamism was already revealed from the first contacts, approximately 200 years ago, and in this way art is renewed and resists over time.
The Krahô master ancestral weaving and weaving techniques with which they produce baskets, bags, taptis, mats, bracelets, necklaces, chokers, earrings, musical instruments and ritual ornaments, using the resources of buriti, tucum, gourd, bark cajá, brazilwood, tiririca seed and several others.
The natural fibers and seeds of the Cerrado are used with attention to the expression of the group and the creativity of each artisan and artisan. Tiririca, a type of common seed in the region, is the main raw material for making body adornments and various ritual objects of different shapes and sizes. Collected by older women in the period between July and August, the tiririca goes through a long and delicate process until it is transformed into an account for weaving.
Some of the patterns used are known, such as tortoise (kapran hôc), rattlesnake (patti hôc), boa constrictor (hàkati hôc), etc. However, so many others are created by women in the act of weaving, who refer to them as "it has no name, it comes from my thought" (ita mã ite amjikãm iapaxà) reflecting the creativity of each woman's thinking.
Who creates?
The Krahô are an indigenous people of the Brazilian Cerrado, belonging to the Jê family and the Macro Jê linguistic branch. The rich ritual culture, musicality and material culture encompass countless aspects of their lives, with preserved ways of living and feeling the world.
Since the first contacts, the artisanal production of household utensils has always been present in exchanges and exchanges with country people and riverside dwellers. The elders say that their grandparents used to make rafts of stems from buriti to go to Carolina / MA by the river, taking bags, baskets, taptis, gourds, gourds etc to exchange for salt, coffee, tobacco, clothes, tools, shotguns and ammunition. This custom is reflected in the still present habit of taking handicrafts to sell almost every time they go out to the city, especially to the more distant.
In this context, in 2003 the village created the Centro Cultural Kàjre Association to seek resources to promote ritual and material culture. Since 2010, advisor Vitor Aratanha, started working with the community to organize the sale of handicrafts. Today there are approximately 120 artisans and 20 active artisans working on the most diverse materials.
There is also the group Mentuwajê Guardiões da Cultura, created in 2011 for audiovisual and written recording of Krahô stories, songs and rituals.
Where do they work?
Põ is what the Krahô call the Cerrado, also recognized as pjê cunẽa which means "our land".
Demarcated in 1944 after an attack, the Krahô indigenous land, located in northwestern Tocantins, close to the municipalities of Itacajá and Goiatins, covers 3,2000 km² and is considered one of the largest continuous areas of preserved Cerrado in the country.
Aldeia Perda Branca is the largest and oldest village in the territory and has a population of approximately 450 people. The main economic activity of the inhabitants is the production and commercialization of their handicrafts; it is through the income generated that autonomy and food, environmental and cultural sustainability are sought, the "living well" of the Krahô people.
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As mãos que criam, criam o quê?
"conhecedores das multinaturezas, transformadas em matérias-primas para inventar e experimentar, os "artesãos" falam com os olhos e com as mãos." Centro Cultural Kàjre
Para além da produção de objetos, a noção de Artesania Krahô é uma forma de agir e se relacionar com o mundo. Suas produções materiais estéticas, feitas a partir de saberes tradicionais não estáticos - de caráter dinâmico e experimental - são constituintes centrais das atividades Krahô. Tal dinamismo revelou-se já a partir dos primeiros contatos, há aproximadamente 200 anos, e dessa forma a arte renova-se e resiste ao longo do tempo.
Os Krahô dominam técnicas ancestrais de tecelagem e trançados com as quais eles produzem cestos, bolsas, taptis, esteiras, pulseiras, colares, gargantilhas, brincos, instrumentos musicais e ornamentos ritualísticos, usando os recursos do buriti, do tucum, da cabaça, da casca do cajá, do pau-brasil, da semente de tiririca e várias outras.
As fibras naturais e sementes do Cerrado são utilizadas com atenção à expressão do grupo e da criatividade de cada artesã e artesão. A Tiririca, tipo de semente comum da região, é a principal matéria prima para confecção de adornos corporais e vários objetos rituais de diferentes formas e tamanhos. Coletadas pelas mulheres mais velhas no período entre julho e agosto, a tiririca passa por um longo e delicado processo até ser transformada em conta para tecer.
Alguns dos padrões empregados são conhecidos, como o jabuti (kapran hôc), cascavel (patti hôc), jiboia (hàkati hôc), etc. Porém, tantos outros são criados pelas mulheres no ato do tecer, as quais referem-se a eles como "não tem nome, vem do meu pensamento" (ita mã ite amjikãm iapaxà) refletindo a criatividade do pensamento de cada mulher.
Quem cria?
Os Krahô são um povo indígena do Cerrado brasileiro, pertencente à família Jê e ao tronco linguístico Macro Jê. A rica cultura ritual, musicalidade e cultura material abrangem inúmeros aspectos de suas vidas, tendo aí preservadas formas de viver e sentir o mundo.
Desde os primeiros contatos a produção artesanal de utensílios domésticos sempre esteve presente nas trocas e intercâmbios com sertanejos e ribeirinhos. Os mais velhos contam que seus avós faziam jangadas de talo de buriti para irem até Carolina/MA pelo rio, levando bolsas, cestos, taptis, cuias, cabaças etc para trocar por sal, café, fumo, roupa, ferramentas, espingardas e munição. Tal costume reflete-se no hábito ainda presente de levarem artesanato para vender quase todas as vezes que saem para a cidade, principalmente para as mais distantes.
Nesse contexto, em 2003 a aldeia criou a Associação Centro Cultural Kàjre para buscar recursos de fomento à cultura ritual e material. Desde 2010, o assessor Vitor Aratanha, começou um trabalho com a comunidade a fim de organizar a comercialização do artesanato. Hoje são aproximadamente 120 artesãs e 20 artesão ativos trabalhando os mais diversos materiais.
Há também o grupo Mentuwajê Guardiões da Cultura, criado em 2011 para registro audiovisual e escrito das histórias, cantos e rituais Krahô.
Onde criam?
Põ é como os Krahô chamam o Cerrado, também reconhecido como pjê cunẽa que significa "nossa terra".
Demarcada em 1944 após um ataque, a terra indígena Krahô, localizada no noroeste do Tocantins, próximo aos municípios de Itacajá e Goiatins, tem 3.2000 km² e é considerada uma das maiores áreas contínuas de Cerrado preservado no país.
A Aldeia Perda Branca é a maior e mais antiga das aldeias do território e tem uma população de aproximadamente 450 pessoas. A principal atividade econômica dos habitantes é a produção e comercialização de seus trabalhos artesanais; é através da renda gerada que busca-se a autonomia e sustentabilidade alimentar, ambiental e cultural, o "viver bem" do povo Krahô.
Our team
Luandro Vieira
Admin
Vitor Aratanha
Admin