O que nos ensinam os desenhos Ejiwajegi/Kadiwéu?

Abstract

Characterized by a particular figurative minimalism, in which insinuation is more frequent than demonstration, indigenous art has been studied in its statute and agency, related to the particular cognitive universe in which it operates. Entering the field of suggestion, in this book we explain possible interpretations of kadiwéu drawings, whether understood as a language or as an agency. […] In a parallel between sets of graphic elements and mythical knowledge, we understand that Godidigo (our writing, our letter – as the Ejiwajegi define their drawings) establishes countless connections, which are not complementary to primordial knowledge, but rather the same thing, that is, , such drawings are graphic myths, as they are an alternative memory technique to writing and orality, which communicates primordial knowledge to its viewers and, in this way, they act on them by recalling memories. (INTRODUCTION, Maria Raquel da Cruz Duran) The book, divided into three chapters, presents in the first twenty of the graphic patterns of godidigo and the relations of approximations and distances that operate through the drawings. In the second chapter, the godidigo lead the reader to the sphere of feminine initiation festivities, the debutante festivities, celebrated by some families in the context of Christian cults ministered by indigenous pastors. The godidigo also refer to the struggles for the reconquest of the land, to the retaking parties, to the contemporary political environments of the Ejiwajegi Kadiwéu. The third chapter deals with the ceramics complex, based on the reflections and practices that take place in the different stages that make up the ejiwajegi kadiwéu artists' studio: the long-awaited displacement of women through the indigenous territory of the Pantanal in search of the clay and vegetables they supply the colors used in the graphic patterns printed on the clay, the production and burning of ceramics in the village and, finally, the cultural projects and associations that constitute the networks for the circulation, exchange and sale of ceramics in the surrounding cities. (PREFACE, Marta Amoroso)