Display of a collection of Indigenous benches celebrating DF’s ancestry

This Wednesday (12/11), the National Museum of the Republic hosted the launch of the exhibition “Indigenous Banks of Brazil – Ritual” by the BEĨ Collection. Curated by Marisa Moreira Salles, Tomas Alvim, and Danilo García, and featuring artists and indigenous leaders, the exhibition brings to Brasilia a historic and symbolic collection of approximately 500 indigenous benches that represent over 4,000 years of indigenous knowledge, spirituality, and traditions.

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The opening event brought together art and culture lovers, as well as artists and indigenous leaders from different regions of Brazil, for a conference reinforcing the role of ancestral culture in the construction of Brazilian identity.

Please refer to highlights Opening view of the exhibition “Brazilian Indigenous Banks – Ritual”:

This free exhibit occupies two other spaces in Brasilia, the Dos Povos Indigenas Memorial and Itamaraty, and displays 51 ethnic benches that are part of a collection of more than 1,400 objects. Crafted from wood and carved with animal-like features and symbolic graphics, the pieces combine functionality, aesthetics and spirituality.

“Creating a bench is as important as using it,” stressed curator Marisa Moreira Salles, explaining that beauty lies in the connection to the sacred.

The exhibition “Brazilian Indigenous Bank – Ritual” is on display at the National Museum of the Republic

For Professor Eliel Benitez, a member of the Department of Language and Memory at the Ministry of Indigenous Affairs, the idea of an indigenous bench is a symbolic act that represents more than just the function of sitting. “It represents the balance of the body and realm, and the reunification with the divine,” he noted.

Benitez also explains that the graphics inscribed in his work function as a spiritual language. “Each line has a symbol. On the Guarani benches, the ripples represent the path of the spirits of the universe. These signs attract spirituality to the village. When it approaches, good things happen.”

Exhibition Brazilian Indigenous Bank — Ritual
The exhibition features 51 ethnic benches, part of a collection of more than 1,400 pieces.

In addition to the drawing, the form of the animal also plays a fundamental role. For example, jaguars, anteaters, tapirs, and crocodiles represent the existence of the spiritual world, according to indigenous cosmology. “Each animal represents a higher dimension. The bench is an extension of the spiritual world,” he added.

For curator Thomas Alvim, the most important thing in sharing the collection with the federal capital is to encourage people to reconnect with their ancestors. “These benches speak of an aesthetic that protects the forest and reveal deep wisdom about the world. Knowing this is a form of cultural enrichment,” he emphasizes.

Cultural influence of indigenous banks in Brazil

At the opening, curator Marisa Moreira Salles revealed: Claudia Meirelles’ column How the publisher BEĨ came to start a collection of indigenous Brazilian banks. According to her, the relationship with the artifact manifested itself in an unpretentious way.

“Thomas Alvim and I have been editors at BEĨ Publishing for more than 35 years. Coincidentally, it is the name of the Tupi people. We were developing a collection of guides around Brazil with an emphasis on unusual objects, and one of our journalists came across an indigenous bench. We fell in love with its aesthetics and started looking for indigenous artifacts to get more of it,” comments Marisa Moreira Salles.

Conversation with curator Thomas Alvim

Over time, its fascination turned into a collection. When she had already collected around 300 works, Marisa realized the possibility of publishing a book on the subject. “They were beautiful. I realized that Brazilians didn’t recognize these things as part of their culture, so I had a desire to share them,” he recalls.

During the editorial process, curators noticed that many banks had similar characteristics, which led to the discovery of authors and recognition of Indigenous authorship. “We were able to distinguish about 70% of the banks. We had to scour all of Brazil looking for these artists,” he says.

Formed over 25 years, the BEĨ collection began as an aesthetic passion that quickly turned into a cultural mission. “When we realized there were writers behind each bench, we realized we needed to recognize them. We can no longer talk about tribal art, but Indigenous art that has a name, an identity, a trajectory,” Marisa says.

Exhibition spanning three cultural spaces in the federal capital

In Brasilia, benches are not the only thing on display at the exhibition. Maria said the public will be able to see first-hand the masks, nets, decorations and artwork that will expand visitors’ sensory experience.

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indigenous bank

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The exhibition also includes masks, nets, decorations, and works.

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network

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animals are sacred representations

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indigenous crafts

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spear

Wei Alves/Metropoles @weyalves

Danilo García, one of the collection’s curators, said the exhibit, which features three iconic symbols of the federal capital, was designed to be in dialogue with the local architecture. At Itamaraty, benches are installed in the modernist hall that blends with the character of the building.

At Dos Povos Indígenas Memorial Museum, graphics by artist Dayara Tucano were projected onto the walls and floor, creating an immersive environment. “There, visitors see their skin reflected in red, a ceremonial color that surrounds the body in the exhibition,” comments Danilo.

Nine different ceremonies were held at the National Museum of the Republic, represented by benches. Among them are the Xingu ritual of farewell to the dead, the Qalpu, and the Karaja ritual of Lokhang, which marks the passage from childhood to adulthood.

Fatima Medeiros, director of the National Museum of the Republic, celebrated the opening as an experience of discovery. “This exhibition allows the people of Brasilia to get closer to the craftsmanship and spiritual richness of the indigenous people. It allows us to immerse ourselves in cultural works of which we were previously less aware. It is in a central location and gives many people the opportunity to learn about art,” he comments.

Check out who attended the opening cocktail through Wei Alves’ eyes.

French Ambassador Gerardina Renan. Marisa Salles and Claudia Estrella
Rafael Santana, Lazzara Carvalho, Leo Lacy, Thomas Alvim, Daniel Maranhão
Sanage
Marisa Salles and Claudia Meirelles
Kulmare Karaja, Rafael Andrade, Sokrowe Karaja, Johnny Kobayashi
Gabi Mehinako, Ariane Mehinako, Ana Kamayura, Simone Aweti
Daniel Marañon and Eliel Benitez
Sergio Leo and Sara Seilert
Thiago Abreu and Juliana Maseno
Sokrowe Karaca
Molina Reis, Fatima Medeiros, Claudia Meirelles, Sara Seilert
Rua Kizero, Alexandre Barata, Adele de Fe
Gabriel Jara, Marcelo Gomez, Marisa Salles, Leo Lacy, Silvio Rocha
Claudia Meireles and Ricardo Froese
Cecilia Piva and Luala Presotti
Leo Lacy and Daniel Marañon
Rodrigo Braganza de Queiroz and Isabella Braganza de Queiroz
Edgrenia López, Joao Flor de Maio, Marcia Lousada, Elisa Carvalho
Lulu, Toiyane, Ana Kamayura
Tehue Kalapalo, Yakalo Kalapalo, Wayukuma Kalapalo Narbuto, Yahuapi Kamayura
Claudia Meirelles
Danielo Garcia and Ana Paula Guerra