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Figure 2. MAHKU collective, canvas painted in 2018 for the exposition Encontros Amerindios (Amerindian Encounters), Sesc Vila Mariana, Sao Paulo, 2021. Acrylic on canvas, 241 x 830 cm. Photo: Everton Ballardin.

Figure 2 MAHKU collective, canvas painted in 2018 for the exposition Encontros Amerindios (Amerindian Encounters), Sesc Vila Mariana, Sao Paulo, 2021. Acrylic on canvas, 241 x 830 cm. Photo: Everton Ballardin.

Related Figures (11)

Figure 1. Gloria Bima Sampaio Huni Kuin weaving the pattern of the /upuna tree (xunu kene), 2014. Rio Purus, Acre, Brazil. Photo: Els Lagrou. See the electronic edition of Res for color versions of most images.
Figure 1. Gloria Bima Sampaio Huni Kuin weaving the pattern of the /upuna tree (xunu kene), 2014. Rio Purus, Acre, Brazil. Photo: Els Lagrou. See the electronic edition of Res for color versions of most images.
Figure 3. Pablo Amaringo, Kapukiri, 1988. Gouache on paper, 18 x 24 inches (45.7 x 61 cm). Collection of Luis Eduardo Luna. the Brazilian Amazon. MAHKU spatial organization, however, is markedly different from those examples. The pictograms analyzed by Severi, for instance, which are produced by shamans’ apprentices in the context of writing and memorizing ritual songs, are characterized by the same formulaic rules that guide the ritual enunciation of songs, such as parallelism and the repetition of similar figures, with the introduction of small changes in color or attributes. The spatiotemporal logic of pictures by the MAHKU artists, however, follows the circular movement of encompassing and connection that characterizes Huni Kuin graphic design. The pictures are concentric rather than sequential, synthesizing the defining relational and transformational events of the song; no repetition of figures is noted. They invite exploration from multiple perspectives and entry points into the picture. The figural composition of a MAHKU painting functions therefore as an independent
Figure 3. Pablo Amaringo, Kapukiri, 1988. Gouache on paper, 18 x 24 inches (45.7 x 61 cm). Collection of Luis Eduardo Luna. the Brazilian Amazon. MAHKU spatial organization, however, is markedly different from those examples. The pictograms analyzed by Severi, for instance, which are produced by shamans’ apprentices in the context of writing and memorizing ritual songs, are characterized by the same formulaic rules that guide the ritual enunciation of songs, such as parallelism and the repetition of similar figures, with the introduction of small changes in color or attributes. The spatiotemporal logic of pictures by the MAHKU artists, however, follows the circular movement of encompassing and connection that characterizes Huni Kuin graphic design. The pictures are concentric rather than sequential, synthesizing the defining relational and transformational events of the song; no repetition of figures is noted. They invite exploration from multiple perspectives and entry points into the picture. The figural composition of a MAHKU painting functions therefore as an independent
Figure 4. Pablo Amaringo, Recovering a Young Man Kidnapped by a Yakuruna, 1986. Gouache on paper, 12 x 16 inches (30.5 x 40.6 cm). Collection of Luis Eduardo Luna.
Figure 4. Pablo Amaringo, Recovering a Young Man Kidnapped by a Yakuruna, 1986. Gouache on paper, 12 x 16 inches (30.5 x 40.6 cm). Collection of Luis Eduardo Luna.
Figure 5. Embroidered cloth by a Shipibo woman of eastern Peru, 2009. Collection of the author. Photo: Els Lagrou. The Huni Kuin, like most Amerindian peoples, consider blood and other bodily substances to be the vehicle of the soul or spirit. When an animal or human being is killed its spirit becomes liberated and can take revenge on the killer. When a person ingests nawa huni, In her study of Polynesian quilting, Kichler has demonstrated how patterns can reveal relations in and of themselves, rather than their outcomes or products: “quilts resonate with ‘a genealogical theory of mind’ that probes for connections. .. . A Polynesian quilt is an entity with relationships integrally implied in the ways motifs are serially enchained, ‘budding’ out of one
Figure 5. Embroidered cloth by a Shipibo woman of eastern Peru, 2009. Collection of the author. Photo: Els Lagrou. The Huni Kuin, like most Amerindian peoples, consider blood and other bodily substances to be the vehicle of the soul or spirit. When an animal or human being is killed its spirit becomes liberated and can take revenge on the killer. When a person ingests nawa huni, In her study of Polynesian quilting, Kichler has demonstrated how patterns can reveal relations in and of themselves, rather than their outcomes or products: “quilts resonate with ‘a genealogical theory of mind’ that probes for connections. .. . A Polynesian quilt is an entity with relationships integrally implied in the ways motifs are serially enchained, ‘budding’ out of one
Figure 6. Monteri Asurini, tayngava pattern, central Brazil. Genipap on paper, 32.5 x 45 cm BR MI SPI IC AS 01-82/AS04—Acervo do Museu do Indio/FUNAI—Brasil.
Figure 6. Monteri Asurini, tayngava pattern, central Brazil. Genipap on paper, 32.5 x 45 cm BR MI SPI IC AS 01-82/AS04—Acervo do Museu do Indio/FUNAI—Brasil.
Figure 7. Huni Kuin woman with xamantin kene face painting in genipap paint, 2018. Rio Jordao, Acre, Brazil. Photo: Els Lagrou.
Figure 7. Huni Kuin woman with xamantin kene face painting in genipap paint, 2018. Rio Jordao, Acre, Brazil. Photo: Els Lagrou.
Figure 9. MAHKU collective, depiction of the song Nai mapu yubeka (detail of fig. 2). Photo: Everton Ballardin.
Figure 9. MAHKU collective, depiction of the song Nai mapu yubeka (detail of fig. 2). Photo: Everton Ballardin.
Figure 10. MAHKU collective, depiction of the song Yube Nawa Ainbu (detail of fig. 2). Photo: Everton Ballardin.
Figure 10. MAHKU collective, depiction of the song Yube Nawa Ainbu (detail of fig. 2). Photo: Everton Ballardin.
Figure 11. MAHKU collective, depiction of the song Txain punke duaken (detail of fig. 2) Photo: Everton Ballardin.
Figure 11. MAHKU collective, depiction of the song Txain punke duaken (detail of fig. 2) Photo: Everton Ballardin.
Figure 12. MAHKU collective, depiction of the song Yame awa kawanai (detail of fig. 2). Photo: Everton Ballardin.
Figure 12. MAHKU collective, depiction of the song Yame awa kawanai (detail of fig. 2). Photo: Everton Ballardin.
Related topics:
AnthropologyAnthropology Of ArtAnthropology of ShamanismRelational aesthetics
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