#Shipibo Conibo

[mundaoincrivel]

Cerro El Cono a Suposta Pirâmide Com 400m de Altura Que Fica na Amazônia?

Cerro El Cono a Suposta Pirâmide Com 400m de Altura, localizada na reserva de Sierra del Divisor, na divisa do Brasil com o Peru. O mistério do Cerro El Cono a suposta pirâmide com 400m de altura. Por décadas foram descobertas pirâmides em diferentes partes do mundo, que eram desconhecidas da humanidade. É possível que uma delas encontra-se na enigmática Amazônia, Cerro El Cono, na Sierra del Divisor ​​é uma espécie de ilha em formato de montanha que não pertence à cordilheira andina.

[folkfashion]

Shipibo-Conibo woman, Peru, by el.sushi

[grey-sorcery]

Title: Mirrors: Portals and Uses

Recommended Reading

Altars: Uses & Design Dimensions & PlanesDualities in Witchcraft Researching Witchcraft Spiritwork: First Steps Basics of Spellcasting Basics of Warding Basics of Banishing Energy Work Fundamentals Intermediate Energy Work The Subtle Body The Wellsource Correspondences: Research, Creation, & Use

Please note that some information on this post comes from personal experience as well as conversations with my elders and other practitioners.

Introduction

Mirrors harbor a unique and paradoxical role, often existing at the intersection of clarity and obfuscation. Throughout the annals of history, these reflective surfaces have been the subject of mystic fascination and contemplation. Shrouded in a mysterious aura, mirrors are an integral component of various mystical practices across diverse cultures.

A seminal instance is observed within the African Yoruba tradition, where mirrors are emblematic of Oshun, the deity of beauty, love, and prosperity. Here, these reflective surfaces serve as conduits to divine insight, manifesting the ethereal into the perceptible. Parallel to this, in the indigenous cultures of the Amazonian Shipibo-Conibo people, mirrors - often represented by reflective surfaces of water - are perceived as gateways to understanding the complex layers of the universe, thus embodying a significant spiritual tool. Moreover, in many East Asian practices, mirrors carry deep symbolic significance and are fundamental in rituals aiming to ward off malevolent forces. Among the Ainu people of Japan, for instance, mirrors function as amulets, protecting the holder from supernatural harm.

Mirrors as Portals

A ubiquitous yet perplexing facet is the concept of mirrors functioning as portals. These reflective surfaces, more than mere decorative elements or vanity tools, hold a quintessential place in mystic and magical practice, extending beyond their ordinary use to become intermediaries between the unknown and the practitioner. Diving into the understanding of mirrors, one might read about their role as gateways. The duality of mirrors, both reflective and transparent, presents a tantalizing paradox: what they display isn't a mere reflection, but an alternate universe or spiritual plane. This dichotomy positions mirrors as a connective threshold, an aperture between the observable and the unknown, the physical and the mystical. Despite their allure, mirrors necessitate careful handling within a magical context. It is a common misconception that mirrors only function as portals during explicit rituals. However, their latent potential as conduits should not be overlooked. Consequently, it's paramount that mirrors remain shrouded or safeguarded within consecrated spaces to prevent inadvertent connections to unwelcome energies. Approaching this aspect with a measure of respect and precaution is instrumental in maintaining the equilibrium of such spaces.

Historically, the mirror's role as a portal is discernible across a myriad of cultural contexts. In Greek mythology, Narcissus fell victim to his reflection in a pool of water, demonstrating an early symbol of mirrors as deceptive portals to the ego. In Chinese folklore, the mythical creature Nüwa repaired the heavens using a seven-colored stone, comparable to a mirror, again associating these reflective surfaces with cosmic transitions.

Mirrors often represent truth, knowledge, and self-awareness, owing to their reflective properties. However, their potential as portals imbues them with added dimensions of mystery, transformation, and transition. The mirror, in this context, becomes a metaphor for change and personal evolution, presenting a liminal space where the known meets the unknown, thereby offering new possibilities and perspectives.

Given the energetic properties inherent in mirrors, they should always be treated as portals. Their constituent materials - silica and silver - interact in such a way that a subtle, yet potent, energetic field is generated, a field potentially capable of bridging multiple planes. To ensure safety, mirrors should be handled with respect and caution. They should be appropriately covered or warded when not in use, especially within sanctified spaces. It is also recommended to cleanse mirrors regularly to reset their energetic state and prevent any residual energies from accumulating.

Energetic Interactions & Metaphysics

Energetic Interactions

Amid the energetic symphony of the universe, each object reverberates its unique energetic signature, contributing to the collective composition. Mirrors, with their paradoxical and captivating nature, have often been the center of esoteric investigation. This intrigue is rooted not only in their physical attributes but also in their nuanced energetic interactions.

To comprehend the energetic interplay of mirrors, one must first examine the properties of its constituent components. Primarily, mirrors are composed of glass, a substance formed from the supercooling of molten silica into a quasicrystalline structure. Coating the back of this silica-based surface is a thin layer of reflective metal, usually aluminum or silver. 

Silica is very insulative, and negentropic, meaning that its natural energetic state eventually resets regardless of influence. It is also Attractive, meaning that it slowly pulls other energetic compounds to itself. Due to the quasicrystalline structure, glass is refractive and enthalpic, meaning that it becomes thermal under pressure- or releases energy. Silver is conductive and repulsive in nature. Due to how silver atoms prefer to arrange themselves (a face-centered cubic lattice) it also tends to be very metastable, meaning that its natural energetic state is not prone to change regardless of energetic interactions. Because the two are constantly next to each other, because of the silver backing, the negentropic nature of the silica causes an energetic cycle of attraction and repulsion, this oscillation combined with the conductive nature of silver and the entropic nature of glass generates a small energetic field. While this is normally negligible, it creates the perfect environment for the propagation of connections between spaces or planes that are out of phase with our own. 

The unique composition of mirrors implicates a distinct effect on the ambient energy. Mirrors, with their inherent vibrational resonance, can both pull and push energy, thereby influencing the surrounding energetic atmosphere. The capacity of mirrors to manipulate energy finds practical applications in the sphere of spellwork and energy transmutation. Through their reflective properties, mirrors can serve as effective tools in spells that involve redirection or amplification of energy. They can be used to create energetic boundaries, return energetic influences, or focus and multiply ambient energy and energetic projections. 

Common Metaphysics of Mirrors

The mirror, with its intrinsic capacity to reflect, serves as a potent symbol of the Jungian 'Shadow' - the hidden aspects of one's psyche that are often suppressed or ignored. Through the act of looking into a mirror, one is invited to confront and acknowledge these facets, facilitating a journey towards holistic self-awareness. The mirror, in this respect, catalyzes self-reflection and introspection, propelling an individual towards self-understanding and acceptance. Delving into the sphere of mirror magic uncovers its profound connection to personal transformation. The reflective nature of mirrors encapsulates the principle of change, embodying the potential for alteration and transformation. As such, mirror magic can be utilized as a tool for self-development and evolution, offering a means to focus energy towards constructive change. Beyond symbolism and transformation, the metaphysical properties of mirrors warrant exploration. Mirrors, by their construction and function, are potent energetic entities. The amalgamation of silica and metallic elements results in a unique vibrational resonance, enabling the mirror to absorb, store, and emit energy. This energetic characteristic, coupled with the mirror's reflective capacity, amplifies its metaphysical potency, making it an influential tool in various mystical practices. Moreover, the reflective nature of mirrors aligns them with the principle of 'as above, so below', a concept found in various esoteric traditions. This principle speaks to interconnectedness, suggesting that what occurs on one level of reality also happens on another. Mirrors could, therefore, serve as a solid physical replacement for any correspondence necessary.

Divination, Spells, & Ritual

In the enigmatic arena of divination, mirrors command a distinctive presence. Among various techniques, scrying - the act of gazing into a reflective surface to perceive spiritual messages - emerges as a common method of introspection and foreknowledge. This practice unfolds as a tripartite process, encompassing the scrying ritual, technique, and subsequent interpretation.

Scrying, an ancient form of divination, leverages the reflective properties of reflective surfaces, like mirrors, to delve into the psyche, unveil hidden knowledge, or prognosticate future events. This technique transcends conventional sensory perception, engaging instead with subconscious and/or spiritual entities. The mirror functions as a medium, harnessing and focusing the widened attention in order to project images or symbols onto the reflective surface. These visual constructs carry messages from the spiritual domain, providing insights that range from self-understanding to predictive revelations.

Techniques & Rituals for Scrying

Executing mirror scrying necessitates a meticulous approach. Often, the process commences with the preparation of the space and the individual. Creating a tranquil environment, devoid of disruptive elements, facilitates a deeper, unhindered connection with the spiritual plane. Personal preparation includes grounding and centering exercises to align the individual's energy with the ambient energy of the environment. They then place a light source between them and the reflective surface. Once prepared, the practitioner enters a meditative state, allowing their gaze to soften and unfocus while looking into the mirror. This passive observation invites subconscious impressions to surface and be displayed on the mirror. Maintaining an open mind and a receptive state is crucial, as the visions or symbols may not be immediately clear or might require subsequent interpretation.

Interpretation of Images & Symbols in Reflections

Post the scrying experience, the practitioner embarks on the task of interpreting the observed symbols or images. This phase is intrinsically subjective, as the significance of the symbols often rests within the personal context of the observer and their held convictions and correspondences. However, there are common archetypes and symbols that carry collective meanings, which can provide a starting point for interpretation.

For instance, water-themed images might signify movement, emotions, or the unconscious, while an image of a bird might symbolize freedom or spiritual elevation. However, these interpretations are not rigid, and the practitioner must trust their intuition to derive the true message from the symbols. Being able to pull specific concepts from abstraction can be an invaluable tool in this practice. Moreover, it's worth noting that the absence of specific images during scrying does not indicate failure. Sometimes, the experience might be more of an energetic shift or a feeling, which are equally valid forms of divinatory communication.

Examples of mirror spells for different applications

Harnessing the power of mirrors, one can devise a multitude of spells tailored for diverse purposes. One such example pertains to protection, where a mirror can serve as a shield to deflect negative energy. Here, the mirror is positioned facing outward, symbolically repelling unwanted influences, thereby safeguarding the individual or space.

Another practical application can be found in the realm of healing. A mirror, due to its reflective nature, can be utilized to channel and focus healing energy towards a specific target. For instance, an inscription or symbol associated with health could be drawn on the mirror surface. Subsequently, this healing symbol is then "activated" by focusing one's concentration on it, allowing the mirror to magnify the healing intention.

Mirror spells also prove instrumental in the domain of self-improvement. One may write or speak affirmations into a mirror, thereby employing its reflective capability to reinforce positive change. The mirror's surface serves to amplify the affirmation, aiding in its internalization and materialization.

Ritual Practices Involving Mirrors

Mirrors, acting as tools for focus, protection, and transformation. One common ritual involves the use of a mirror as a portal for spiritual communication. In this practice, the mirror is treated as a gateway, a connection point between the physical and spiritual planes. Practitioners may engage in meditation or trance work in front of the mirror, seeking to establish communication with spiritual entities or access deep layers of the subconscious.

Another ritual entails the use of a mirror in a consecration ceremony, where the mirror is "cleansed" of any residual energy and "charged" with a specific purpose. This process involves elements like incense, candles, or natural elements like moonlight, leveraging their specific energetic signatures to cleanse and empower the mirror.

One must, however, proceed with caution when interacting with mirrors in a ritualistic context. Given their potent properties, mirrors must be handled respectfully and carefully. Always ensure that the ritual mirror is properly stored or covered when not in use to prevent any unintended energetic interactions.

Example Ritual That Incorporates Mirrors

Ritual of Mirror Reflection

Objective: This ritual aims to promote self-reflection, growth, and self-awareness. It harnesses the unique properties of mirrors to aid participants in seeing and understanding aspects of themselves more clearly.

Optimal Circumstances: Conduct this ritual during a new moon, a time known for introspection and new beginnings. A quiet, dimly lit space with minimal disturbances is ideal.

Ingredients and Correspondences:

Mirror: Acts as the primary tool for reflection and introspection

(Optional) A bowl

White Candle or electric candle: Represents purity and clarity.

(Optional) Lavender Incense: Used for relaxation and heightening awareness.

(Optional) Salt: Represents grounding and protection.

(Optional) Incense for grounding

(Optional) Offerings for your spirits

Preparation:

Create a clean, sacred space where the ritual will take place.

Place the mirror on a flat surface.

Practice the incantation until you can recall it without breaking your train of thought: “Show me, guide me, reveal the truth inside me.”

(Optional) Place the salt and lavender in a bowl and then set the candle in the bowl, cradled within the mixture to support it.

(Optional) Place the candle between you and the mirror before lighting it.

If the bowl, salt, and lavender is omitted, just place the candle between you and the mirror. Be sure that the candle is in a glass container for fire safety.

Procedure:

Creating and Engaging the Headspace:

Ensure that your space is free from distractions by turning devices off or on silent, taking measures to get pets quiet and happy, notifying other residence that you require some quiet, putting on headphones with music, and setting comfortable lighting.

Use the flame from the candle dance. Let its clarity inspire your mind to remain focused and clear throughout.

(Optional) Affirm to yourself, “Today, I seek a clearer understanding of myself.” if you think it will aid you.

Maintain this headspace by repeatedly returning your focus to the candle's flame and the points of gnosis whenever your mind wanders.

Entering a State of Gnosis:

 Light the incense and take a few deep breaths, inhaling the calming scent.

Sit or stand comfortably before the mirror, gazing deeply into your reflection.

Allow any extraneous thoughts to flow out with each exhale.

Gradually move your awareness inwards on your own psyche. While maintaining equal awareness of each component, break up your psyche into subsequent parts by whatever categorization feels most optimal for you.

Include awareness of your subtle body in your gnosis, as it also plays a role in the psyche.

Take steps to ensure that your state of gnosis is unbroken throughout the spell.

Programming the Energetic Body:

Within your gnosis, move your center of consciousness into your subtle body.

Incorporate your Wellsource into your awareness and how it feeds energy into your subtle body.

Begin to radiate Wellsource energy out of each energy point radially. Be sure that the amount of energy per second is unilateral for each point. 

Energetic Constructs:

While maintaining gnosis, reach out and sense the energetic properties and projections from the mirror. It should be a rapidly oscillating field that projects roughly 10 cm -1 m away from the mirror relative to its size. If you’re using a black mirror, stone mirror, or any mirror that doesn’t have a silver backing it will have a different energetic sensation.

(Optional) Incorporating Spirits:

To integrate spirits, whisper a humble request for guidance from trusted spirits and give whatever offerings they prefer. To identify them, look for sensations of warmth, a gentle pressure, or feelings of serenity.

Ensure that you do not demand, but gently request their presence.

Understand that they will help you if they desire, but do not rely on or expect their assistance.

Ritual Action:

Gaze into the mirror, allowing your eyes to defocus slightly. As you do, softly chant or whisper, “Show me, guide me, reveal the truth inside me.”

With each repetition, delve deeper into introspection, understanding the various facets of your being.

Sink your awareness into the components of your psyche. Try not to label them, and just observe them. Trust that your subconscious will bring back what it is you need from the working.

Concluding the Ritual:

 Collect the energy you released and send it into the earth.

Thank your spiritual aids, if you called them, and invite them to leave.

Extinguish the candle and clear the space, ensuring to store the mirror safely.

Cleanse the space using whatever means are more comfortable to you.

Note: Always cleanse the mirror after use to reset its energetic state. This can be done by washing it with salt water or vinegar. If you’d like to seal the mirror, draw a sigil on it and/or cover it with a black or white cloth.

Spirit Work

Mirrors, in their multifaceted roles within various esoteric traditions, exhibit a powerful capacity for spirit work. This encompasses a wide spectrum of practices ranging from entity banishment to spirit communication. The exploration of these applications, while deeply intriguing, also necessitates an attitude of respect and careful handling given the potent nature of this work.

Examples of Mirrors in Use for Spirit Work

In several indigenous cultures, mirrors are employed for spirit work, acting as conduits between the physical world and the spiritual realm. For instance, among the indigenous Huichol people of Mexico, mirrors are often integrated into shamanistic practices to facilitate communication with ancestral spirits. This specific usage is chronicled in "The Huichol: A Culture Walking Towards the Light" by Susana Valadez and "Shamanism and Spirituality in Therapeutic Practice" by Christa Mackinnon.

In Asia, particularly within the indigenous Ainu community of Japan, mirrors, known as "Iyomante," are considered sacred objects that bridge the gap between humans and "Kamuy" (divine beings). Details of this practice can be found in "The Ainu and their Folklore" by John Batchelor and "Ainu: Spirit of a Northern People" by William Fitzhugh and Chisato Dubreuil.

Using Mirrors for Banishing

Mirrors also play a role in the banishment of unwanted entities. The rationale behind this practice is that the mirror's reflective surface 'returns' the entity's energy back to itself, which can prove disorientating or repelling for the entity. It can also act as a portal to another spiritual plane through which an entity can be sent to. A particular method involves placing the mirror with the reflective side facing outwards towards the direction from which the negative energy is perceived to originate. During this process, the practitioner maintains a focused state, using projections from the subtle body to direct the unwanted energy into the mirror. 

Using Mirrors for Spirit Communication

The reflective nature of mirrors has led to their usage as tools for spirit communication, serving as a medium through which messages from the spiritual realm can be received. This practice often involves mirror gazing or scrying, where the practitioner enters a meditative state and focuses on the mirror's surface, inviting communication from spirits.

One notable example is the "Psychomanteum," a mirrored chamber used for contacting spirits of the departed, popularized by Dr. Raymond Moody, author of "Reunions: Visionary Encounters With Departed Loved Ones". This technique requires a carefully controlled environment and preparation to facilitate spirit communication. It's recommended for only experienced practitioners or under the guidance of a seasoned professional. It is important to note that while mirrors can be effective tools in spirit work, some methodologies may not work for everyone due their vagueness or whether they’re writing from a personal narrative. 

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This article was reviewed and edited by ChatGPT

[shesnake]

hello deah! I recently watched Tar and didn't really like it, what are your thoughts on it? i really appreciate ur opinion

hope u are well!

hello I hope you're doing well too ♥️ I hated tár and I'm actually writing up a big thing about Why so I won't say anything just now. in the mean time I do speak on it briefly in the most recent gayv club episode + I LOVE this review from Another Gaze which articulates a lot of my dislike perfectly:

[santoschristos]

Heartbeat (of The Medicine Bird)

A traditional Shipibo-conibo quiquin (Amazonian pattern design) rendered into one-point perspective, then mirrored.

The bolder lines emphasised to create a mandala-design.

Daniel Mirante

[briefbestiary]

The horned ruler of Panshin Nete, the world of evil spirits in the Shipibo-Conibo cosmovision.

[la-tierra-que-habito]

El arte Kené, creado específicamente por las mujeres de la etnia Shipibo-Conibo de la Amazonía peruana, hunde sus raíces en la antigua practica de la ablación genital, hoy desterrada. SHIPIBAS es también la búsqueda del arte Kené y la cosmovisión femenina que brota con el estado de trance de sus creadoras.

[amazontripsperus]

Best Amazon Tours in Peru for Indigenous Experiences

The Amazon is one of the most biodiverse places on earth, full of adventures and possible discoveries. With its huge Amazonian basin, Peru offers an ideal place to get close to nature and deepen ties with indigenous cultures. The best Amazon tours in Peru can provide an enriching journey deep into the heart of the vibrant ecosystem to travelers seeking unique indigenous experiences, learning from local communities their traditional practices and being able to value their deep cultural heritage of the Amazon.

Immersive Cultural Encounters

The greater part of Amazon jungle tours from Lima goes beyond the usual observation of wildlife; this time, it allows real exposure and interaction with the indigenous communities. Among these people one can visit are the Shipibo-Conibo, Asháninka, and Yagua. Each community has unique traditions, languages, and ways of life that show a great tapestry of culture. This can include attending traditional ceremonies, observing the preparation of local medicines and healing practices, or watching how traditional crafts are made. Such interactions enrich your personal knowledge about the local culture and help in preserving and appreciating these communities' ways of life.

Traditional Knowledge and Practices

One of the highlights of indigenous-focused Amazon tours out of Puerto Maldonado is the insight into traditional ecological knowledge. Indigenous guides and community members describe their deep knowledge regarding rainforest flora and fauna: how they use different plants for medicines, foods, and everyday life in general. These tours often include visits to local herbalists or shamans to observe ancient healing practices and spiritual signs or meanings associated with plants, herbs, and various animals. Having experienced it enables one to better appreciate how indigenous people relate to their environment, showing a harmonious relationship developed through the centuries.

Authentic Community Involvement

The greatest Amazon tours in Peru focused on indigenous experiences often put great emphasis on sustainable and responsible tourism. Such tours are designed and managed in a way that the local communities directly benefit from the tourism activity, leading to economic development and cultural preservation. By joining this kind of tour, you can help the local artisans by purchasing their handicrafts and also take part in community-driven conservation efforts. Such tourism can enable an equitable distribution of the benefits accruing from travel and help safeguard the cultural integrity of indigenous peoples and their heritage.

Adventure and Exploration

While being immersed in local culture is the essence of such tours, active jungle adventures generally formulate the core. Most of the tours offer guided jungle hikes to take you through the different ecosystems of the jungle, spot wildlife, and appreciate the beauty of nature that exists in the Amazon. Activities can range from canoeing along winding rivers to birdwatching for rare species. These adventures are led by educated guides who provide background information on the ecological importance of the rainforest and its relation to indigenous cultures.

Sustainable and Ethical Travel

Therefore, looking at sustainable and ethical criteria is an important focus when choosing a tour that delivers indigenous experiences. The best Amazon tours in Peru move toward environmentally sound conservation with respect for indigenous rights. Reputable tour operators work closely with the local communities to make sure their practices are not affecting the environment and traditional ways of life. They respect responsible travel practices: reducing ecological footprint, avoiding exploitation, and being culturally sensitive. In opting for tours with these practices in mind, you are preserving the rainforest from further destruction and ensuring that the rights and welfare of its aboriginal people are upheld.

Planning Your Journey

Looking for an experience that will expose you to indigenous people in the Amazon tours in Peru is best done by searching for quality tour operators with a focus on cultural and eco-tourism. Check out reviews and testimonials from past travelers to get an idea of what kinds of experiences to expect. Consider what aspects of indigenous culture and rainforest exploration are most important to you, and choose a tour that aligns with your interests and values. It’s also a good idea to reach out to the tour operator directly to ask questions about their sustainability practices and community engagement.

Explore the Best Amazon Tours in Peru with Amazon Trips Peru

Amazon Trips Peru offers the best Amazon tours in Peru, delivering unforgettable experiences through guided jungle adventures. Specializing in cultural interactions with indigenous communities and immersive rainforest exploration, they ensure an authentic and eco-friendly travel experience. Discover the magic of the Amazon with expert local guides.

[juansilvabocanegra]

QEPD ✝️  ENFRENTO CON VALENTIA LA ENFERMEDAD ✝️ ANCIANITO DE COMUNIDAD NATIVA SHIPIBO CONIBO

[rethinkingconceptualism]

Acts of Decontextualising Again: On the Risks of Auto-Exoticism in “O Quilombismo” at House of World Cultures

Katerina Valdivia Bruch

What do the Dalit in India have in common with indigenous art from the Amazonas region in Perú, the Mapuche from Chile or the Afro-communities in Brazil? Resistance, resistance, resistance. 

The exhibition “O Quilombismo” takes as a basis a book by Brazilian artist, scholar and politician Abdias do Nascimento, who wrote “O quilombismo: Documentos de uma militância Pan-Africanista” in 1980, while he was living in exile in the US. The notion encompasses the idea of a group of people, who escaped from slavery, establishing communities of “fraternal and free reunion, or encounter; solidarity, living together, and existential communion.”

In Berlin, under the term “Quilombismo” the exhibition presented works that refer to the Dalit, indigenous groups from the Amazonas region in Perú and the Mapuche in Chile, as if all have to do with the same cause. While the caste system existed before the British colony (ca. 1500 BC), the “quilombos” were communities created by Afro-Brazilians, who escaped from slavery in the sixteenth century. Another example of decontextualisation happens with the inclusion of art by popular artists from the Amazonas region (the shipibo-conibo community from Pucallpa). These and other indigenous groups suffered from the consequences of the rubber boom extractivism in the Amazon basin (ca. 1870-1920). Although they officially were not slaves, they were treated as such. The exhibition puts everything in the same basket, without differentiating the importance and the meaning of each one of these struggles. 

The display resembles a traditional folk craft fair, with batik textiles hanging from the ceiling, traditional “arte popular” (popular art) pottery displayed on a half-moon base structure with two levels, or hand-woven textiles attached on the walls. Although the exhibition offers a supposed “pluriverse,” for me it presents a closed circuit, in which minorities are presented as the idealised exotic other. The artists are reduced to their identity, although identities are newer static. They are always in constant transformation. The opening ceremony included a Voodoo ritual, convened by the Voodoo priest Jean-Daniel Lafontant from Haití. While this ritual might have had a transformative power in its original context; in Berlin after two or three beers and some selfies with friends (with the ritual in the background), Berliners would have probably forgotten about it. 

“We are coming in peace,” said Bonaventure Soh Bejeng Ndikung, the newly appointed director and chief curator of House of World Cultures (Haus der Kulturen der Welt, HKW for its German acronym) during his opening speech. Although he has been active in the art scene for several years, his phrase appeared as if he and his team were arriving from a spaceship and landing at HKW to conquer the art scene with their “new” vision of the arts. However, his view of the arts is not new at all, as it is based on theories developed long time ago.

Beyond Abdias do Nascimento, throughout the 1970s and 1980s several Latin American art theorists discussed the importance of focusing on local contexts, which included reflecting on the local popular cultures with an anti-colonial and anti-imperialist tenor. Influenced by the theory of dependency, a group of Latin American theorists gathered in different international meetings and reflected on the creation of a social theory of art from a Latin Americanist perspective. Among them were Mirko Lauer, Juan Acha, Rita Eder, Aracy Amaral, Damián Bayón or Marta Traba. Although the discussions around “arte popular” (local popular art) were not exempt from contradictions, there were attempts to present popular art within contemporary exhibition settings. For instance, the first three editions of the Bienal de la Habana (1984, 1986 and 1989). Knowing this, I wonder why the curators at HKW did not invest more time in researching this Latin Americanist perspective, and present works that would be in tune with the localist and anti-colonial tendency of the arts of that time. 

Today, it is common in the art world to decontextualise, in order to present the past from a “new” and “different” perspective. In this show, instead of going deeper into what “Quilombismo” means, the exhibition mixes completely unrelated topics in the same show. Additionally, one needs to check the reader all the time to find out about the works and the artists. Instead of learning and understanding, I came out of the exhibition with a huge question mark, thinking of what it was all about. 

Although the art world is currently working hard on being “inclusive,” the fact is that we are experiencing censorship in the arts. This is exemplified in the constant exposure of the work by Ukrainian artists and Ukrainian flags waving on top of important museums; while Russian artists are not exhibited (since the current war in Ukraine, everything coming from Russia is considered as evil). While Berlin praises itself for being open to people from different cultural backgrounds, a week ago I witnessed a disappointing situation. On a rooftop terrace close to Berlin Zoo, two Muslim men were sitting in silence doing their afternoon prayer. After a few minutes, a waiter from the nearby bar came out and asked them to stop praying and leave the terrace. While the two men were not disturbing anyone, I wonder whose inclusion we are discussing.

In times of Chat GPT and AI, in the art world it is all about “our ancestors.” And yet, whose ancestors are we talking about? Did the ancestors do things better? Was there a paradise in the past that we need to recover? Paradoxically, the ancestors invented patriarchy and the caste system. Instead of putting people into boxes, defining them by their identity, and decontextualising the history of past social struggles, one shall think about what we have in common as human beings; collaborate despite our differences, and reflect on possibilities on how to do things better than our ancestors.

Image: Installation view of “O Quilombismo” at HKW. Photo: Katerina Valdivia Bruch

[artatak-texts]

Acts of Decontextualising Again: On the Risks of Auto-Exoticism in “O Quilombismo” at House of World Cultures

Katerina Valdivia Bruch

What do the Dalit in India have in common with indigenous art from the Amazonas region in Peru, the Mapuche from Chile or the Afro-communities in Brazil? Resistance, resistance, resistance. 

The exhibition “O Quilombismo” takes as a basis a book by Brazilian artist, scholar and politician Abdias do Nascimento, who wrote “O quilombismo: Documentos de uma militância Pan-Africanista” in 1980, while he was living in exile in the US. The notion encompasses the idea of a group of people, who escaped from slavery, establishing communities of “fraternal and free reunion, or encounter; solidarity, living together, and existential communion.”

In Berlin, under the term “Quilombismo” the exhibition presented works that refer to the Dalit, indigenous groups from the Amazonas region in Peru and the Mapuche in Chile, as if all have to do with the same cause. While the caste system existed before the British colony (ca. 1500 BC), the “quilombos” were communities created by Afro-Brazilians, who escaped from slavery in the sixteenth century. Another example of decontextualisation happens with the inclusion of art by popular artists from the Amazonas region (the shipibo-conibo community from Pucallpa). These and other indigenous groups suffered from the consequences of the rubber boom extractivism in the Amazon basin (ca. 1870-1920). Although they officially were not slaves, they were treated as such. The exhibition puts everything in the same basket, without differentiating the importance and the meaning of each one of these struggles. 

The display resembles a traditional folk craft fair, with batik textiles hanging from the ceiling, traditional “arte popular” (popular art) pottery displayed on a half-moon base structure with two levels, or hand-woven textiles attached on the walls. Although the exhibition offers a supposed “pluriverse,” for me it presents a closed circuit, in which minorities are presented as the idealised exotic other. The artists are reduced to their identity, although identities are never static. They are always in constant transformation. The opening ceremony included a Voodoo ritual, convened by the Voodoo priest Jean-Daniel Lafontant from Haiti. While this ritual might have had a transformative power in its original context; in Berlin after two or three beers and some selfies with friends (with the ritual in the background), Berliners would have probably forgotten about it. 

“We are coming in peace,” said Bonaventure Soh Bejeng Ndikung, the newly appointed director and chief curator of House of World Cultures (Haus der Kulturen der Welt, HKW for its German acronym) during his opening speech. Although he has been active in the art scene for several years, his phrase appeared as if he and his team were arriving from a spaceship and landing at HKW to conquer the art scene with their “new” vision of the arts. However, his view of the arts is not new at all, as it is based on theories developed long time ago.

Beyond Abdias do Nascimento, throughout the 1970s and 1980s several Latin American art theorists discussed the importance of focusing on local contexts, which included reflecting on the local popular cultures with an anti-colonial and anti-imperialist tenor. Influenced by the theory of dependency, a group of Latin American theorists gathered in different international meetings and reflected on the creation of a social theory of art from a Latin Americanist perspective. Among them were Mirko Lauer, Juan Acha, Rita Eder, Aracy Amaral, Damián Bayón or Marta Traba. Although the discussions around “arte popular” (local popular art) were not exempt from contradictions, there were attempts to present popular art within contemporary exhibition settings. For instance, the first three editions of the Bienal de la Habana (1984, 1986 and 1989). Knowing this, I wonder why the curators at HKW did not invest more time in researching this Latin Americanist perspective, and present works that would be in tune with the localist and anti-colonial tendency of the arts of that time. 

Today, it is common in the art world to decontextualise, in order to present the past from a “new” and “different” perspective. In this show, instead of going deeper into what “Quilombismo” means, the exhibition mixes completely unrelated topics in the same show. Additionally, one needs to check the reader all the time to find out about the works and the artists. Instead of learning and understanding, I came out of the exhibition with a huge question mark, thinking of what it was all about. 

Although the art world is currently working hard on being “inclusive,” the fact is that we are experiencing censorship in the arts. This is exemplified in the constant exposure of the work by Ukrainian artists and Ukrainian flags waving on top of important museums; while Russian artists are not exhibited (since the current war in Ukraine, everything coming from Russia is considered as evil). While Berlin praises itself for being open to people from different cultural backgrounds, a week ago I witnessed a disappointing situation. On a rooftop terrace close to Berlin Zoo, two Muslim men were sitting in silence doing their afternoon prayer. After a few minutes, a waiter from the nearby bar came out and asked them to stop praying and leave the terrace. While the two men were not disturbing anyone, I wonder whose inclusion we are discussing.

In times of Chat GPT and AI, in the art world it is all about “our ancestors.” And yet, whose ancestors are we talking about? Did the ancestors do things better? Was there a paradise in the past that we need to recover? Paradoxically, the ancestors invented patriarchy and the caste system. Instead of putting people into boxes, defining them by their identity, and decontextualising the history of past social struggles, one shall think about what we have in common as human beings; collaborate despite our differences, and reflect on possibilities on how to do things better than our ancestors.

Photo: Installation view of “O Quilombismo” at HKW. © Katerina Valdivia Bruch

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[aucpucminas]

A 6ª edição do Circuito Urbano de Arte (CURA) ganhou uma nova fase no início desta semana. Denominada “Raulzona”, ela tem como foco a Praça Raul Soares, localizada no centro geográfico de Belo Horizonte, e explora a conexão com o outro e com outros seres.

Em outubro de 2021, durante a primeira fase da edição, o artista Ed-Mun e o Coletivo MAHKU pintaram empenas de BH. Sadith Silvano e Ronin Koshi, artistas Shipibo-Conibo (etnia que vive na amazônia peruana) pintaram um Kené de quase 3 mil m² no chão que circula a Raulzona e o Coletivo JK marcou presença com uma projeção na fachada do Edifício JK. Entre 14 e 25 de fevereiro, juntam-se ao CURA para integrar um dos maiores movimentos de arte urbana do mundo o grupo Giramundo, que comemora seus 50 anos com uma instalação temporária na Praça Raul Soares, além da multiartista Mag Magrela, que fará a cobertura de uma das fachadas do Edifício Savoy.

Novas obras do CURA em BH

O Giramundo é um dos grupos mais tradicionais de teatro de bonecos do Brasil e tem relevância mundial. Além do amplo repertório de espetáculos com mais de 1.500 marionetes diferentes, o Giramundo mantém um museu, uma escola e um ateliê de artes e ofícios. No CURA, estará presente na Praça Raul Soares com a instalação Gira de Novo, inspirada no cosmograma bakongo, que traz os ciclos do universo, os movimentos do sol e as fases da vida humana como símbolo de recomeço.

Para além da Raulzona, Mag Magrela, multiartista paulistana que é referência nacional na cena de arte urbana contemporânea trabalha, desde ontem (17/02), em uma pintura na empena do Edifício Savoy. Reconhecida por suas formas femininas singulares no grafitti, falará sobre passado, resiliência e cura em sua obra.

O CURA

“2021 foi cheio de desafios para a realização do CURA. As entregas ganharam outros significados diante dos impasses vividos pela cultura no país, especialmente com a atuação em âmbito federal no sentido de enfraquecer o setor cultural, atrasando processos, autorizações, homologações, liberações de recursos, etc, e desidratando a cadeia produtiva da cultura. Sentimos ainda mais orgulho e alegria por tudo que foi apresentado e compartilhado até agora” explica Juliana Flores, uma das idealizadoras do circuito, ao BHAZ.

O CURA é conhecido por trazer temas importantes e necessários aos debates sobre cultura e sociedade a partir da cena artística da capital mineira fora dos museus e das galerias, usualmente restritos a grupos elitistas. Utilizando a cidade como tela, coloca Belo Horizonte em um patamar artístico de subversão à visão sobre a arte e sua relação com a sociedade e com os espaços que deve ocupar com participação importante da arte negra, indígena, feminista e LGBTQIA+.

Dessa forma, é emblemático que os murais do festival tenham tido início na mesma época em que os muros grafitados de São Paulo foram cobertos por tinta cinza. Isso fez com que BH fosse reconhecida nacionalmente como uma cidade que acolhe a arte urbana, explorando-a em favor dos artistas que não deixam a cidade se calar.

Idealizadores do CURA

Apesar de as empenas receberem maior destaque durante o festival, o CURA também é responsável por fomentar a cena cultural de Belo Horizonte em outros campos. “Costumamos dizer que o Cura é um festival com três camadas: a pintura, o mirante e a programação, que inclui debates, aulões e oficinas”, diz Janaína Macruz.

As trocas entre diversos públicos são muito importantes para o festival e, por isso, toda a programação de debates e de aulas é gratuita. Temas como a história do grafitti em BH e no mundo, a presença das mulheres no street art, a invisibilidade de artistas negros e as diferenças entre patrimônio material e imaterial da cidade já foram abordados. As trocas entre diversos públicos são muito importantes para o festival e, por isso, toda a programação de debates e de aulas é gratuita. Temas como a história do grafitti em BH e no mundo, a presença das mulheres no street art, a invisibilidade de artistas negros e as diferenças entre patrimônio material e imaterial da cidade já foram abordados.

Nas redes sociais

Na internet, o CURA também repercute de forma bastante positiva. Usuários do Twitter comentam sobre a beleza das obras. "É muito impressionante o que o CURA tem feito em BH (...) visto o caminho político que o país tomou", disse um deles. Outros, ainda aguardam o cenário futuro da cidade. "O centro de BH daqui a uns 5/6 anos vai estar fabuloso com os prédio 'tudo' pintado pelo CURA", comenta um usuário que citou um dos vídeos publicados pela organização do circuito.

GRUPO: Janara Chimeli, Juliana França, Luiza Frizone, Natália Lima, Sofia Procopio

[radiofolkperu]

Artistas de la comunidad shipibo conibo de cantagallo presentan serie de videoarte creada como resultado del proyecto jointi videoarte corazón shipibo http://dlvr.it/Sd1VYL

[picard-schreckensberger]

Shipibo-Conibo ceramics

Amazonian rainforest, Peru

[glencairnmuseum]

🎄ADVENT CALENDAR DAY THIRTEEN

This Nativity, made by the Mamani family, depicts the figures as Shipibo-Conibo, an indigenous people along the Ucayali River in the Amazon rainforest in Peru. The Shipibo-Conibo continue to adhere to elements of their traditional belief system, especially shamanism. The intricate rectilinear patterns on their clothing and pottery, which are designed by the women of the community, are derived from the cosmological visions of the shamans. Spanish missionaries first entered the territory of the Shipibo-Conibo in the 17th century, and since then traditional animism has blended with Christianity. Click below for more photos and information.

https://glencairnmuseum.org/amazon-nativity

This year Glencairn’s annual World Nativities exhibition is taking place online for all to enjoy. Every day a new Nativity scene from Glencairn’s collection will appear in an online Advent calendar on our website. Visit the calendar regularly, or simply follow our social media to receive each day’s Nativity in your newsfeed and learn about its history, imagery, and the artist who made it!

[sartorialadventure]

The Shipibo-Conibo are an indigenous people along the Ucayali River in the Amazon rainforest in Perú. Formerly two groups, the Shipibo (apemen) and the Conibo (fishmen), they eventually became one distinct tribe through intermarriage and communal ritual and are currently known as the Shipibo-Conibo people.

The Shipibo-Conibo live in the 21st century while keeping one foot in the past, spanning millennia in the Amazonian rainforest. Many of their traditions are still practiced, such as ayahuasca shamanism. Shamanistic songs have inspired artistic tradition and decorative designs found in their clothing, pottery, tools and textiles. Some of the urbanized people live around Pucallpa in the Yarina Cocha, an extensive indigenous zone. Most others live in scattered villages over a large area of jungle forest extending from Brazil to Ecuador.

2. Shipibo woman, Peru, village on the Ucayali river, 1962 by Thomas Hoepker