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  • Despite being the local host of this Indigenous Festival, the Guarani people are usually very shy, and just a few of them went to the Festival. Around Bertioga town there are communities in  Guarani's lands. They survive between the transition of being indigenous with access to all the city's culture and consume, but being poor and denied by the local community.<br />
But this time they were more than the last two years; a larger group reflecting being secure and proud by their tradition.
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  • Rikbaktsa girl during the Indigenous National Party, Bertioga city, São Paulo state of Brazil.
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  • Kayapo women dance before the Indigenous National opening.
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  • Brazil, Indigenous. Kayapo women celebrating at the ritual, before the Indigenous National Party.
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  • Xerente People dancing during the Indigenous Festival.
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  • Ritual dance of Kayapo, Indigenous National Party.
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  • Kayapo child
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  • Kayapo women at Indigenous National Party.
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  • Yawalapiti People, from Xingu, dancing during the Indigenous National Festival.
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  • Yudjá People, also knowed as Juruna people, portray themselves as the prototype of humanity, as canoeists and beer makers. Part of the Yudjá's cosmological knowledge and ritual life rests on the crucial role of shamans; however, since the 1980s, they have had no more shamans. <br />
The Juruna man here worn a crucifix at the Indigenous National Festival.
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  • Yawalapiti men, before the opening of the Festival.<br />
<br />
"For the Yawalapiti, the mythic world is a past that is not connected to the present through strict chronological ties. Thus, myth exists as a spatial and temporal reference, but mainly provides behavioral models. The ceremonies are the occasion par excelence for replicating these models, but their privileged relation with the world of myth above all symbolizes the impossibility of repeating that world, except in an imperfect way. The ritual is thus a moment when daily life is closer to the ideal model presented in myth, without however being able to attain it." <br />
<br />
From ISA (Instituto Sócio Ambiental): Cosmologia e rituais<br />
by Eduardo Viveiros de Castro
    07_Indigenous_8393.jpg
  • Chinese opera survived the passing of the centuries, the coming and going of dynasties, and has many strong female roles, though for most of its history, no females to play them. Women in China, especially of the upper class, had to observe very reserved and controlled conduct, and for the most part confined themselves indoors. It was only in the beginning in the 1930s, it became acceptable for women to perform in the opera.
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  • Bororo People dances the Jaguar dance at the Indigenous National Party.
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  • Kayapo woman preparing to paint their traditional tatoos with Genipapo ink.
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  • Terena ritual and dance of fire, celebrationg the Indigenous National Party.
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  • Demonstration of the Huka-Huka, a wrestling match. Facing each other, the wrestlers imitate the grunting of the jaguar.
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  • Terena People painting for the Indigenous National Party.
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  • A Manoki (Irantxe) boy playing a traditional flute that is part of their initiation, when the boys are from 12 to 14 years old.
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  • Assurini woman
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  • A Krahô mother at the Indigenous Festival. Krahô People is also called Mehim. They live at northeastern of the Tocantins state, <br />
and were about 2.000 people (in 1999) .<br />
Indigenous National Festival. Bertioga, Sao Paulo, Brazil.
    07_Indigenous_8406.jpg
  • Lion traditional dance presentation at ancient Cha Tang Village, at Guangzhou periphery. The Chinese Southern Lion dance originated from Guangdong state, the homeland of the Chinese southern style lion. The Chinese southern horned lions are believed to be mythological Nians.<br />
Guangdong, China.
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  • Assurini xama smoking in his ritual before the opening of the Indigenous Festival.
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  • Manoki (Irantxe) men and boy playing their traditional flutes.
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  • Assurini warrior
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  • Kayapo warrior
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  • Kayapo child at the Indigenous National Party.
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  • Paixão  is an ancient of the Xavante ethnic group, and was showing a traditional play they use to do with kids on the tribe, with a  story about their myths, where he was painted and moving as a jaguar. <br />
The jaguar gave the original fire to the Xavante People.<br />
Indigenous National Festival at Bertioga city, 2007.
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  • Yawalapiti women, from Xingu, dancing during the Indigenous National Festival.
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  • Kayapo woman.
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  • So closely bound up that is hard to say where one begins and the other ends. Historical figures are made into gods and myths are recounted as history, and those that inhabited the ancient texts, are alive and well in the 21th century.<br />
<br />
A diverse heritage has given rise to a body of stories that is a vital part of Chinese life, and these tales are still the subject of numerous retellings in many forms. Books, opera, film, painting, festivals, as figures of speech, the myths of ancinet china live on the lives of ordinary Chinese people everywhere.
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  • A daily women talk beside the red banners, from the past Spring Festival, hanged on each side and top of the door, creates the symbolic gateway on the house and add meanings of joy, luck and passion, with written messages that are usually intended to keep the bad spirits away and bring luck into the house.<br />
<br />
Some also stick directly on their door the image of the "door god", as ghost catchers, to make sure that bad spirits could not get into the house.
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  • Kayapo woman
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  • Assurini Shamans at the Indigenous National Party.
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  • Assurini xama smoking in his ritual before the opening of the Indigenous Festival.
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  • Karaja girls
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  • Bororo People during the Indigenous Festival.
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  • Bororo warrior
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  • Kayapo warrior
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  • Xerente woman
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  • Young Terena man
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  • Yawalapiti girl sleeps on mother's shoulder during the event.
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  • Kayapó women dancing during the Indigenous Festival.
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  • Kayapo tattoo made with Genipapo ink.
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  • There are 22 familes living at Itacoatiara Mirim, a Baniwa Community around São Gabriel da Cachoeira town. To recover their traditions after leaving the original tribe, they built this "Maloca", also known as House of Knowledge. <br />
<br />
"House of Knowledge is an area of transmission and learning of the traditional culture for those who do not know or forgot. It's to talk, tell stories of past, reliving the custom to eat together. A place to dance, make instruments, showing the young our culture"; explained Mestre Luiz Laureano, community leader. "The House of Knowledge is also to receive relatives who come from the original tribe to share with us the stories of our family who were there. Is a school that will pass knowledge."<br />
<br />
São Gabriel da Cachoeira town, Amazonas, Brazil.
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  • There are 22 familes living at Itacoatiara Mirim, a Baniwa Community around São Gabriel da Cachoeira town. To recover their traditions after leaving the original tribe, they built this &quot;Maloca&quot;, also known as House of Knowledge. <br />
<br />
&quot;House of Knowledge is an area of transmission and learning of the traditional culture for those who do not know or forgot. It's to talk, tell stories of past, reliving the custom to eat together. A place to dance, make instruments, showing the young our culture&quot; explained Mestre Luiz Laureano, community leader. &quot;The House of Knowledge is also to receive relatives who come from the original tribe to share with us the stories of our family who were there. Is a school that will pass knowledge. &quot;<br />
<br />
São Gabriel da Cachoeira town, Amazonas, Brazil.
    Indigenous_5697.jpg
  • Rescuing their ancestor's traditions at the House of Knowledge, the indigenous people group living at Itacoatiara Mirim community, nearby São Gabriel da Cachoeira town, face the difficulties of transitions and the shock of the economic development impact in the extreme northeast of Amazonas state. They seek how to preserve identities, cultural values, while an avalanche of new economic needs are born every day.
    Indigenous_5539.jpg
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