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Glicéria Tupinambá

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Glicéria Tupinambá
Glicéria Tupinambá in 2024
Born1982
Serra do Padeiro, Olivença, Ilhéus, Bahia,  Brazil
NationalityBrazilian
Other namesGlicéria Jesus da Silva, Célia Tupinambá
Alma materFederal Institute of Bahia (IFBA)
Occupation(s)Artist
teacher
indigenous leader
Known forWork with the Tupinambá cape
documentary Voz Das Mulheres Indígenas
RelativesBabau Tupinambá [pt] (sibling)
AwardsPIPA Prize (2023)
Funarte Visual Arts Award (2020–2021)

Glicéria Tupinambá (1982), also known as Glicéria Jesus da Silva or Célia Tupinambá, is an indigenous artist, teacher and leader.[1] She became internationally known for her work with the Tupinambá cape[2][3] and for her work on the documentary Voz Das Mulheres Indígenas.[4][5]

Biography

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Early years and education

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A member of the Tupinambá indigenous people of Brazil, Glicéria was born in Serra do Padeiro, a mountain range located on the outskirts of Olivença [pt], a district of the city of Ilhéus, in the interior of Bahia in 1982.[6] Her people are known as the Tupinambás of Olivença [pt].[7][8] She has nine siblings, including Babau Tupinambá [pt], an activist for indigenous rights.[9][10] She completed her formal education at a public school in the city of Buerarema, also in the interior of Bahia, where she finished high school in 1996.[11]

She resumed her academic life in 2016 when she enrolled at the Federal Institute of Bahia (IFBA) to study for a degree in Indigenous Intercultural Education.[12][13] In 2023, she moved to Rio de Janeiro to study for a master's degree in anthropology at the Federal University of Rio de Janeiro (UFRJ), where she defended her dissertation in 2025.[14][15] In the same year, she enrolled in a doctoral program in social anthropology, also at UFRJ.[14]

Tupinambá cape

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Tupinambá cape.

In 2006, Glicéria began researching the Tupinambá cape with her family members. She discovered that the technique was still used to make fishing nets and jereré. From this discovery, Glicéria was able to advance her research on the making of capes, a work she continues to develop to this day, as each piece has a unique process. During her research, she came into contact with images of 16th and 17th century cloaks for the first time, through the classes of Professor Patrícia Navarro, from State University of Feira de Santana (UEFS). The cape was part of the exhibition “Os primeiros brasileiros” (The First Brazilians), organized at the National Museum of Brazil by anthropologist João Pacheco de Oliveira [pt].[8][16] The cape was not damaged by the fire that engulfed the museum and is now safe at the Memorial of Indigenous Peoples in Brasília.[17]

First contact with the cape

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The first contact with the cape occurred in 2006 in southern Bahia during a seminar given by anthropologist Patrícia Navarro.[18][19] Glicéria Tupinambá was then a teacher and director of the Tupinambá association in Serra dos Padeiros. During the seminar, the speaker projected an image of the Tupinambá cloak, which was on display at the National Museum of Denmark (Nationalmuseet). Glicéria describes that moment as one of “enchantment,” filled with spiritual emotion and what she calls “the call of the cape.” From there, she began her research on the garment, its ritual importance, and its manufacturing techniques. At the same time, a project began within the indigenous community itself, involving everyone's knowledge, to seek to understand the sacred cape. Glicéria then began making her first cloak to offer as a gift to the enchanted spiritual beings, her ancestors, at the Festa de São Sebastião [pt].[20]

During this period, Glicéria did not have the necessary skills to construct the weave or the feathers. This was because the knowledge she had acquired about the cape came solely from her experience with photographic materials. Therefore, in an attempt to replicate the original capes, she used the technique of constructing jereré (nets used locally for fishing) measuring one meter twenty centimeters long and fifty centimeters wide.[21][22] Made in the colors of the territory, containing shades of brown, green, and white, with the cooperation of his community. As for the Tupinambá ceremonial cape, it has a special meaning directly linked to the culture of this people, being more than just a material artifact. It tells the story of the period in which it was used. So much so that for Glicéria, this reunion with the cloak meant a reunion with her ancestors from distant times.[20]

For this reason, the proximity of the cloak to representatives of the Tupinambá people is of great importance for these indigenous communities to continue nurturing this experience through their cultural activities. In addition, it is important to note that there are other pieces that are part of the feather art collection in various museums across Europe. Glicéria says that each Tupinambá cape has its own function, forming part of a grand ceremony that she hopes to one day bring back to her community.[19][23]

A moment that greatly contributed to this technical and scientific improvement behind the cloak was Glicéria's visit to the technical collections of two European museums, one of which was the National Museum of Denmark and the other the Musée du Quai Branly – Jacques Chirac in France.[24][25] At these museums, she had the opportunity to analyze the pieces directly, providing Glicéria with knowledge for the creation of new pieces that she sees as a means of spreading the message of the indigenous struggle for their territory. In addition, the experience also included other more sensitive channels, such as messages received specifically through birds and dreams from ancestors, through her religiosity.[20]

Research experience abroad

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Glicéria Tupinambá and the cloak at the National Museum of Denmark. This is the specimen that returned to Brazil in 2024.

It was only in 2000 that Brazil gained access to the mantle, during the “Redescobrimento Brasil + 500” exhibition held in São Paulo.[26][27][28] The cape was loaned to the exhibition by the National Museum of Denmark. Indigenous leader Aloísio Cunha Silva and Nivalda Amaral de Jesus, known as Amotara (her indigenous name), attended the exhibition.[29] For Amotara, “this contact was a reunion with a transcendental memory of her Tupinambá people from Olivença, in Bahia.” It was after this visit that Amotara requested the repatriation of the cloak to the village.[29]

Glicéria Tupinambá giving a lecture at the State University of Campinas.

Glicéria was not present at the exhibition in São Paulo. It was through a photograph of the cloak in the National Museum of Denmark that Glicéria recreated, in 2006, with the help of the entire community, the first cape for a cult festival called Encantados, which is held by the Tupinambás every January.[17][30] Later, this cape was donated to the National Museum of Rio de Janeiro and is part of the exhibition “The First Brazilians.”[16][31][32]

Glicéria tells zum magazine how she got hold of the photo: “At that time, Professor Patrícia Navarro,[19] from the State University of Feira de Santana, came to give history and anthropology classes in the village and brought an old overhead projector. She had some photographs of the cape and projected them onto the wall. I gazed at that image, enjoying its beauty, and tried to look at the weave. The image was very poor, but I could understand the weave.”[10]

During a trip to Paris in 2018, Glicéria came into contact with the cloak that was in the Quai Branly Museum.[33][34] During this visit, Glicéria was able to verify that the stitching used on the cape was the same as that used on the jereré.[35]

Awards and recognitions

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For her research and work preserving the history and memory of indigenous cultures, Glicéria has been recognized and won several awards. These include:

In 2025, the Brazilian documentary, Eu Ouvi o Chamado: O Retorno dos Mantos Tupinambá, directed by Robson Dias and Myrza Munizque, narrates the trajectory of Glicéria as a researcher on the Tupinambá mantle,[39] was one of the winners in the Docs-In-Progress category at the Cannes Film Festival, which annually awards promising documentaries in editing or post-production.[40][41][42]

References

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  1. ^ "Glicéria Tupinambá". Enciclopédia Itaú Cultural. Archived from the original on May 31, 2025. Retrieved June 6, 2025.
  2. ^ F Peters, Renata (2023), Fekrsanati, Farideh; Schimmeroth, Gabriel (eds.), "Who is afraid of listening to the Tupinambá?", In: Fekrsanati, Farideh and Schimmeroth, Gabriel, (eds.) From Conservation to Conversation rethinking: Rethinking collections care. (pp. 53-63). MARKK (Museum am Rothenbaum Kulturen und Künste): Hamburg, Germany. (2023), Hamburg, Germany: MARKK (Museum am Rothenbaum Kulturen und Künste), pp. 53–63, ISBN 978-3-944193-23-6, archived from the original on January 26, 2025, retrieved June 6, 2025
  3. ^ Mello, Nô (April 19, 2024). "Glicéria Tupinambá representa o Brasil nesta edição da Bienal de Veneza". Vogue (in Brazilian Portuguese). Archived from the original on April 30, 2024. Retrieved June 13, 2025.
  4. ^ "Glicéria Tupinambá". Moreira Salles Institute (in Brazilian Portuguese). Archived from the original on February 10, 2025. Retrieved June 6, 2025.
  5. ^ "Glicéria Tupinambá". Festa Literária Internacional de Paraty (in Brazilian Portuguese). Archived from the original on March 19, 2025. Retrieved June 6, 2025.
  6. ^ "Glicéria Tupinambá". PIPA Prize (in Brazilian Portuguese). Archived from the original on December 26, 2024. Retrieved June 6, 2025.
  7. ^ "Indígenas Tupinambás da Aldeia Serra do Padeiro - Sitiados pelo Poder de Polícia pertecente à Federação | Terras Indígenas no Brasil". Terras Indígenas no Brasil (in Brazilian Portuguese). May 10, 2010. Archived from the original on June 3, 2025. Retrieved June 6, 2025.
  8. ^ a b Tupinambá, Glicéria (Célia) (2022-07-03). "An Indigenous Woman Troubling the Museum's Colonialist Legacy: Conversation with Glicéria Tupinambá". Museum International. 74 (3–4): 10–23. doi:10.1080/13500775.2022.2234188. ISSN 1350-0775. Archived from the original on May 5, 2024.
  9. ^ Bartaburu, Xavier (January 17, 2024). "Tupinambás buscam se reconectar com a ancestralidade através de seus mantos sagrados". Notícias ambientais (in European Portuguese). Archived from the original on March 17, 2025. Retrieved June 6, 2025.
  10. ^ a b "A visão do manto". ZUM (in Brazilian Portuguese). December 7, 2021. Archived from the original on March 18, 2025. Retrieved June 6, 2025.
  11. ^ "Gliceria Tupinambá". Lattes Platform. Archived from the original on September 18, 2024. Retrieved June 6, 2025.
  12. ^ Souza, Bárbara (September 5, 2019). "Estudante do IFBA é coautora de livro sobre lutas dos Tupinambá pela recuperação dos territórios indígenas na Bahia". Federal Institute of Bahia. Archived from the original on March 18, 2025. Retrieved June 6, 2025.
  13. ^ Borborema, Michelle (October 27, 2023). "Glicéria Tupinambá, uma liderança indígena que vai além da ancestralidade". Meio e Mensagem - Marketing, Mídia e Comunicação (in Brazilian Portuguese). Archived from the original on May 30, 2024. Retrieved June 6, 2025.
  14. ^ a b Avila, Guilherme (April 9, 2025). "ASSOJABA TUPINAMBÁ UMBEUMBESÀWA: o manto tupinambá conta e canta a história". Serviço Social do Comércio (in Brazilian Portuguese). Archived from the original on April 23, 2025. Retrieved June 6, 2025.
  15. ^ "Produções científicas do Museu Nacional/UFRJ ganham reconhecimentos – Harpia". Harpia (in Brazilian Portuguese). Federal University of Rio de Janeiro. Archived from the original on December 14, 2024. Retrieved June 6, 2025.
  16. ^ a b "Os primeiros brasileiros". Federal University of Rio de Janeiro. Archived from the original on June 10, 2025. Retrieved June 13, 2025.
  17. ^ a b Tupinambá, Glicéria; Valente, Renata (2021). "Manto Tupinambá". Federal University of Rio de Janeiro. Archived from the original on October 11, 2024. Retrieved June 13, 2025.
  18. ^ Amorim, Gabriela (April 24, 2023). "Mantos Tupinambá: a retomada de territórios invisíveis". Brasil de Fato (in Brazilian Portuguese). Archived from the original on April 29, 2025. Retrieved June 13, 2025.
  19. ^ a b c Mazza, Luigi (September 12, 2024). "As provações do manto tupinambá - revista piauí". revista piauí - _pra quem tem um clique a mais. Archived from the original on February 9, 2025. Retrieved June 13, 2025.
  20. ^ a b c Tupinambá, Glicéria; Valente, Renata (2024). O recado do manto na obra de Célia Tupinambá: em busca de uma dialogia profunda. São João de Meriti: Desalinho. p. 135.
  21. ^ Gonçalves, Ana (August 8, 2023). "O Manto Tupinambá – Espaço do Conhecimento UFMG". Federal University of Minas Gerais (in Brazilian Portuguese). Archived from the original on November 22, 2024. Retrieved June 13, 2025.
  22. ^ "Feitiço do Fio: Oficina de Trançado Tupinambá". Museum of Contemporary Art, University of São Paulo. Archived from the original on June 13, 2025. Retrieved June 13, 2025.
  23. ^ "Manto em Movimento". Tomie Ohtake Institute (in Brazilian Portuguese). Archived from the original on February 8, 2025. Retrieved June 13, 2025.
  24. ^ "Cartas a instituições". Pavilhão Hãhãwpuá (in Brazilian Portuguese). March 5, 2024. Archived from the original on January 18, 2025. Retrieved June 13, 2025.
  25. ^ Caffé, Juliana; Gontijo, Juliana (2023-05-29). "Expor o sagrado: o caso do manto tupinambá na exposição Kwá Yepé Turusú Yuriri Assojaba Tupinambá". MODOS: Revista de História da Arte (in Portuguese). 7 (2). doi:10.20396/modos.v7i2.8670562. ISSN 2526-2963. Archived from the original on 2024-09-07. Retrieved 2025-06-13.
  26. ^ "Brasil + 500 Mostra do Redescobrimento". Enciclopédia Itaú Cultural. Archived from the original on December 12, 2024. Retrieved June 13, 2025.
  27. ^ "Mostra do Redescobrimento é inaugurada em SP". Folha de S. Paulo. April 24, 2000. Archived from the original on December 18, 2022. Retrieved June 13, 2025.
  28. ^ Marchetti, Leonardo; Biasetto, Daniel (September 10, 2024). "Tupinambás reencontram manto sagrado que ficou na Europa por mais de 300 anos; veja fotos". O Globo (in Brazilian Portuguese). Archived from the original on September 14, 2024. Retrieved June 13, 2025.
  29. ^ a b "Descendentes se emocionam com o manto tupinambá". Folha de S. Paulo. June 1, 2000. Archived from the original on July 17, 2024. Retrieved June 13, 2025.
  30. ^ "Manto tupinambá: exposição chega à aldeia da Serra do Padeiro". Fundação Nacional de Artes. January 21, 2021. Archived from the original on September 18, 2024. Retrieved June 13, 2025.
  31. ^ Ribeiro, Cristiane (July 15, 2024). "Devolução do Manto Tupinambá ao Brasil surpreende Indígenas da Bahia". Agência Brasil (in Brazilian Portuguese). Archived from the original on August 5, 2024. Retrieved June 13, 2025.
  32. ^ Seta, Isabel (June 28, 2023). "Raríssimo manto tupinambá que está na Dinamarca será devolvido ao Brasil; peça vai ficar no Museu Nacional". G1 (in Brazilian Portuguese). Archived from the original on September 13, 2024. Retrieved June 13, 2025.
  33. ^ Meyerfeld, Bruno (January 5, 2024). "Kept in Denmark since 1689, a coat from the Tupinamba people will be returned to Brazil". Le Monde. Archived from the original on October 9, 2024. Retrieved May 13, 2025.
  34. ^ "Manto Tupinambá". Um outro céu (in Brazilian Portuguese). Federal University of Bahia. December 2, 2022. Archived from the original on June 2, 2025. Retrieved June 13, 2025.
  35. ^ Capuchinho, Cristiane (October 15, 2021). "A volta do manto tupinambá: como indígenas da Bahia retomaram peça sagrada que só era vista na Europa". G1 (in Brazilian Portuguese). Archived from the original on July 29, 2024. Retrieved June 13, 2025.
  36. ^ "Glicéria Tupinambá". PIPA Prize. Archived from the original on September 17, 2024. Retrieved June 13, 2025.
  37. ^ Greenberger, Alex (November 1, 2023). "Glicéria Tupinambá Becomes First Indigenous Artist to Represent Brazil Solo at Venice Biennale". ARTnews.com. Archived from the original on November 23, 2024. Retrieved June 13, 2025.
  38. ^ "Catálogo da exposição 'Essa é a grande volta do manto tupinambá' é lançado em conversa on-line". Fundação Nacional de Artes (in Brazilian Portuguese). October 13, 2021. Archived from the original on January 29, 2023. Retrieved June 13, 2025.
  39. ^ Toledo, Marina (May 6, 2025). "Documentário indígena será exibido em Cannes; conheça a produção". CNN Brasil (in Brazilian Portuguese). Archived from the original on May 7, 2025. Retrieved June 13, 2025.
  40. ^ Castro, Rodrigo (May 22, 2025). "Doc indígena brasileiro é premiado em Cannes". O Globo (in Brazilian Portuguese). Archived from the original on May 22, 2025. Retrieved June 13, 2025.
  41. ^ Cottencin, Charlotte (May 20, 2025). "Announcing the 2025 Docs-In-Progress Award Winners!". Marché du Film. Archived from the original on May 25, 2025. Retrieved June 13, 2025.
  42. ^ "Brasil conquista novo prêmio no Docs-In-Progress no Marché du Film em Cannes". Ministry of Culture. May 25, 2025. Archived from the original on June 13, 2025. Retrieved June 13, 2025.

Further reading

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  • CAFFÉ, J.; GONTIJO, J. Expor o sagrado: O caso do manto tupinambá na ex- posição Kwá Yepé Turusú Yuriri Assojaba Tupinambá. MODOS: Revista de História da Arte, Campinas, SP, v. 7, n. 1, p. 23–47, jan.2023. DOI: 10.20396/ modos.v7i2.8670562. Disponível em: https://periodicos.sbu.unicamp.br/ ojs/index.php/mod/article/view/8670562.
  • CASTRO, Laura; FONSECA, Carolina. "O Levante dos Mantos: Kwá Yepé Turusú Yuriri Assojaba Tupinambá e Morî' erenkato eseru'", Estado da Arte, Uberlândia, v.3, n.2, jul/dez. 2022.
  • SILVA, Glicéria Jesus. "Arenga Tata Nhee Assojoba Tupinambá", Tellus, Campo Grande, MS, ano 21, n.46, p. 323-339, ste./dez. 2021.
  • TUPINAMBÁ, Glicéria; VALENTE, Renata. “O recado do manto na obra de Célia Tupinambá: em busca de uma dialogia profunda”. In: Dias, Carla [et al]. Espaço, imagem e cultura: 2. São João de Meriti, RJ: Desalinho, 2024.
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