There are many indigenous tribes that produce wooden benches, and each ethnicity has its unique style that sets it apart from the others, making each production and each bench a singular work of art. It is known that currently over 40 tribes in Brazilian territory and the Amazon produce benches; below, get to know some of the tribes from which Porangatu is fortunate to have pieces and with whom we strive to build relationships. We always hope to expand our network of contacts to further promote this special production and raise awareness among the public about its cultural value.
Region: Eastern Amazon, PA
Population: 182 (Siasi/Sesai, 2014)
Linguistic Group: Tupi-Guarani
Main Bench Pattern: Concave Oval
The Asurini, self-designated as "Awaeté" – which means "People of Truth" – are the people who, since the 19th century, inhabited the region between the Xingu and Bacajá rivers. Today known as Araweté, Arara, and Parakanã, they were originally referred to as Asurini or Asonéri in the Juruna language, meaning "red." This denomination was accepted by Funai (National Indian Foundation) and is still used today. They are also known as Asurini of Xingu, distinguishing them from the former Asurini of Tocantins.
Their benches possess unique characteristics: oval-shaped, concave at the center, and vertically based, always meticulously finished, sanded, and polished. They are adorned with ethnic patterns created using a natural pigment composed of tree saps and charcoal.
Region: Xingu Indigenous Park, MT
Population: 669 (Siasi/Sesai, 2014)
Linguistic Group: Karib
Main Bench Pattern: Zoomorphic
The name "Kalapalo," initially attributed to the group, refers to a village with the same name dating back over a hundred years, which brought together various groups and ethnicities. "Kalapalo" is thus a community composed of people whose ancestors were associated with different communities. Currently, they live in eight villages, with the largest being Aiha, which translates to "something finished." All these villages are situated along the banks of the Kuluene River.
They stand out as excellent planners of their tasks and activities; they are adept at organizing themselves for the collection of materials within their territory. They use materials such as urucum, beeswax, shells, and fibers from the buriti palm to create their adornments. They also utilize woods of various native species to produce their benches, which are richly embellished with natural pigments, red or black, adorned with patterns representing the group and their respective clans.
Region: Xingu Indigenous Park, MT
Population: 604 (Siasi/Sesai, 2014)
Linguistic Group: Tupi-Guarani
Main Bench Patterns: Zoomorphic, Rectangular
Among their mythic narratives, the creation of the world, and the social organization of the group, the Kamayurá hold the most distinguished cultural values, which are considered indispensable for the preservation of their original way of life. Their culture is consistently well-represented in the ornaments and artifacts they produce and use in their daily lives, with Wooden Benches being a standout example. The raw material for these benches is sourced from their own reserve. With their perfect forms and finish, these benches depict beings from nature and even the supernatural, always enriched with their ethnic designs and unmistakable patterns.
Region: Eastern Amazon, GO, MT, PA, TO
Population: 3768 (Siasi/Sesai, 2014)
Linguistic Group: Karajá
Main Bench Pattern: Zoomorphic, concave
Centuries-long inhabitants of the banks of the Araguaia River, the Karajá people have this axis as a mythological and social reference, with their largest concentration on Bananal Island, the largest fluvial island in the world. The "Iny" maintain the same traditional customs of their group for centuries, such as family fishing, rituals like the Aruanã and Hetohoky Festivals with their feather adornments, basket weaving, and wooden craftsmanship. Prominently featured are the unmistakable benches with their rectangular pattern and canoe-like shape, typically crafted from aderno wood. Also noteworthy are their ceramic dolls, recognized by IPHAN as Intangible Cultural Heritage.
Region: Xingu Indigenous Park, MT
Population: 2242 (Siasi/Sesai, 2014)
Linguistic Group: Tupi-Guarani
Main Bench Pattern: Rectangular, Zoomorphic
The "Kawaiwete," as they call themselves, belong to the Tupi-Guarani linguistic family and, according to their mythology, were created by the supernatural being Tuaiararé.
Wooden benches, once crafted in a conventional size and exclusively used by men, have undergone a significant change. Nowadays, the benches come in various sizes and shapes, adorned with natural paints extracted from the environment. The cknowledge used in this bench production was acquired from the Yudjá tribe; however, the Kayabi tribe distinguishes their benches with ethnic designs and centuries-old color patterns unique to their own tribe.
Region: Xingu Indigenous Park, MT
Population: 424 (Siasi/Sesai, 2014)
Linguistic Group: Jê
Main Bench Pattern: Zoomorphic, Rectangular
The Kisêdjê indigenous tribe has inhabited the Xingu Indigenous Park since the mid-19th century, where they came into contact with other Xingu peoples, including those from the so-called Cultural Area of the Upper Xingu. This encounter led to the incorporation of various technologies, customs, and the production of artifacts and utilities, such as the typical Wooden Benches. These benches are crafted from locally sourced woods, meticulously treated and sculpted by skilled artists, always aiming to depict the richness of their culture and heritage.
Region: Xingu Indigenous Park, MT
Population: 653 (Siasi/Sesai, 2014)
Linguistic Group: Karib
Main Bench Patterns: Zoomorphic, Rectangular, Woven
The Kuikuro people now have the largest population in the Upper Xingu. They stand out as skillful producers of wooden benches, often referred to as utilitarian sculptures. These benches incorporate elements found in their cultural and social aspects, such as shamanism, cosmology, and ritual festivities, which play significant roles within the ongoing events in the Xingu Indigenous Park.
Their benches are crafted from wood gathered within the reserve and predominantly depict species of fauna, birds, and mythological birds. These carvings are executed meticulously, featuring lifelike details and river pearl mother-of-pearl eyes. The patterns applied to the benches mirror those seen in body paintings, representing clan and ethnic-cultural symbolism.
Region: Xingu Indigenous Park, MT
Population: 286 (Siasi/Sesai, 2014)
Linguistic Group: Aruak
Main Bench Patterns: Zoomorphic, Rectangular, Woven, Domed
The Mehinako consider themselves and take pride in being a unique human community, and they are now one of the most well-known tribes for producing exceptionally high-quality benches. In this production, the unity and synchronization within the group shine through; from tree cutting to division, each artist develops their work according to their inspiration and technique. Thus, the Mehinako strongly rely on bench production as a means to promote their culture and depict the local fauna, which is why the majority of their benches portray typical regional animals like the anteater and jaguar. Typical woods used in this production include piranheira, mulberry, jatobá, sucupira, laurel, cambará, andira, and buriti.
Region: Southern Amazon, MT
Population: 1514 (Siasi/Sesai, 2014)
Linguistic Group: Rikbaktsa (unique language)
Main Bench Patterns: Zoomorphic, Rectangular, Domed
The Rikbaktsa people live in the Juruena River Basin, in the northeastern part of Mato Grosso, across three contiguous indigenous lands. Their self-designation means "The Human Beings." Regionally, they are known as Canoeiros, due to their canoe-handling skills, or more rarely as "Pau Ears," referencing the large wooden plugs (botoques) made of caixeta wood that they insert into stretched earlobes. Their language is considered an unclassified language within the Macro-Jê linguistic trunk. One interesting aspect of the Rikbaktsa language is the common distinction between masculine and feminine speech, similar to several other indigenous languages, where word endings indicate the speaker's gender.
Their benches are consistently carved from a single block of wood, supported by two sturdy bases or four small legs, as seen in the typical zoomorphic benches representing turtles. These benches serve everyday utilitarian purposes within the group and can also be considered sacred objects when used by a shaman.
Region: Xingu Indigenous Park, MT
Linguistic Group: Jê / Suyá Language
Main Bench Pattern: Rectangular
When a Suyá paints their body for a group celebration, the style of the painting is determined by their name; all members of the group with the same name paint themselves in the same way. However, when they paint themselves for celebratory events in the Upper Xingu, the painting becomes more individualized, highlighting the group.
Painting and graphic designs also play a role in their art, imparting identity to the wooden carved benches. Using natural pigments extracted from the forest, the paintings on the benches depict their clan, history, and life.
Region: Xingu Indigenous Park, MT
Population: 540 (Siasi/Sesai, 2014)
Linguistic Group: Aruak
Main Bench Patterns: Zoomorphic, Rectangular
The well-known WAURÁ/WAUJÁS are one of the traditional peoples inhabiting the Xingu Indigenous Park and, along with the Mehinako, Yawalapiti, Paresi, and Enawenê-Nawê, constitute the central Mairupe group. The Xingu peoples who speak the Aruak language (WAURÁ and Mehinako) are descendants of populations originally from the southwest of the Amazon basin, who established the first Xingu villages around the 800s and 900s. Their village of Piyulaga features the standard circular layout used by other Xingu ethnicities, with the sacred flute house at the center.
Men are responsible for collecting clay used by women in ceramic production, as well as collecting Taboquinha, a plant fiber used in crafting baskets. Among all the artifacts produced, the millennia-old ceramics of the WAURÁ hold the most significance in their economy, However wooden banches also garner attention due to their refined technique and richness of ethnic and artistic details. Their aesthetics resemble those of ceramic vessels shaped like animals, featuring the head on one side of the seat and the tail on the other, creating a similar visual effect.
Region: Northern Basin, AM, PA, RR, Guyana
Population: 2502 in Brazil (Siasi/Sesai, 2014) and 170 in Guyana (Weparu Alemán, 2006)
Linguistic Group: Karib
Main Bench Patterns: Zoomorphic, Rectangular, Concave-Oval
The largest group of Waiwai ("água-água") primarily inhabits the northern and western regions of Pará. The population also includes individuals from other ethnicities who were attracted to and contacted by them since the 1940s and 50s.
The Waiwai engage in various subsistence activities such as agriculture, transportation, research, and craftsmanship. Notably, they produce wooden benches with a distinct canoe-like shape, featuring connected legs and triangularly pierced centers. These benches are carved from a single block of wood sourced from typical regional species and are finished with pigments derived from plant saps and charcoal. They often depict ethnic group designs and representative figures of local fauna.
Region: Xingu Indigenous Park, MT
Population: 880 (Siasi/Sesai, 2014)
Linguistic Group: Juruna
Main Bench Patterns: Zoomorphic, Domed
Also known for their exceptional skills as canoeists, the Yudjá are ancient inhabitants of the islands and peninsulas of the lower and middle Xingu, one of the most significant rivers in southern Amazon. According to their mythology, there were three heavens that, along with the earth, formed a cosmos with four levels.
Wooden benches are a significant presence within the Yudjá group, and more than just utilitarian objects, they reflect their culture, mythology, and ethnic patterns. The Yudjá traditionally craft their wooden benches with designs and graphics inspired by their body painting, using pigments extracted from tree saps and native fruits such as jenipapo. When mixed with charcoal, jenipapo creates a black-blueish pigment.
Texts by Marcelo Ferreira
Photos of the benches by Sérgio Guerini.
