{"id":8016,"date":"2024-09-23T14:26:00","date_gmt":"2024-09-23T17:26:00","guid":{"rendered":"https:\/\/selvagemciclo.org.br\/?p=8016"},"modified":"2025-11-27T12:42:56","modified_gmt":"2025-11-27T15:42:56","slug":"a-sabedoria-dos-simbolos-africanos","status":"publish","type":"post","link":"https:\/\/selvagemciclo.org.br\/en\/a-sabedoria-dos-simbolos-africanos\/","title":{"rendered":"A SABEDORIA DOS S\u00cdMBOLOS AFRICANOS"},"content":{"rendered":"
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A SABEDORIA DOS S\u00cdMBOLOS AFRICANOS<\/h5>\n
Veronica Pinheiro<\/h5>\n

23 de setembro de 2024<\/p>\n

 <\/p>\n

Adinkras: painting workshop and creation of co-operation games<\/strong><\/p>\n

\u2018Those who know where they came from don't get lost on the way\u2019. Every time my father took me out, he repeated this proverb. He trained me to pay attention to the paths. \u2018Don't get distracted on the way.\u2019 When we arrived at the place we wanted to go, I would be asked what I had seen and if I knew how to get back. When I mentioned the colour of a wall or that I'd seen a popcorn seller, my father would tell me that I should pay attention to permanent things, like a big tree or a grocery store. I should also pay attention to the shape of the wall, the design of the grilles and not just the colours, because the colours could change and the popcorn man might not be there when I got back.<\/p>\n

\"\"Photos: Veronica Pinheiro<\/em><\/p>\n

My grandmother was born free, in 1910. But my grandmother's mother was born at a time when people were sold as goods in Brazil. Our stories were an incomplete jigsaw puzzle. Every piece of information was precious: prayers, rites, circles, recipes. My father knew that it was important to look at the grilles, and he and I thought that the reason was that hardly anyone changed the fa\u00e7ades because the ironwork on the fa\u00e7ades was too expensive. My father and I missed some important information when looking at the grilles: they could contain African symbols with important messages. Many Africans who came to Brazil were expert blacksmiths. The enslaved Africans brought knowledge and technologies with them. Among this knowledge was the expertise of West African iron metallurgy, which had a significant influence on the social and economic relations of this population during the diaspora. Nobody tells that to the children!<\/p>\n

The technologies carried on the body were articulated with sacred memories of the relationship with life. Iron, for example, was not a natural resource, but a resource guarded by Gu, a very ancient ancestor. Gu, the blacksmith god, taught men how to forge iron. Gu's teachings expanded the ways in which the Fon people, from the kingdom of Dahomey in Benin, related to the earth and to life. In Brazil, Gu appears as Ogum - representative of courage, technology, hard work, hunting, agriculture, iron and, if necessary, war. The knowledge and the relationship with metallurgy were organic, sacred and structuring of a cosmology. However, Euro-colonialism, which has never respected the life and existence of beings, in addition to kidnapping and enslaving African people, saw this relationship as another way of enriching and hurting the Earth with the extraction of gold.<\/p>\n

Go around\u2026 Go around\u2026 Go around, my Saint Anthony.<\/p>\n

\"\"<\/p>\n

I am running around to get to talk about the wisdom of the symbols contained in the Adinkras, a graphic communication brought from Ghana. While I write, I realise how much I go around when talking about a subject. I don't know how it works for children. But I haven't learnt to be any different yet.<\/p>\n

The territory we know today as Ghana was a region known as the Gold Coast (Togo, Nigeria, Benin and Ghana). The enslaved Africans brought from this region belonged to the Fanti, Ashanti, Ewe, Fon, Egbe, Youruba and Igbo peoples. They became known in Brazil as \u2018negros de mina\u2019, black people from the mines. They were men of such great wisdom and knowledge that they communicated with their relatives through the symbols on the fa\u00e7ades of their houses and on pieces made from iron. To this day we find Adinkra symbols on door and window grilles in Rio de Janeiro. Besides being an aesthetic choice made by the blacksmiths, the symbols communicated that no one was alone on the path. \u2018Pay attention to the path.\u2019<\/p>\n

\"\"Photos: Veronica Pinheiro<\/em><\/p>\n

In the workshop on painting and creating collaborative games, I invited the children to pay attention to the grilles. They are not allowed to photograph the territory, for security reasons. But I photographed some gates from the street where I live, showed them and they told me that they saw these symbols on the way. I told them that the symbols communicate memories of an ancient people who gave rise to our people. We read the book\u00a0Quanto de \u00c1frica tem no dia de Algu\u00e9m<\/i>. We re-read\u00a0Os tesouros de Monifa<\/i>. And I invited them to notice the many messages of life that surround us. Life communicates all the time, it's just that we have lost the ability to understand. But if we have lost it, we can learn again.<\/p>\n

\"\"\"\"\"\"Photos: Veronica Pinheiro<\/em><\/p>\n

Curiously, the Adinkra that the children identified with the most is Sankofa. Curiously, Sankofa is the most present symbol on the grilles of doors and windows. The bird looking back is also graphically represented by shapes that resemble the representation of the heart. Sankofa summarises the idea of the ancestral future. The proverb that accompanies it says: \u2018It's never too late to go back and pick what was left behind\u2019. Sankofa symbolises the wisdom of learning from the past in order to build the future. And this message has been on the path ever since the blacksmith brothers arrived in Brazil.<\/p>\n

 <\/p>\n

\u2018Pay attention to the path. You need to know how to get back,\u2019 my father used to say.<\/p>\n

 <\/p>\n

Regular school teaches us to look ahead, to the future. But the so-called future of humanity has scared the children. So I invite my little companions to look to the past. Not the past of slavery. But the cosmological past, which insists on communicating with us. The past of the technology of engagement with life.<\/p>\n

I remembered Cris Taku\u00e1, my teacher, and her teachings. I think we're awakening memories here.<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

A SABEDORIA DOS S\u00cdMBOLOS AFRICANOS Veronica Pinheiro 23 de setembro de 2024   Adinkras: oficina de pintura e cria\u00e7\u00e3o de jogos de coopera\u00e7\u00e3o \u201cQuem sabe de onde veio n\u00e3o se perde no caminho.\u201d Todas as vezes que meu pai me levava \u00e0 rua repetia esse prov\u00e9rbio. Ele me treinava para reparar no caminho. \u201cN\u00e3o se distraia no trajeto.\u201d Ao chegar no lugar desejado, eu era perguntada sobre o que tinha visto e se eu saberia voltar. Quando eu falava sobre a cor de um muro ou que tinha visto um pipoqueiro, meu pai falava que eu deveria prestar aten\u00e7\u00e3o em coisas permanentes, como uma grande \u00e1rvore ou um com\u00e9rcio de itens de primeira necessidade. Deveria tamb\u00e9m prestar aten\u00e7\u00e3o no formato do muro, no desenho das grades e n\u00e3o somente nas cores, porque as cores poderiam mudar e o pipoqueiro poderia n\u00e3o estar l\u00e1 na volta. Fotos: Veronica Pinheiro Minha av\u00f3 nasceu livre, em 1910. Mas a m\u00e3e de minha av\u00f3…<\/p>","protected":false},"author":1,"featured_media":5364,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[57],"tags":[],"class_list":["post-8016","post","type-post","status-publish","format-standard","has-post-thumbnail","category-diario-veronica-pinheiro"],"acf":[],"yoast_head":"\nA SABEDORIA DOS S\u00cdMBOLOS AFRICANOS - Selvagem<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/selvagemciclo.org.br\/en\/a-sabedoria-dos-simbolos-africanos\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A SABEDORIA DOS S\u00cdMBOLOS AFRICANOS - Selvagem\" \/>\n<meta property=\"og:description\" content=\"A SABEDORIA DOS S\u00cdMBOLOS AFRICANOS Veronica Pinheiro 23 de setembro de 2024   Adinkras: oficina de pintura e cria\u00e7\u00e3o de jogos de coopera\u00e7\u00e3o \u201cQuem sabe de onde veio n\u00e3o se perde no caminho.\u201d Todas as vezes que meu pai me levava \u00e0 rua repetia esse prov\u00e9rbio. 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Ele me treinava para reparar no caminho. \u201cN\u00e3o se distraia no trajeto.\u201d Ao chegar no lugar desejado, eu era perguntada sobre o que tinha visto e se eu saberia voltar. Quando eu falava sobre a cor de um muro ou que tinha visto um pipoqueiro, meu pai falava que eu deveria prestar aten\u00e7\u00e3o em coisas permanentes, como uma grande \u00e1rvore ou um com\u00e9rcio de itens de primeira necessidade. Deveria tamb\u00e9m prestar aten\u00e7\u00e3o no formato do muro, no desenho das grades e n\u00e3o somente nas cores, porque as cores poderiam mudar e o pipoqueiro poderia n\u00e3o estar l\u00e1 na volta. Fotos: Veronica Pinheiro Minha av\u00f3 nasceu livre, em 1910. 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