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Kaupüna Swing: Handcrafted In The Xingu Indigenous Territory, Brazil

Kaupüna Swing: Handcrafted In The Xingu Indigenous Territory, Brazil
by YANKATU Brazil

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Kaupüna Swing: Handcrafted In The Xingu Indigenous Territory, Brazil

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Kaupüna Swing: Handcrafted In The Xingu Indigenous Territory, Brazil

This is an Open Edition
Each edition may differ
How is this defined? A series of pieces that are not restricted by any predetermined volume limit. Each item is meticulously produced by the designer or in collaboration with skilled local artisans, resulting in a limited quantity of unique pieces. If stated, each item may exhibit slight variations due to its handcrafted origin.
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Kaupüna Swing: Handcrafted In The Xingu Indigenous Territory, Brazil

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Description

Completely executed in the Kaupüna Village, located in the Xingu Indigenous Reserve, Kaupüna Swing unites the design of Maria Fernanda Paes de Barros and the indigenous handicraft tradition of the Mehinako people.

Its design rises from the desire to highlight the buriti yarn, made by women, placing it in balance with the painted solid wood traditionally made by men and already with recognized value.

It brings together the artisanal work of Mehinaku women who harvest, clean, and prepare the buriti straw to make the thread with which they weave their traditional nets, and of Mehinaku men who enter the forest to find trees from which to take the wood to create zoomorphic benches adorned with charcoal and annatto-based graphics.

The Kaupüna Swing marks the first time in Kaupüna village that men and women worked together to create a single piece, what gives it an immeasurable value and meaning.

Developed in partnership with Kulikyrda Mehinaku and Kuyawalu Aweti, it was considered by them a “new indigenous product”.

It is part of Yankatu’s Xingu collection. To create it Maria Fernanda Paes de Barros researched the Mehinaku traditions, visited Kaupüna village for a short period of time before the pandemic and went through numerous immersions with the local artisans online.

As all the pieces produced by Yankatu, it is accompanied by its soul, a certificate of authenticity in the form of a small book that tells about the inspiration that gave birth to it and leaves blank pages so that its story can continue to be told by those who acquire it, turning it into something more, which does not change with fashion, which does not go by with time. To the contrary, it will move on from a generation to another, from hand to hand, each time with more stories to tell, each time incorporating the lives shared by it.

Brazilian Contemporary and Collectible Design by Yankatu, design + art with Brazilian soul.

You can choose between the colors of natural dyed cottons available at the time of purchase.

Dimensions LxWxH	30x60x200cm (12x24x79'')
Weight (kg)	7
Production Year	2023
Material	Cotton Thread, Natural Fibers, Wood
Discipline	Textilework, Weaving, Wood & Cabinetmaking
Color	Multiple, Natural, Natural Colors
Design Class	Open Editions

About YANKATU Visit Showroom →

With a degree in business administration and interior design, Maria Fernanda has worked in the field for over 20 years. She migrated to furniture design in 2014, creating Yankatu, a design studio through which she carries out projects with social impact alongside Brazilian artisans. The encounter with the art world happened naturally in 2020 when the search for the appreciation of Brazilian artisans and their knowledge generates a growing discomfort regarding invisibility and lack of knowledge about the reality of Brazilian cultural traditions. Her work is based on relationships that go beyond the gaze and are established on mutual trust and admiration. Her production spans a long timelessness and also a continuity, resulting from the privilege and fluidity of the otherness of established relationships. It is in the power of art that she finds the way to share her learning, activate the gaze and listening of others, seeking to generate in them the same discomfort she feels and, in this way, encourage them to act. It is through a relational aesthetic that she aims to join forces because the reaction of the other, the spectator, is essential for the realization of her art, which does not end with the created object but rather expands into the immaterial and impalpable field. Her works involves various materials without settling on anyone, despite her familiarity with solid wood. It goes from clay to feathers with the same lightness that conveys strong messages in a poetic way.