Kanhkã tỹ vẽnhkahnir: narrativa, cultura e língua Kaingang [material pedagógico]

[00:00:29]Hello goodnight.

[00:00:37]We are approaching the second semester of the Intercultural Learning course.

[00:00:43]Well, it is with great joy that we arrive here tonight. In this room, we have many people present with very profound and foundational stories, integral to this process, to this course. But today's conversation is about other processes that have been built up throughout this research and this journey.

[00:01:18]The course, " Intercultural Learning," is promoted by the Federal University of Pampa (Unipampa), in partnership with LAIS, the Learning Laboratory of the Selvagem Association, with support from the University of Santa Cruz do Sul, the State University of Rio Grande do Sul, NEAB, IFAR Alegrete, the Piabiru research group from UNISC, and also the University of the State of Rio Grande do Sul, UNISALE, Laali University, the Municipal Public Library of Alegrete, NEAB João Braite da Silva from Unipampa, Alegrete Campus, Procadi Unipampa, Proec Unipampa, and the Tramas Unipampa Program, Alegrete Campus, as well as the intercultural conversations program.

[00:02:20]In this beautiful room, we welcome today Raquel Cristão, a Caigang academic from the Unipampa rural education degree program.

[00:02:34]Karine Vêndula, educator, PhD in education from UNISC, researcher affiliated with the PIBRU research group Education to the Merindines and Interculturality. We also have the presence of Professor Fátima Silveira Souza, PhD in Education from UNISC, researcher affiliated with the Piau Biru research group, education at the school and interculturality.

[00:03:03]and also Professor Ana Paula da Silva Stricker, biologist, academic in the Psychology course at UNISC, researcher linked to the Piabiru education, schooling and interculturality research group.

[00:03:19]This panel is being moderated today, right? This conversation [going on] is being led by our dear Professor Honório de Moura Caigang, right? He was introduced to me today by Professor Fátima as a valuable asset to our learning process, right? Professor Honório holds a doctorate in education from the Postgraduate Program at the University of Santa Cruz do Sul. He is a doctoral candidate in Letters at the Federal University of Rio Grande do Sul. He also holds a master's degree in education from the Postgraduate Program at UNISC, a bachelor's degree in public relations from the Federal University of Pampa, participates in the Pabiru research group, and is part of the executive team of the extension project, an extension course on intercultural learning and meaning-making in education.

[00:04:22]We are here tonight, in this beautiful edition, opening this room.

[00:04:30]Professor Honório, the floor is yours. I'll stay here and follow along, and I'll come back with questions.

[00:04:39]Oh, thank you so much, Veronica, for such a warm welcome! Well, good evening everyone, right? It's a great pleasure to be here today, to have this conversation and show a little of the work we've been developing throughout our academic journey, and also as Kaingang researchers.

[00:05:11]So, uh, I greet everyone, right, the Cang relatives, the relatives from other peoples, right, the FOC partners, right, who are always welcoming us with open arms.

[00:05:27]And it's a moment of joy, isn't it, for us here in the group, to be bringing, you know, a work developed, you know, throughout this year, you know, it started last year and this year we are consolidating it, you know, through the program, you know, Iclecar, Intercultural Conversations, through which we bring this pedagogical material, you know?

[00:06:01]Well, this teaching material comes with a very strong contribution from PA Gangang, especially from our fellow student, Raquel, who brings ancestral narratives and transforms them into teaching material that can be used in the classroom.

[00:06:27]It's with the students, right? A narrative, a story from P Cainang, which tells, you know, the origin, you know, of the beings, which tells the origin, you know, of various beings that inhabit, you know, this world, you know? So, uh, our conversation today revolves around us presenting this work, the narrative, which is titled " Conteind," or, in a tentative translation, "Party in the Sky," where we bring in elements from the sky and, based on the birds, create the story. Okay?

[00:07:23]Before we talk about it, we're going to discuss the entire construction process, and then we'll show how we use this material in the classroom with children and teachers. It's a very didactic way of bringing in and showcasing the culture of indigenous peoples. Right, here, starting with the Kaingang people, right? So, these are ways to bring indigenous culture into the classroom, which is also a way of effectively implementing Law 1140/11645 of 2008, which we will be discussing further throughout our discussions today.

[00:08:21]We can keep talking to Raquel, right? Raquel, could you tell us a little about that process? And we'll also chime in during your conversation, okay? Okay.

[00:08:36]So, uh, my name is Raquel Cristão, as it was introduced there, right? I'm from Guarita, in the municipality of Tente Portela, and it was a great experience to participate in this project, along with my colleagues, and to bring this Cangôs narrative together with the story that my mother told me. Then I went to get it and sent it to Cris Ponório, to make the educational material about this story, which is "Party in Heaven," a name that says the title "emigang" and also " Quanto cori os dois."

[00:09:41]And so for me it's been very [clearing throat] very good to participate in this project, you know, to come and show what we've learned, what we've learned together, right, and today we're here sharing, collaborating with colleagues and putting forward ideas, right? And it was great to participate.

[00:10:13]Fatima, good evening, everyone. Well, since my master's degree I've been working on contributing to the effectiveness of Law 11645, right?

[00:10:37]And we, I've been working within the postgraduate program in education, both in teacher training and occasionally in the classroom with students, in training situations and activities, but we've been developing other methods and other teaching materials to achieve this goal in other ways, and to broaden the reach of this activity, seeking to develop materials that reach early childhood education through high school.

[00:11:25]So there are different levels of materials, and for us, ultimately, to bring the history and culture of indigenous peoples into basic education, right? Not as a one-off event, but as an ongoing activity, right? It should finally be incorporated into the curriculum of various subjects—it doesn't have to be history, art education, or arts, you know? which can encompass all disciplines in different ways. We have the material for that, right? We have activity. Our goal here today is to report on one of these activities.

[00:12:20]Ana Paula.

[00:12:24]Good evening, everyone. I'm starting this journey within the research group, visiting schools and doing this work with students of all ages, not just those in basic education, but also including teenagers.

[00:12:45]Well, this approach that Fátima brings is important because all the work done within the narrative also brings other aspects of interest to these students, so they can integrate and learn about these narratives, you know, the history, the language.

[00:13:07]Well, it's fascinating to see the children's interest, you know, in the original knowledge of language, history, narrative, and what the environment brings to the table, like the one we're going to show today, the children's interest in birds, where they are, what they do, how we see this, how the narrative brings up this issue as well. I think that's about right.

[00:13:46]There's one issue that I think is always important to emphasize, which those who have been with us longer in the learning process already know, but it's always important to remember: we produce materials, we work from the perspective of intercultural collaboration with indigenous peoples, right? So the material is always produced in partnership. The main authors of the materials we produce are indigenous people. In our case here, the main narrator is Raquel.

[00:14:18]Yeah, right, she's the one who finally gave life and brought us the story, right? So, we seek partnerships to work with Indigenous peoples in collaboration and bring these stories into the classroom from the perspective of Indigenous peoples, and whenever possible, they are present. In those activities, right, Karina? Karine, feel free to speak, your turn is coming. Goodnight.

[00:14:56]So, goodnight, everyone. It's a joy to be with you. Well, to perhaps provide a little context, right, of this process up to the point where we arrived at this material, a group within the research group, as already mentioned, has been working since 2019 in basic education schools in the Vale do Rio Pardo region. And around 2021, more or less, we started with culture circles in basic education as well. And we saw this possible lack of materials coming from the teachers, who were reporting, " What can we do at school to address the issue of the law, this obligation, and so on?" So we compiled various materials and now we've arrived at an even closer perspective, perhaps, right? I think it's also important to mention that we've already developed, together with Unipampa, Maria Cristina who's behind the scenes here, oh, Fátima and Honório, right? Oh, and several indigenous leaders, the books from Motos publishing house, right? So, the first edition was in Kaingang, then Guarani, and now we arrive at this material. And at that time I also did some illustrations that formed part of that book, which already had the narrative and also the translation into Portuguese. And that's how I understand how, for me as a non-indigenous person, it has increasingly been a learning process, right?

[00:16:48]And what I was dealing with now, I recently finished my doctorate, but what I was saying, I started thinking about back in 2020 during my master's degree on intercultural poetics, you know, this practice of indigenous men and women that connects us with them in these arts, you know, many times. So, for example, for the Guarani people, the Guarani animals, which are precisely the art that allows us to have intercultural learning experiences.

[00:17:20]And for me, that poetics has been precisely what the illustrations represent. And here we see various animals and creatures, especially the aváes, which also make up this ancestral narrative for the Kaingang people. I don't know, Cris, if you want to keep going, for example, Honório here will tell you the parakeet well, right? So the material that makes it up is also a game, in addition to being a narrative. I'll let you guys continue explaining as well.

[00:17:57]Honório, you mean to tell us something interesting, right folks, that this activity brings in the birds that make up the Pampa biome, the Atlantic Forest biome.

[00:18:19]So, he brings various birds, right, that are circulating in those territories. Right, from this region, right?

[00:18:29]So, when we say "coiná," for example, we're working with this process of listening, both in the Kaingang language and in the Kaingang language. We're working with this process of interculturality between the Kaingang people, who are not indigenous or not Kaingang. So we work on the language, right, in an effective way, bringing the culture closer through the language, and those that appear, they precisely compose, they bring the names, that are said in Kaingang.

[00:19:14]And later, you know, the students themselves repeat it, right?

[00:19:23]Because when they talk about the terms in Can, right? When you go to the villages, right?

[00:19:31]Many times when I see the birds, I can't, right, translate them into Portuguese, right? I can only, right, talk about the Rainhang Yang language, right?

[00:19:45]So, for us too, it's a process, right, of preserving our own language through these activities, right? I was thinking, before we started talking about the birds, uh, to tell the story really quickly, in a shorter way, if you'll allow me. And then, after that, we'll start explaining how the activity works.

[00:20:15]Could it be?

[00:20:19]So, the title, right? She says, "Cont., the narrative begins like this, right? A long time ago, the birds planned a big party up in the sky, right? But they needed to find someone to liven up the party, right?"

[00:20:50]With that, they started asking, you know, among the other birds, if anyone knew and could liven up this party, and since this party was special, the community itself, the community that is, all the living beings that had wings, could participate in a sacred, grand party that would take place up in the sky? With that, they started asking the others, the other birds, like the blue jay, which we call Shang, right? Like the woodpecker, which we call a chanchon, the hawk, right? He also calls João de Baro, right?

[00:21:49]The baroré, the quero quero, the partridge, which is the coyota, right? The caturito that's the click, the beijor that's the cocoi, right? The mockingbird, right? What is or isn't, right? So, back then, right? All those birds, they were talking, right?

[00:22:17]They were talking amongst themselves, right? So, each person they met, they would say something like, " Hello, how are you?" So, and the other bird responded, right? Retamí, I'm fine, right?

[00:22:38]So, they were thinking about throwing this party, you know. They were looking for someone who could liven up the party, and they needed someone to liven things up.

[00:22:52]They were almost giving up when they spotted a gray eagle and asked, "We're looking for someone to liven up our party that's going to happen up in the sky." You know someone, right?

[00:23:20]And he replied: "My friend Vulture, who 's over there at the [ __ ] Cup, which is Araucaria, must know, right?

[00:23:32]He's very good, he's a very good person to do this kind of entertainment, right?

[00:23:41]So they replied: "Caramuma, right, we're going," right? And he replied, right? Then the vulture pointed out his friend crow, right? Everyone got excited, right? And they went to look for him. But they didn't know where their friend crow lived.

[00:24:07]Walking, searching everywhere, they found, right, a frog, right, which is the toad.

[00:24:19]And he heard their conversation, right, looking for someone to liven up the party, right, that they were looking for the crow's house, which would be Yont, right, and they asked him, right, there's a frog, and the crow replied, okay, right?

[00:24:42]And the frog, hearing this conversation, simply said: "We're looking for someone to liven up the party."

[00:24:53]And your friend, right, Urubu, suggested that we could have this party together. "We came here to invite you." He immediately replied: "Yes, I'll definitely be attending this party."

[00:25:10]right? It's going to be a very big day for us, right?

[00:25:15]Your friend Frog, right, listening to the conversation, right, became interested in participating in this party, but there was a condition, right, everyone who had wings could participate, right, and the frog didn't have any, right, he didn't know how to fly.

[00:25:36]So he had a brilliant idea, right?

[00:25:40]I'm going to hide inside the crow's instrument, you know, the crow's guitar, so I can reach heaven, you know, and be able to participate in the party, right? So the frog started questioning his friend the crow, and said, "To be a good musician, you need to follow some advice," said the frog, "you leave your instrument at your front door, and with that, time will tune your guitar for you, and a very beautiful sound will come out when you get there." And do it, right? And your friend Crow, without knowing it, without any intention, he fulfilled his friend Frog's request and left his instrument at the door of the house, right?

[00:26:44]With that, the frog secretly went inside his friend's instrument, and flew away to the sky.

[00:26:59]Along the way, the crow, already tired, asked, "Hey, my guitar is very heavy, what could be happening?"

[00:27:11]Little did he know that his frog friend was inside his guitar, right?

[00:27:18]He arrived there to relax, left his guitar leaning against the wall, and the frog came out, right? He slipped away quietly, but participated in the whole party, right?

[00:27:35]And when he arrived at the party, Yton left his guitar in the corner, right? The perfect moment for the frog to sneak away, right?

[00:27:45]At the end of the party, João Ton left his guitar in the corner, said goodbye to everyone, and the frog went back inside his guitar.

[00:27:58]to perceive. So Yon grabbed his guitar and flew back home, and halfway there, he felt the instrument get heavy again, and at that moment, he looked inside his guitar, and there was his friend Saturday.

[00:28:25]Then he asked, "Hey, what are you doing in there?

[00:28:30]Is this how you came to participate in the party?" Then he said, "Yes, that's how I hitchhiked, right?"

[00:28:38]And Yontó grabbed it and said: "Well, well, so you've been deceiving me all this time, huh?

[00:28:47]Well, now you're going to learn how to fly."

[00:28:51]At that moment he threw the frog, right, from up there, and the frog came falling, right, it came falling from the sky, right? And he saw that he was going to fall, you know, on top of some large quarries, right? He started yelling, right? Excuse me, excuse me, my friend Pedra, right?

[00:29:23]I'll hurt you if I fall on top of you, won't I? Get out of the way. Excuse me, your friend is a rock, right? Get out of the way, okay? And even then he fell, right? He was on top of the rock and broke all their bones, right? It got flattened, did n't it? And it never went back to normal, did it?

[00:29:52]So, this story, you know, it tells the story of the frog, how it came to be the way it is, what the characteristics of a frog are, how it is a boneless frog, right?

[00:30:07]Bones are all soft, right?

[00:30:10]So, the story, you know, it has this sense of telling, you know, the creation of the frog, you know, in relation to, you know, the participation of the birds, you know? So, we brought into the story, right, this composition of the diversity of birds, and especially those that live here in the southern region, right, that live here in our region.

[00:30:43]So, most of the birds, right, they are birds that are part of our biome, right, of the vegetation, right, and of our forests.

[00:30:56]from this state. It was adapted from these, right, from this relationship, right, of belonging, right, with the birds, and besides bringing this story, right, so we start, right, to show those birds that Maria Cristina was showing before, right, we start to repeat with the students and tell them a little, right, uh, what the song of these birds is like, right? So, what color are those birds? Ah, we can even talk about it, right? What do they eat, for example, when we talk about the blue jay, right? He's a symbol, is n't he? It's sacred to us, right? Proca, right?

[00:31:48]What does he eat, right? It's made of pine, right? from the daria seed. So we go through this process of getting to know the trees, and in a way, identifying them also by their sounds, their songs, right? So, uh, it involves, you know, different areas, right, uh, within, you know, the school curriculum, that we work with. Can anyone help explain this, guys? [laughs] That would be it.

[00:32:39]Well, I think we're going to talk now, right?

[00:32:44]How are we doing? Do you want to talk a little more, Carine?

[00:32:48]No, I think it was well contextualized, especially since we really like it when Honor, as an indigenous person, narrates this story, and you can tell that we don't have enough birds there together, right? So then, when the students start putting together this panel, this background landscape that shows where the frog makes its way to the sky and back, they start placing it there, right?

[00:33:24]Ana Paula explains more later, but it's precisely by identifying the birds that we have around here, right? So you can see exactly what they eat and what they feed on. So, how many, and what's the distance they can travel across the biome? Because birds also have no territorial limits, so they travel and interact with everything, taking care of this planet as well.

[00:33:59]And there's the QR code, right? It's there. We also have a larger QR code here, which people can see, that tells the whole story in Caigang, right? So, when this material is brought to the teachers, it's already available to them, and the students have this other one here, right?

[00:34:32]Depending on the dynamics of the class, you know, Honoro, we've already done it this way. And of course, Raquel's mother's narrative is fantastic, because everyone has their own little name there in Caigang, the children access it, listen to it, and repeat it.

[00:34:56]And a geometric symbol was also made here, right, for them to make the pairs.

[00:35:05]So, in the classroom dynamic, if they are younger children, we've already tried scattering these cards around the room, and before the story begins, they start searching for their matching pairs, right? And then comes your partner with the little name already in cague. Here it is, so we can get an idea, right?

[00:35:39]So, there's the one with the bird and the one with the Kaingang script, okay?

[00:35:48]How many schools have you been to, Ana Paula?

[00:35:54]Five.

[00:35:56]Including the part about mythology that we took to the teachers, that's already five schools, okay?

[00:36:10]And this is also a process, it's also a process that is being improved, right? Even through interaction with the children and teachers.

[00:36:19]Ideas just keep popping up, right? AND. Back in the first school, I think, when we went to the one with the younger children, we also needed to have several birds for them to put in the nursery, because they all wanted their own bird, right? So there was no point in us giving a bird to that group. They all wanted to interact and put their bird in, right? I'll show you here, but it's a Velcro, right?

[00:36:54]That's what people put on, it's behind here, and the little children would come and, according to their group, put it on here at the party, right?

[00:37:10]Then ideas started coming up for expansion, right, Honório? So you have to help, Honório.

[00:37:18]So, and so that we can have more birds, and so we, I don't know if Crisbota is there, we're already making these birds with their wings open, and not only putting velcro there, but adapting it with a magnet to make it easier for the children to put it on the banner. Oh, this one already has a magnet, so it's a magnet here and she's just going to put it there, okay?

[00:37:55]Well, it's interesting, isn't it, when we bring these activities, through the cars, we bring the narrative in an original way, a narrative told in the Kaingang language? So even people who don't know the Kaingang language, they listen, and they become sensitive to the indigenous theme, and the geometric shapes that are on each card, with the name in Kaingang, are precisely to make it easier to understand which bird it's talking about.

[00:38:53]Based on the name, based on the name, right? And the triangle that's on one side, he'll hear, right, the name, he'll see the writing in Kaingang, and from that triangle, he'll identify the other triangle that's the same and identical, right, which will be in Portuguese, right, it will say, it will say that it is, for example, when it says, for example, that it's the blue jay, right, it's written on the little card, right, on the side there will be a triangle, a square, a circle. So he's going to identify it from those triangles, right? Even though he doesn't know, right? Well, he'll identify the Caig language from those triangles on the side, right? And this activity is precisely to, you know, to sensitize, you know, listening, especially, and we can work on this in science and biology classes, you know, working on this issue of birds, their names, the regions they live in, so there are an infinite number of methods we can use in these activities with children, and with very young children, as we've been saying, we felt the need for them to have a little bird each, since they are often first or second grade children, very young, they want to be there interacting, together, they want to listen together, they want to be repeating the word in Kaingang Jum, right? So, in a way, indirectly, we are raising awareness of the Cainhang language in schools through this ancestral narrative, which we also call glufon in our villages.

[00:41:07]And not just the little ones, right? Because the last time we were together at a school, I think it was a class of 50th graders, who are older, they also wanted birds, each one wanted a bird, you know, to put on the banner. And the issue also arose when we started thinking about accessibility for children who have some kind of disability, like the one in the photo that CR is passing by. Well, in that class there was a girl with a visual impairment.

[00:41:45]So, right from the start, when we began thinking about it, Honório, and the opportunity arose, we learned that we could add some tags, these tags here, to make it more accessible.

[00:42:03]So, she was a visually impaired student who used the tags, okay?

[00:42:12]And now we're already improving and thinking, you know, in the sense that it's to make it accessible to everyone, to have a tag with a description, both spoken and written, to cover any possibility of accessibility for children who have some kind of disability, right? I think that tags, I think it's interesting for us to talk about tags, right?

[00:42:51]Tags, right, they're a tool that makes, let's say, an audio or text file accessible to people who have, for example, low vision. So they just touch the card to the phone, and the audio file opens automatically so they can listen and interact with other people who don't have low vision.

[00:43:37]So, accessibility is present in this activity of ours, and this girl who participated in this activity really surprised us, didn't she?

[00:43:56]Well, we're even, let's say, relieved, because we managed to anticipate this, you know, and think about putting tags on the cards, so that when we came across this type of situation, we could be including, without excluding, students who have some kind of need, some kind of disability. So, when we arrived at the school, we saw that she had this need, and having the tag on the card made it much easier for her to interact and listen, so that made things much easier for us too. So, it's a project that we're still working on, right?

[00:44:49]And throughout this process we're refining them, right, for their use with different audiences, let's say, right?

[00:45:02]Oh, I also remembered, Crisas, could you please tell us about the teacher training program?

[00:45:11]This type of activity is so playful and engaging that we recently came here for a teacher training program in the interior, in the municipality of Herveiras, and we brought them the range of teaching materials we have to work on the theme of Law 11645, right? No, no, as I said before, not just in history, not just in the arts, but in a transversal and permanent way, and not as an event, right? We talked a lot about it, and then they received this material, and the teachers were very interested, very intrigued, they read the story, right? And so they tested it, caught the birds and listened, and passed on the part about the tags, so they passed it on to them, and they listened and read the QR code on their phones. Everyone, everyone got involved, everyone. So, it's an engaging activity, okay? It's suitable for both adults and children of all ages, because you can play games, you can read aloud, you can experience it, right? You can dramatize that story.

[00:46:38]So, it's a rich, simple story, and at the same time it offers a wealth of possibilities for both early childhood education and basic education. So, uh, she's very rich and she's so interesting that she was even selected to present at the extension seminar of the southern region in Curitiba, at the 44th extension seminar of the southern region in Curitiba, when Raquel and Cris will be presenting this work there, right? So, it's already been proposed, evaluated, and successful. So, it 's important that we publicize this and make it available to anyone who wants this material, because it's important that it reaches schools.

[00:47:29]Ah, I have a question first, thank you for sharing.

[00:47:36]Well, when we talk about teaching art, culture, and history, sometimes we forget, or don't have the opportunity, to observe the way of life, the way of living, the way things are done. And so I am very happy that before starting the proposal of a pedagogical material, you delve into, you lean towards, the indigenous way of life and learning. For example, you start by listening to an older person, right? So you hear the story from Raquel's mother's perspective, you listen to this story and you start thinking about how to relate this material to school practices, to pedagogical practices.

[00:48:37]Well, the question, one of the questions is: who is the voice that narrates in Kaigang? I think it's brilliant to have materials in their original languages, because we say that Brazil has 300 indigenous languages. Some people speak a little lower, others speak a little higher, but we've never heard it.

[00:49:09]We know that a child may not speak English, but they have already heard a song in English. Now, because of K-dramas, she's heard them in Asian languages, she's heard them in many languages, but sometimes right next door, you know, in the same state, sometimes in the same city, she's never heard a song or music in an indigenous language. So, whose voice is this that's telling this story? Is it Raquel's or Raquel's mother's?

[00:49:45]It belongs to Raquel's mother, right?

[00:49:47]From Raquel's mother. The second question, uh, isn't it because sometimes we take a person's story and present it in a more commercial and editorial way, right? So, sometimes you listen and put it on at a different pace. Another question is whether the material contains information about the Kaingang people. So, if we take this proposal to Tocantins here in Rio de Janeiro, in this material, in addition to the narrative and all this involvement with the birds, and based on the narrative, right, all these possibilities that you presented, if we can read information about the Kaingang people... Well, I think these issues you're raising are quite interesting, right, Veronica? Well, first of all, we always have this issue, which is very clear, not only because I, as a Kainang, am participating in the group that works on these issues, but this preservation of the oral tradition of our elders, of the language in particular, is a very important matter.

[00:51:25]For us, right? That's why, when we started thinking about these activities, you know, with Araquel, she can probably explain it better, we asked: "Hey, how does your mother want us to do this?" right? Then she asked you: "Oh, your mother's voice, right, it's going to be circulating in many places and we won't have control over it, right? And it's an activity, right, a pedagogical material, right, it will, it will aim to teach, right, to carry on the language, right, and some principles of the way of being of the Kaingang people, right? So, I think this issue of preserving, right, the language from Raquel's mother, is very important, right? And the voice itself in the audio, right?

[00:52:25]Uh, where the names of the birds are, right, the blue jay, the lapwing. It was Raquel herself, right, who recorded the audio, right, and sent it to us so we could, right, carry it on the cards, right, and I think that's interesting, right, and this issue, right, of the narrative itself, right, it has this flexibility, right, so this flexibility allows it to be adapted, right, from Regarding the reality of each one, right?

[00:53:05]With respect to information about the specific Kaingang people, we haven't yet included it, as it's still in the validation process, let's say, in schools. We intend to, in the future, include a brief introduction to this particular people, with some basic information. Initially, we're still considering how to present it.

[00:53:38]Whether we'll use car codes, text, or audio, we need to define these issues. But it's important to have this information so people know what came from this group, let's say.

[00:53:59]Ah, perfect. Thank you, Honório.

[00:54:04]While you were speaking, I was looking here, opening the page of the Socio-Environmental Institute, the ISA. And the ISA has this process of cataloging the peoples, right? And it says where they are, where they are... Self-designation, if it's a name that was given, right? Where are they, how many are there? And they keep this information updated, if I'm not mistaken, every 5 years.

[00:54:49]So I'm going to share it here with Maria Cristina, okay Maria?

[00:54:56]Here in our internal chat. Then if you want to share it in the open chat room, right? I think for those who want to read a little more, right? And also, Honório, if you think the information there helps, right? Then you can also, because it's an institute that has helped me a lot, right, their material [honoring] when I'm doing research and looking for some information.

[00:55:32]Another very nice thing, Honório, right? Karine said, right, that she likes when you read the story, right, when it's told by you, read or told by you.

[00:55:52]There's something that has sometimes compromised relationships, right, at school, which is time, right, The time it takes to do things, to tell stories, right? And then there's also a kind of demand for standardization in this way of telling stories to children. Sometimes you go to a storytelling festival, and it seems like you 're listening to the same person who just changed their skirt and hairstyle, right? Because the way the story is told and communicates, how that storyteller communicates with their listeners, sometimes there's a hegemony, using our thinker Cristine Taquá, right? There's a monoculture in this way of telling stories in the classroom, in working with children. And when you come and you tell a story at a different time, at a different pace, certainly at a time and pace that's within you because of your own construction, how much of a person falls into this trap, right? It invites us who are on this 50-second platform, right?

[00:57:17]Some time ago, people had 5-hour online classes.

[00:57:23]Then 2 hours is too much. 30- minute videos are now considered long videos, right? And then In those 50 seconds, that was the time allotted for telling stories on Instagram. Then there are people who say 30, 20, 8 seconds, you know, to summarize that in that call to action, right? Considering that the material generally, the strong point of the material for children is audiovisual material, right?

[00:57:57]It involves images and sound most of the time, leaving out the sense of smell, right? Sometimes touch is involved, but not smell. And when you present material that has a rhythm that is given, right, shared by Raquel's mother—sorry, I didn't catch her name—and that you also, from your place and your relationship with the world and with time, you present this narrative, I think that's also a place that generates discomfort.

[00:58:48]And when I say discomfort, it's in the sense of disrupting those of us who were trained in pedagogy to do things the same way, to sing the same little songs, to play the same games from north to south. Playful.

[00:59:06]So, it is with great joy that I listen to you, that I listen to you all, because one of the things that made me shift my role as a teacher who tells stories to children in the classroom, as a reading room teacher, right?

[00:59:24]And I was quite provoked and touched by revisiting this, right?

[00:59:33]When we talk about the applicability of the law, it's more than just a legislated relationship; there are many layers of existence in this sharing of knowledge, history, and culture, right? There's a whole relationship there, preserved and safeguarded. So, I was quite moved and provoked to think about how to organize my next meetings with the children.

[01:00:12]Veronica, yes.

[01:00:15]You know that today when we were talking at the preparatory meeting here for the evening, Raquel told us that her mother is a Kaingang teacher in an indigenous school, right? And we know that certain Kaingang communities are having trouble maintaining their language, right? I would like Raquel to tell us how... She's thinking of taking this material to a Kaingang school. Can you tell us about it, Raquel?

[01:00:58]As I said, I'm from the municipality of Tenente Portela, where I live. There are two municipalities, Redentora and Portela.

[01:01:15]So, where I live belongs to Tenente Portela. And in that municipality, in the Kaingang community, people aren't very proficient in Kaingang languages.

[01:01:32]So, my mother works at the school in that community, and it occurred to me that I intend to take this teaching material with my mother to present to the school, to the principal and whoever coordinates the school, so they can see if it's suitable to work with the students, because there, in schools, you have to have an idea of ​​how to teach, to teach the children, because they aren't very advanced, some are, some know how to speak Kaingang, some don't, some can't read Kaingang, some can, right? So, that's it.

[01:02:34]This material would be very helpful for me, you know, to be able to work with it.

[01:02:41]I even thought about it when I start my internship, because I'm in my fifth semester, fourth semester already, and it's almost time to start, right? I think this material is good for me to take to my community, right? It helps a lot. And also to tell my community that I'm participating in a language and culture project, right?

[01:03:21]And telling a narrative story in Kaingang, because it's important to be heard, right, recognized, as I'm participating in this project, so people know about my work, right? So I'm very happy to be sharing, if you didn't know that I speak and write in Kaingang too, right? That's how my mother taught me and I also learned it at school, right?

[01:03:54]So, for me it's very important.

[01:03:59]Your mother's name is Teresa, right, Raquel?

[01:04:01]Dona Teresa. Teresa is Dona Teresa. So it wasn't a A great, great character, she was very important for us to achieve this narrative in Caigang and she taught us so much about these animals, about pronunciation, and she dedicated so much of her time to participating in this, she volunteered in this matter.

[01:04:26]So, our gratitude to Dona Teresa... and there's also a detail about the issue of indigenous languages, right? It's always good to remember that we are in the Decade of Indigenous Languages, right? So, the International Decade of Indigenous Languages. It's always good to reinforce this, right? We learn, as Verônica said, we speak so many languages, we study so many languages ​​– Spanish, English, sometimes even French here in our region, German, right? And more than 300 languages ​​are spoken in the country, right? But we only speak these two foreign languages ​​and not the languages that are here, which are from our people, right? Which are from our indigenous people. It 's interesting, right, that within this process, right, of the Decade of Indigenous Languages, which began in 2022, it will... Until 2023, right, 22, 32, I mean, uh, it also, uh, is found, right, as our protagonism is highlighting, right, the indigenous languages, right? One of them, right, is from this work, right, from this work. And we also intend, right, within the Crecar program, right, to also work, right, uh, together with the Guarani relatives, right, to produce material also within the Guarani language, right? So, we have been thinking, right, about several other issues, right, uh, within this theme, right, to strengthen, right, and highlight, right, within this process of the decades of indigenous languages, right, recognized by UNESCO, right? So I think it's important that we are always bringing, right, always highlighting, right, and this material, right, it is the result, right, uh, of this work. So we are very happy, right, to be sharing, right, it is still in this process of It's an improvement, right? But we intend to deliver it more polished in a little while.

[01:07:06]I also think that not having an explanation about who the Kigang are was n't intentional, but it's because of various activities we've done as a group, including productions, right? So, who are they, especially in the projects we've had, intercultural learning with Guarani and Gang in basic education?

[01:07:35]But now, thinking with indigenous peoples is precisely about listening to these narratives, directly to the voices of Raquel, Raquel's mother, Honório, and perhaps learning so much more than just knowing, "Oh, the Kigang are like this and that, the Guarani like this," right? So, I think it would enrich things even more if we included that, but I was thinking about this parallel, how much it enriches the narrative itself and how much wisdom is there, from biomes to birds, plants, and everything else.

[01:08:13]And it's an activity that's almost a social technology. Because it can be replicated and altered as needed. So, these days, when we encountered this visually impaired girl, the whole class interacted in a different way as well.

[01:08:30]So, each child who presented their bird explained what colors it has, what its shape is, what its plumage should be like, and so on. So, this imagination also plays and engages with language, which is also ours.

[01:08:52]It's interesting that the narrative itself brings, you know, the sound and conversation of the birds, which often, you know, since I'm away from the village for a long time, we end up distancing ourselves from this closer dialogue with nature as a whole.

[01:09:20]Another thing, you know? We don't hear the sound of birds anymore, right? Here in the city it's very difficult to hear the sound of birds, right? For example, what you hear most is the sound of cars, right? It's a noisy screech of cars, right? So, it's also a process, you know? Being Reconnecting, right?

[01:09:48]With nature, right? I think narrative has several other functions, right? It encompasses all disciplines, from Portuguese to art, right? And when we talk about, generally people say, " Where do the Kaingang live, what is their territory?" So, generally, the story that is told about the Kaingang, in history books, they are already very categorical, right? The Kaingang are there in the north of the state, right? But that's not the story of what the Kaingang tell, the story that non-indigenous people told, right? Yes, it is.

[01:10:46]Now, when people ask me where the Kaingang territory is, right?

[01:10:50]I usually answer, right? Look, where there are Araucaria trees, there are Kaingang, right? So it's time to start reflecting on these issues when talking about the territory of indigenous peoples, right?

[01:11:07]Well, I, personally, as a Kaingang, where there's Arocara, there's Kaingang, right?

[01:11:12]Yes. No, uh, when I asked if there was a presentation from you in the material, precisely for that reason, for example, it 's common for teachers in Rio de Janeiro, when I say, "Ah, I'm coming from the quilombo," to say, "And do quilombos still exist?" You know? And I'm not talking about professors, you know? Professors with a university degree who think quilombos no longer exist and read quilombo as a place of escape and not a place of reconstruction, of politics, of existence, of self-naming, you know? And they read quilombo based on what the telenovela Escravisaura or any other telenovela says about what a quilombo is. Quilombo, right, an independent territory with its own politics, sometimes with its own languages. Currently, not everyone I know speaks Portuguese. So, uh, in that sense, and we're doing this, the Well, not really, I'm not very involved in this process, but, for example, the Vereda project with Professor Diego Brito is telling the story of the quilombo from the perspective of the quilombo itself, you know, from the territory. Because it takes the quilombos of Tocantins, which are also within this kind of political map, almost a census, you know, the IBGE (Brazilian Institute of Geography and Statistics) and tells the story of the territory from the perspective of the territory. And that's one of the things we've been doing in schools, thinking about quilombola culture, art, and culture being taught by a teacher from the territory who isn't necessarily a professor, someone with academic training, but someone who has an intimate relationship with the territory and who can actually share the territory from their own experience and not from what others say, right? And sometimes, and something I've also seen, for example, in this construction of materials from the quilombo, is that not everyone always arrives from the same place, you know?

[01:14:00]So, we are... Making these somewhat constant re-presentations and [snoring] and I've even done this in my speeches because at the end there were people who asked me: "But what were you talking about, where are they?" It's very common, for example, what are the living schools? There's an exhibition, it's in São Paulo, Viva Viva, Escola Viva. People visit the exhibition and then ask, you know, what are the living schools because of this, it arrived by another path, right? Eh, and that's it.

[01:14:38]Depending on the process, we're going to name them, and in this sense of this post-colonial narrative war, right, to name them. And the right, as Judith Butler says, the right to appear, right, the right to be seen, but in that sense.

[01:15:09]Yes, but that's it, right? I think the indigenous people themselves are also positioning themselves in these spaces of hegemony, right? So, they are positioning themselves, they are telling their own stories. I I think this is a great moment, right? We can understand all the stories, right, that we can, from this diversity.

[01:15:35]I think we're almost at the end, right?

[01:15:39]Yes, there's the raffle.

[01:15:42]Oh, yes.

[01:15:53]Cris reminded us now that the birds will also have added sound, right, Ana Paula, which is an improvement that will be implemented. Look, we're always feeding on suggestions, right? Today came the suggestion to talk about the Kaingang people in this material, right? Several things have already been done. The first idea was with Velcro, then now with a magnet, right?

[01:16:24]And also the sound of the birds, right? These are ideas that I don't even know where they come from, right? But mainly this feed from the encounters with the schools, right?

[01:16:41]It was an idea that came from us to put the sound of the birds, right, on the little card with Carrecoach so that the children can also become familiar with it, as Honóri said, we don't hear birds in the city anymore, we have other sounds. And the children stop paying attention soon, right? So, bring the sound of each bird on the cards so they can listen, as well as the pronunciation in Caig. And just to contextualize, yes, the children are amazed, they interact a lot, right, when they pass by and hear Raquel's mother speaking in Caig. And the monk parakeet is the sensation bird. They will certainly not forget how to pronounce monk parakeet in Caig, right, Honório?

[01:17:49]I don't pronounce "cri" correctly, right, Honório?

[01:17:51]You say it.

[01:17:58]CR.

[01:18:12]I think that's the name of the person drawn, Verônia.

[01:18:17]Oh, yes.

[01:18:18]Eh, once again thanking, right, this birdwatching night that passed quickly, full of colors, beautiful material. I took several photos here, I listened just like the children, you know, Ana Paula? As it went by, I took the photo and I stayed here, I put it on mute and listened. Eh, very good to hear them. Eh, you spoke She communicated that the work has already been presented to five schools, right?

[01:18:55]Raquel said she's going to her internship. And I believe that from this sharing, other teachers, other educators will also begin to think about how to share their territory, right, which is one of the questions of the learning laboratory, right, how the territory dialogues with school practices, with learning practices within school spaces, shaping children and teachers, right?

[01:19:36]Because this school place, right, with all its issues, it's not a place that only educates children, right? We also, nobody leaves this passage through school the same. So you presented this beautiful possibility of sharing, right, with the dialogue of heaven and earth, the feast of heaven, I also remember other texts. So, I would like to thank you and say that I, like the children, leave here today happy and knowing a lot of cool things, right? And I didn't know that the frog was kind of a trickster. I like him even more now, because I like animals that create, that create Confusion in the narratives. I've already discovered another one. So, I want to express my immense gratitude to Professor Raquel Cristão, Karine Venndulan, Fátima Silveira Souza, Ana Paula da Silva Stricker, and to our dear Professor Honório de Moura Caigang, and Professor Maria Cristina Graef, who, you know, is hiding in the classroom, making this transmission possible. And now, I have a question.

[01:21:04]What material does the banner use to allow the Velcro and magnet to adhere to the surface?

[01:21:13]Technical questions.

[01:21:17]Technically, we went and it became almost a handcrafted technology, right?

[01:21:26]But the Velcro is glued on, right? It's glued here. The banner is made of polypropylene, t the?

[01:21:41]And then the magnet, the magnet is also interesting in terms of cost, right?

[01:21:50]We know that today we also work towards making it accessible to everyone. Then a washer, which costs 2 cents, not even that, very small, was placed on top, glued with tape to the back of this polypropylene material, and a magnet, which we also buy and is very cheap.

[01:22:19]Yeah, I think it was a little after nine. It's 3 PM.

[01:22:25]They look like a tiny little tack, very thin, glued to the back of the bird. It's made of a material like paper or cardstock, and you could even put a layer of plastic on it to make it more durable, or just leave the paper and glue or tape it on.

[01:22:51]Ana Paula, could the banner be, for example, a creation of the educator or the teacher? He can make a panel; sometimes there's someone skilled who can draw it, for example.

[01:23:08]So, me, right? I think Raquel can answer that. Raquel, what do you think?

[01:23:19]Like, if someone could draw it another way.

[01:23:24]For example, I want to tell the story here. Then I have no way to print the banner. Do you think we could do it? Do you think it would also work if I drew it?

[01:23:40]And it works, right? Through the story told, you imagine and create the setting for the birds, right, for the party.

[01:23:55]We had, we had, we had an artist here, right, Raquel? Karine put together this whole set for us; she's quite the artist, isn't she?

[01:24:05]Yes, I think it's quite interesting, right?

[01:24:10]Students can make the birds, right?

[01:24:12]So each person does detailed research on, for example, "parakeet is my bird," and then together they build a scenario, creating an even more meaningful narrative, right?

[01:24:28]I think what's cool about bringing this narrative is that you can play with it in so many different ways, right? You can start counting and drawing, you can start creating and assembling, right, all these possible scenarios, right? You could ask the students to each draw the birds they want to include in the story, right? So, there are several other ways to do it, right? I think the narrative has this flexibility, you know, of allowing you to play around with it in an educational way, which is really cool.

[01:25:03]And look, it's just like Karine said about the issue of social technology. Every time we talk about it, another idea comes up, [laughs], right? And then it grows, right? And it is very interesting.

[01:25:19]Oh, how lovely. Thanks. Thanks. Now that we're reaching this point of organization to move towards the end, we have two people who were drawn here.

[01:25:35]Today the prizes drawn are two maracas, right? And there in the room are Raiane Totola and Magda dos Santos Freitas.

[01:25:50]So, we'll be organizing the shipments for the first semester, right? Those that haven't been sent yet, and also those that are arriving now. So, uh, these two people, Raiane Totola and Magda dos Santos Freitas, were the lucky winners today. Well, at the end of the semester, we're finishing in a festive mood, a celebration in heaven and on earth, celebrating the presence and existence of educators.

[01:26:32]committed, available to chat, to converse, to exchange ideas and to make this moment and this place, school, education, a place where well-being, right, can also be part of everyday life, not just something to add, or calculate, or subtract.

[01:27:01]So, I always say that if there's one institution on this earth that I have extreme affection for, it's the institution of educators, teachers, popular educators, masters, people who dedicate part of their journey here on earth to sharing what they know, what they do, what they've learned, right? So, thank you, my beautiful people. Have a great break, everyone! Those who are taking time off now, those who are going to rest, and we'll see you again next month. Thank you very much and best of luck. The party in the sky. Good luck, Raquel.

[01:27:46]Welcome.