O artigo apresenta as transforma\u00e7\u00f5es no relacionamento do Museu Goeldi com os povos ind\u00edgenas, neste caso, os Meb\u00eang\u00f4kre (mais conhecidos como Kayap\u00f3), em uma perspectiva de longa dura\u00e7\u00e3o. A complexidade dessa rela\u00e7\u00e3o n\u00e3o se resume \u00e0 mera influ\u00eancia de um darwinismo social que teria acantonado os museus de hist\u00f3ria natural no papel de agentes do colonialismo e de ide\u00f3logos de um racismo estrutural. Tr\u00eas momentos-chave da constru\u00e7\u00e3o dos v\u00ednculos entre o Museu Goeldi e os Meb\u00eang\u00f4kre s\u00e3o analisados: a transi\u00e7\u00e3o entre o s\u00e9culo XIX e o XX, quando miss\u00f5es religiosas eram financiadas pelo Estado e intermedi\u00e1rias obrigat\u00f3rias entre os ind\u00edgenas e a sociedade nacional, no intuito de integr\u00e1-los \u00e0 \u201cciviliza\u00e7\u00e3o\u201d; os anos 1930, em que novos movimentos migrat\u00f3rios para a regi\u00e3o amaz\u00f4nica e os ditames de uma oligarquia que se fortalecia por meio do controle fundi\u00e1rio – sobretudo em \u00e1reas produtoras de castanha-do-par\u00e1 – amea\u00e7avam a integridade f\u00edsica e territorial desse povo; e, finalmente, os anos 1980-1990, quando surge uma oposi\u00e7\u00e3o ao desenvolvimentismo do regime militar, cristalizando-se num modelo socioambiental que reconhece a import\u00e2ncia do protagonismo dos ind\u00edgenas e das popula\u00e7\u00f5es tradicionais na Amaz\u00f4nia. Uma vez destacadas as transforma\u00e7\u00f5es verificadas na rela\u00e7\u00e3o entre museus e povos ind\u00edgenas, conclui-se advogando a import\u00e2ncia assumida no s\u00e9culo XXI por pesquisas colaborativas e por uma museologia participativa – tanto para sua qualifica\u00e7\u00e3o cient\u00edfica quanto para a valoriza\u00e7\u00e3o de um saber ind\u00edgena com profundas repercuss\u00f5es pol\u00edticas, sociais e ambientais.<\/p>\n
This paper discusses the transformations in the relationship between the Goeldi Museum and Indigenous peoples, specifically the Meb\u00eang\u00f4kre, better known as Kayapo, in a long-term perspective. Their complexity is not merely influence of a social Darwinism that would have cornered natural history museums in the role of agents of colonialism and ideologues of structural racism. Three key moments in the construction of ties between the Goeldi Museum and the Meb\u00eang\u00f4kre are analyzed: the transition from the 19th to the 20th century, when religious missions were financed by the State and compulsory intermediaries between the Indigenous people and national society to integrate them into \u2018civilization\u2019; the 1930s, when new migratory movements to the Amazon region and the dictates of an oligarchy that strengthened itself through land control – especially in Brazil nut production areas – threatened the physical and territorial integrity of this people; and, finally, the 1980s-1990s, when opposition to the developmentalism of the military regime emerged and crystallized into a socio-environmental model that recognizes the importance of the role of Indigenous peoples and traditional populations in the Amazon. After highlighting the transformations observed in the relationship between museums and Indigenous peoples, the article concludes by advocating the importance assumed, in the 21st century, by collaborative research and participatory museology, both for their scientific qualification and for the appreciation of Indigenous knowledge with profound political, social, and environmental repercussions.<\/p>\n
KEYWORDS: Natural history museums; Indigenous peoples; Ethnographic collection; Collaborative research; Participatory museology.<\/p>\n","protected":false},"featured_media":5007,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","blocksy_meta":"","_links":{"self":[{"href":"https:\/\/patrimonio.art.br\/opocedoc\/wp-json\/wp\/v2\/tnc_col_4706_item\/12907"}],"collection":[{"href":"https:\/\/patrimonio.art.br\/opocedoc\/wp-json\/wp\/v2\/tnc_col_4706_item"}],"about":[{"href":"https:\/\/patrimonio.art.br\/opocedoc\/wp-json\/wp\/v2\/types\/tnc_col_4706_item"}],"replies":[{"embeddable":true,"href":"https:\/\/patrimonio.art.br\/opocedoc\/wp-json\/wp\/v2\/comments?post=12907"}],"version-history":[{"count":13,"href":"https:\/\/patrimonio.art.br\/opocedoc\/wp-json\/wp\/v2\/tnc_col_4706_item\/12907\/revisions"}],"predecessor-version":[{"id":12991,"href":"https:\/\/patrimonio.art.br\/opocedoc\/wp-json\/wp\/v2\/tnc_col_4706_item\/12907\/revisions\/12991"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/patrimonio.art.br\/opocedoc\/wp-json\/wp\/v2\/media\/5007"}],"wp:attachment":[{"href":"https:\/\/patrimonio.art.br\/opocedoc\/wp-json\/wp\/v2\/media?parent=12907"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}