This research deals with reflection on the craftsmanship of dolls that represent
figures and elements of Umbanda as a form of cultural and religious expression. The
research highlights the importance of dolls as a symbol of faith, identity and
resistance, representing the diversity and richness of Afro-Brazilian culture. The
dolls, often made with traditional materials and techniques passed down from
generation to generation, are not just decorative objects, but rather representations
of spiritual entities and aspects of the daily lives of Umbanda practitioners. The
research also explores the process of creating the dolls, from the choice of materials
to the spiritual intentions involved, emphasizing the connection between crafts and
religious practices.
Oral History (Meihy; Holanda, 2007) and Autobiographical Narratives (Cunha, 2016)
were the qualitative methodologies used in this research. The main foundation of
oral history is a social dimension that encompasses collective memory and social
identity and places people at the center of the construction of knowledge. And the
Autobiographical Narrative was the way to tell my story, share the knowledge that
constitutes me, strengthening traits of my identity with awareness and formative
purpose.
To talk about the history of Umbanda and African-based religions, I spoke with
Cumino (2011) and Prandi (1989), two authors who are references in this area. And
when I reflected on the knowledge that comes from craftsmanship, I based myself on
the writings of the ceramist and educator Sonia Carbonell Alvares. The art educator
highlights how crafts have an ancestral dimension that strengthens social ties and
belonging for many people, especially those who are part of the same community,
such as terreiro people.
It is hoped that the results of this study will not only enrich the understanding of
Afro-Brazilian religiosity, but also promote a broader dialogue about religious
diversity and Afro-Brazilian culture.
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