The National Museum of AnthropologyThrough Women's Eyes

These ceramics are used to hold water and chicha, a weak liquor made from fermented yucca plant. Chicha is made by women and plays an important role in social and ritual events. Shipibo ceramics are among the most beautiful in the Amazon region, and are highly sought after. They are made by women. The designs reflect the Shipibo world view, and are considered to be kené, or signs of ethnic identity.

As many of the Amazonian cultures have become part of the market economy, the role of women has declined. The traditional, gender-based division of work has been replaced with western models in which women are subordinate to men and dependent on them for survival.

The Shipibo people developed a way of living that was different to other Amazonian communities, since their principal source of income comes from the sale of ceramics, textiles and jewellery, all of which are produced by women. This reinforced the social and economic role of women.

Ceramics are the highest form of artistic expression in this community. They are passed down from generation to generation by the women who make them.

The designs are inspired by the ceramicists' dreams, visions, personal experiences, and knowledge of the Amazonian environment, as well as by Kichwa mythology and world vision. The most common motif is the anaconda snake. Sinchi Amarun, the anaconda of the underwater world, appears in their dreams to show them designs for their ceramics, as well as where to find the best clay.

The production of ceramics is linked to Nungüi: the goddess of cultivated plants and ceramics, and a role model for women. She is also responsible for female productivity. One of her manifestations is Manka Allpa Mama, the spirit of clay ceramics and the goddess of clay deposits. Her permission is required before the clay is collected, and she appears in the dreams of female potters.

These remarkable ceramicists are extremely knowledgeable and have a special relationship with the supernatural world. Their male equivalents are shamans, and they both have the same name: yachak—one who knows.

This knife, known as an ulu, was the main tool carried by women and one of the symbols of Inuit women. Girls were given a small ulu made by a male relative, to start working on the tasks they would be expected to perform in the future.

Men were considered to be ready for marriage when, among other things, they could make an ulu for their future wife. The bride and groom would exchange gifts on marriage, and one of the gifts given by the man would be an ulu. Women were buried with an ulu when they died.

In common with many African communities, the Yoruba people believe that women are the intermediary between the human and the divine, between culture and nature, and, as givers of life, the narrow connection with the earth. This type of mask pays homage to the spiritual powers of old women, so that they may use them for the benefit of the community. The Gelede festival takes place during the dry season, once the growing season is over, to encourage fertility and drive away evil spirits.

The Sandogo women's society is also important in Senufo culture. It practices divination and communicates with the spirit world. Membership of this prestigious society is passed down from mother to daughter, and only a chosen few become sandobele or diviners.

Many people come to them with their problems. To find out the cause of a problem, they make contact with the madebele, or bush spirits, and will recommend a treatment for their client. One treatment could be to carry out a ceremony to pacify the madebele, in which the masked fila play a key role: restoring equilibrium with the spirit world.

Kpeliye’e masks represent an ideal of feminine beauty, although they are always worn by men. They are used in initiation ceremonies by the Poro society, in rituals to honor their ancestors, and at funerals. The Poro is a men's secret society and a central pillar of Senufo culture. Its main objective is male education, to produce men who are useful and respected members of their community.

Byeri are anthropomorphic wooden figures that are placed inside reliquary boxes containing the bones of deceased elders, to pay homage to their remains. Although many of the byeri are male figures, there are also several that depict women. The stomach, genitals, and breasts are especially prominent on these figures. If a woman held an important position in the community, or had given birth to a large number of children, she could be elevated to the category of an ancestor of the byeri.

The presence of female byeri is intimately connected to women's role as mothers and creators, and to their fertility. This is because one of the functions of the ancestors is to encourage fertility.

A woman's capacity for procreation is, in turn, linked to the world of the dead, since women's sexual organs are considered to be the bridge between the worlds of the living and the dead through the birth of children, who are considered to be reincarnations of ancestors.

Women wear kootoné kangé earrings (gold earrings) on special occasions in which they are required to demonstrate their power and social prestige. They are decorated with engravings that allude to the wearer's social status, for example, heads of cattle in the case of communities mainly engaged in livestock keeping, or trees in the case of farmers. Personal belongings bring power and prestige, and are passed down from mother to daughter. They are only sold when all the descendants are boys, to increase the family's wealth.