This article analyses the social representations of graphisms on Karajá dolls based on the idea that material culture is embedded in socio-ecological-territories contexts and interconnected to the dynamics of power involved within its production, meaning and circulation. The study is based on the data collected by a research group which informed the registry of "how to do" and "the expression forms" of the Ritxoko as Patrimônio Cultural Imaterial do Brasil. The graphisms drawing is a phase of the fabrication of ceramic dolls by women which articulates Karajá symbolic world as well as unveils a singular creative process coming up from external factors as the inter-ethnical contact. From this standpoint, the ceramists are classified by the members of their group as "good ceramists" based on categories that merge art, gender relationships, traditional knowledge, creativity and prestige.
art; graphism; material culture; Karajá's dolls
