My name is Jack Duncan and I am a free-lance professional photographer. I specialize in unusual locales and natural science work, the kind you might find in National Geographic. My wife Debbie is an Anthropologist. I am 45 and Debbie is 32, we have been married for 10 years having met while she was in college and I was teaching a class in ancient cultures.
We recently undertook a year long expedition into the remote rainforests along the Amazon to live with an indigenous tribe of Karaja Indians so Debbie could study their people, language, history, family structure, and rituals.
The Karaja are one of 53 indigenous tribal peoples still living in isolation in Brazil. They are a peaceful people having been pacified in the 1970s. As you might expect they are small in stature, with the men standing 5'6" on average and the women mostly 5'0" to 5'2". Their skin is a reddish brown in shade. Their ethnic features derive from pre-Columbian populations. They live in family groups usually comprised of 20 to 30 people. Although pacified, they speak only in their native tongue, and practice their own spiritual beliefs. Today they are primarily hunters and gatherers and move their location in the forest whenever they start to deplete their sustenance needs.
We had hired a local guide and translator, Hoopoe, to take us up the Amazon and into the rainforest to find the Karaja. When we arrived we were greeted by the tribal elders with many people of the tribe standing nearby listening intently as Hoopoe explained who we were and our desire to live with them for 12 months and learn their ways. We learned that when they refer to themselves as a group they use the word Bide which means "we, the human beings." After some elaborate communal greetings we provided a variety of gifts for the Bide and our mission was accepted. The rest of that day the whole tribe participated in building us a thatched hut to live in.
That evening there was a celebration for the whole tribe which Hoopoe explained was their way to welcome us into their family. There was food, drink and dancing till late into the night. At one point during the festivities an elder boy with an elaborate dress and painted body performed a chant, and spilled powder into the fire which caused it to soar into towering, multi-hued flames. Hoopoe told us that he was the Magi. This meant he was their spiritual seer. I asked if this was not unusual for such an important position to be held by one of his youth. Hoopoe explained that the position was lineage and taught to him by his grandfather who had crossed over to the other world. With the exception of children, the Bide do not recognize age as some right to status. By skill and knowledge when they are of age they become a hunter or warrior, or in his case, a Magi. Therefore they don't question his standing. He is of the lineage of the Magi and it is to him they turn. His knowledge is worthy of his station.
During the celebration the Magi animatedly spoke directly to us. Looking to Hoopoe he explained "Kayapo wants to know if there is something wrong with your skin?"
"Kayapo," I quizzed?
"The Magi is known to the Bide as Kayapo," he said.
"What does he mean by that? Does he refer to the color of our skin," Debbie asked?
"He means your coverings. He is wondering why you are concealed. Women do not cover their skin," he explained.
"Oh," exclaimed Debbie, "please tell Kayapo there is nothing wrong with my skin. This is just our custom."
Hoopoe provided the explanation and there was a brief exchange of words and some somber whispering, and everyone went on about the meal. I asked what was said and he replied "she must be unfriendly because she is hiding her skin." Debbie frowned at that but by then everyone was happily engaged in the celebration so the matter was dropped.
When the celebrating was finished we went to our hut to sleep. Everyone slept on a grass mat, which they had kindly given to us. Due to the humidity and heat I slept in boxer shorts and Debbie used a long sleeve kaki blouse as a nightshirt.
The next day we set up the equipment in the hut so we could perform our work. Computers and camera gear and video equipment so periodically we could review and edit the photography and send in pictures to various journals to get some money to keep our project funded.
Over the next month we went about our plans to learn from the Karaja everything we could. My task was to get this down in a photo essay form, and Debbie's was to tell the story.
One evening after our meal Debbie and I sat talking about her progress. I was getting a lot of good photographs but the narrative that would go along with them was coming much more slowly. Debbie said "there is resistance or reluctance to share with me. There is some barrier between us that I can't figure out."
"The elders have given permission for the Bide to talk to us and show us their ways. What do you think is holding them back," I asked?
"I'm not sure exactly, but they seem to defer to Kayapo. It's as if they are looking to him to recognize our mission and give his consent too," she said.
"Well, then maybe you should be spending more of your time building a relationship with Kayapo. He does seem detached from what we are doing. Maybe he wants you to come to him. Remember, he is the one with the wisdom of the ancients of the Bide," I offered. "I have been thinking just that. There is something captivating about him but I can't put my finger on it. Tomorrow I will try to communicate with him and see if I can win his consent. I am sure it won't happen overnight, so we may be taking a short break from daily efforts until I can see if he will accept me," she said.
Over the next couple of weeks Debbie would spend time everyday sitting in front of Kayapo and talk and listen. She would come back at the end of each day with a budding excitement over the promising breakthrough she was making. Still the rest of the Bide would not plainly help her.
She told me Kayapo explained that their family structure was built on a monogamous bond between a man and woman. The Karaja were 12 families with a total of 33 people ranging in age from new born to nearly 60 years for the eldest in the Bide.
"Why do some of the women wear grass skirts and others don't," I asked?
"The grass skirts signify that those women are unapproachable. They belong to someone. All the young children go naked until they reach puberty. When a woman or girl becomes available she will wear no more than a simple chord with a very few pieces of grass for her skirt. Sometimes they wear other jewelry or trinkets and of course they have various body paintings or tattoos which are for decoration based on individual tastes. The paintings, tattoos, and jewelry are all based on tribal and family affiliations. Anyone familiar with their customs can tell which family a woman is from by her decorations," she explained carefully.
Then one night after we had settled in to sleep I heard a slight shuffling and opened my eyes and in the dim reflected light of the fire outside I saw Kayapo seated in a yoga pose on the opposite side of our hut. He was just looking intently at us. Debbie was facing me, her back to that area of the hut. Her eyes were open looking at me with a puzzled expression. I whispered "its Kayapo. He is sitting there watching us," I said. He made no move and said nothing. Finally in the wee hours of the night I fell asleep. When I awoke in the morning he was gone.
As we got up Debbie gleefully said "I could feel his eyes on me. I was so nervous. He wants something but I don't know what it is."
"Why don't you ask him about it today," I suggested?
"I don't think it is polite to be that direct. I will have to wait and see if he says something," she answered.
That night and for the next several nights he would appear in our hut, sit patiently on the mat opposite our sleeping mats and just watch us. One morning I told Debbie "its not that I am uncomfortable with his showing up and spending most of the night watching us, but I sure would like to know what is on his mind. He isn't just looking in on us and he apparently is not there to talk. What do you think he is after," I asked again?
"He has never said anything and acts like nothing has happened," she explained.
Hoopoe cut in "he thinks you are unfriendly."
"Unfriendly," she questioned? "I have been trying to prove to him I want to be his friend. I thought we were making progress."
Hoopoe reminded her "you cover your skin."
"That would explain his nightly call, he wants to see your skin," I teased!
I could see Debbie mulling this over during the rest of the morning. After lunch she had changed into an aboriginal style print sarong, tied above her breast. I watched from across the village as she approached Kayapo and kneeled in front of him. I could see her trying to speak to him in the Karaja native tongue, and then she slowly stood, standing quietly in front of him. I watched as she untied her sarong and opened it, holding her arms wide and then let the light material loose. It drifted like a feather to the ground at her feet. She was naked!
Standing in the bright light I marveled at the magnificence of her body. Debbie does not look the part of a field anthropologist or a PhD for the matter. She has natural, wavy blonde hair atop a 5'6" tall body. She has an hourglass figure and the most beautiful green eyes. Her breasts stand proud and supple on her chest with pink areolas the size of silver dollars and barely darker nipples. Her abdomen is flat and her hips possess a womanly flare, round and firm. I can see her light golden fleece barely covering her sex. I stare at her lovely body, my eyes tracing her silhouette, caressing the gentle swell of her firm butt. The contours of her shapely and lithe legs spawn a seductive, graceful suggestion in front of Kayapo. Her body, lightly tanned but pale in contrast to his dark skin, sways beneath the glare of the sun provoking a trance that lures my eyes. Her nipples, only slightly protruding, reveal she is at ease with her communal nudity.