Temiminó

Image description: The image is an old engraving depicting a map. The spatial layout runs from left to right, beginning at the far left, where the Magre river is seen, and ending at the far right, where the Obirueta river is located. In the center, Rio de Janeiro stands out, with several localities marked around it. The colors are predominantly black and white, with some details in gray.

The term "temiminós" appears in historical sources only in 1568, one year after the battles of Uruçumirim and Paranapucu – from which they, and their Portuguese allies, emerged victorious. In a letter from the temiminós chief, Arariboia, addressed to Mem de Sá, there is a petition for land that he made to the governor-general for the services rendered in the conquest of Rio de Janeiro. The document called “Carta de sesmaria de Martim Afonso de Sousa”, which contains Arariboia's “petição” and the “translado de regimento (das terras)” signed by Mem de Sá, states that Arariboia himself dictated to the scribe, Pedro da Costa, that he was “one of the main men of the temiminó people,” and why he deserved that land grant. From this document onward, the term would spread through historical documents and books.

The Temiminós were present in decisive actions and moments of history: they took part in the construction of the forts and the defense of the city, participated in the following century's entradas and bandeiras expeditions departing from Rio de Janeiro, and, being the last military resource against revolts, they even took part in the Luso-Dutch wars in the Northeast.

Image description: The image is a black-and-white engraving. It shows a profile portrait of a man wearing a garment with ornamental details on the collar. The figure faces to the right, with short, disheveled hair. The garment appears to be from a historical period, possibly the 17th or 18th century, with a voluminous collar and ornaments on it.

The meaning of the term "temiminó" in old Tupi is clearly an opposition to the designation of "tamoio." While those who fought against the Portuguese called themselves the "grandparents," the allied indigenous peoples became known as "temiminós," that is, the "grandchildren." The contrast between the terms ("old"/"tamoios" vs. "new"/"temiminós") characterized these peoples within a context of war, in which the old general meanings of "tupinambá" no longer made sense.

The Temiminós were, above all, the Maracajás of the Ilha do Governador, joined by other individuals who, over the course of the conquest of Guanabara, joined the group of indigenous allies of the Portuguese. At the end of the conflicts, that indigenous unity forged in the battles ended up defining itself, in opposition to the Tamoios it had fought, as a "Temiminó" identity.

Image description: This is a black-and-white painting. The scene depicts a group of people inside a structure that appears to be a cabin or tent. On the left side, there is a figure with long hair, wearing heavy clothing, seated and apparently caring for another person lying on the ground. In front of them, there is an object that looks like a musical instrument. In the center, a man stands looking down, with his arms crossed over his chest. In the background, other individuals are scattered around the cabin, some seated and others standing. The lighting is dim, suggesting a somber or sorrowful atmosphere.

That is to say, the terms “tamoio” and “temiminó” were not part of the Tupinambá vocabulary before the arrival of the Europeans. The various clans had their own identities within the general spectrum of the “Tupinambá” nation without a specific designation. The differences among the Tupi are evident in studies of the tabas of pre-colonial Guanabara. From the moment this heterogeneous group had to choose which European side to ally itself with in the context of colonial dispute, two options presented themselves to the various Tupinambá groups of Guanabara: tamoio or temiminó. Victorious, alongside the Portuguese, the temiminós triumphed.