Kãisãró is the daughter of Ermelinda Yepario and Severiano Kedasery, and is the youngest of 11 children. Her first contact with urban life occurred when she was still a baby, since her older siblings already lived in Manaus. In 2002, at the age of six, her parents decided to move to the city in search of better educational opportunities for their children, hoping that they would attend university and eventually return to Iauaretê. However, due to various events, this possibility of returning never became viable.

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Kãisãró learned to speak Portuguese when she moved to the city and, living in a suburb of Manaus, she discovered social inequality and the cruelty of prejudice at an early age. She had to learn to defend herself, resist, and feel proud of who she is. In her first year in the city, other children began to call her “índia” (Indian), a term with which she never identified, as she grew up knowing that she was Tariana, from the 3rd clan. Understanding the pejorative connotation of the word, she began to promote the decolonization of the word in her life and work, considering the use of the term indígena (indigenous) more acceptable.

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Since arriving in Manaus, the family has worked with handicrafts, traditional dances and songs, workshops, lectures, experiences, as well as cinema and theater. In the same year, the Dyroá Bayá arts group was formed by members of the family, and in 2008, Kãisãró participated for the first time in a performance with the group, using traditional instruments, songs, and dances, in Heliodoro Balbi Square, in Manaus, Amazonas, together with the group “Aldeia instrumental.” In 2023, the Dyroá Bayá arts group, which currently resides in São Paulo, celebrated 22 years of experience as an indigenous collective. She considers the group to be her artistic cradle, providing a rich environment immersed in the indigenous cultures of its peoples, contributing to her growth as an indigenous multi-artist.

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Start of her acting career

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Kãisãró had her first contact with cinema at the age of seven, when she participated in the film Tainá 2 — A aventura continua (2004), directed by Mauro Lima. In this production, she was part of the children's group in the village of Tainá, an indigenous character who has adventures in the forest.

 

Kãisãró Diroá always makes a point of remembering that even before she was born, her grandparents had already participated in two feature films: Brincando Nos Campos Do Senhor (1991), by Hector Babenco, and Medicine Man (1992), by John McTiernan. Thus, it can be said that she comes from a family of artists and actors, including her grandparents, parents, and sisters, making Kãisãró the third generation of actors in the family.

 

She never imagined that she could pursue a career as an actress, as it was very far from her reality. She never saw herself represented in the films she watched, where the characters were mostly white, black, or Asian, and the films she watched most were martial arts films. It was only at the age of 18 that she agreed to pursue a career as an actress, although she had been acting since childhood.

 

In 2010, at the age of 14, she was selected for the short film Uayna-Lágrimas de Veneno (2010), in which she had a positive experience participating in the film alongside her mother and sisters, who had also passed the audition.

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Kãisãró then made a small appearance in Italian director Giorgio Diritti's feature film Un Giorno Devi Andare (2013), playing the character “Ângela.” The film tells the story of Augusta, a woman who travels through the Amazon in search of self-knowledge.

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In 2014, she auditioned for the film Antes o Tempo Não Acabava (2016), by directors Sérgio Andrade and Fabio Baldo. For Kãisãró, this was one of the first local productions to give prominence to indigenous people, with almost all the dialogue in the native languages Tikuna, Tukano, and Baniwa. She auditioned alongside several other local actresses, competing for the role of the protagonist's “cousin.” The film tells the story of Anderson, a young indigenous man who lives in Manaus and faces conflicts related to his cultural identity and sexuality. The film won awards at several national and international festivals, such as the Berlin Film Festival, the Brasília Film Festival, and the Portugal Film Festival.

 

In 2015, she took a theater course at Cia Pombal Espaço Alternativo, an important cultural center in Manaus at the time. In the same year, he collaborated in the creation of the performance Blitz do Nikamukora and participated, for the first time, in a street theater play entitled Tisidiri Masã (2015) – “People who love each other,” in the Tukano indigenous language. The work is an adaptation of Romeo and Juliet, directed by Day Nunes and written by Anderson Kary. In the play, Kãisãró played the character Juliet.

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The following year, she once again joined the “Aldeia” Instrumental, which performed alongside the Dyroá Bayá arts group, with a mix of indigenous and non-indigenous instruments. One of these performances took place at the Mindu Park amphitheater in Manaus.

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“Activism”

 

Since 1500, indigenous peoples have faced countless difficulties related to the loss of their territories and government neglect. Only in 2023, after centuries of struggle, was the Ministry of Indigenous Peoples created, and Funai was headed for the first time by an indigenous person, Joênia Wapichana, a woman who deeply understands the meaning of being indigenous in Brazil and who fights tirelessly for the rights of all indigenous peoples. When Kãisãró faced prejudice and invisibility, there were no relevant indigenous figures in the media, politics, or government. So, whenever she had the opportunity, she did her part, spoke out, and used art as a tool to express the difficulties faced by the indigenous peoples of Brazil. She saw the artistic world as a space for transformation capable of generating real change. Thus, although each ethnic group has its own cosmology, history, and language, the artist seeks to represent Brazilian indigenous communities and their diversity.

 

Brazil is home to a huge variety of indigenous peoples, including isolated groups, peoples in voluntary isolation, hidden peoples, uncontacted peoples, self-declared indigenous peoples, among others. In the Amazon, there are 168,690 indigenous people from different ethnic groups. Therefore, it is extremely important that people understand this plurality and avoid generalizations. Kãisãró emphasizes that indigenous peoples already lived in a civilization even before the arrival of the invaders and that, throughout history, they have suffered genocide, prejudice, and violence, being abandoned by the rest of the world. Today, the struggle for land, rights, and recognition continues.

 

The artist argues that Brazil is indigenous land and that native peoples should have the right to move freely throughout their territories, because before cities were inhabited by non-indigenous people, this was already a multi-ethnic and diverse country. For this reason, Kãisãró advocates for equal rights and the recognition of indigenous peoples as part of Brazilian society.

 

Her resistance manifests itself through art, fighting for representation, which involves the inclusion, visibility, and cultural diversity of indigenous peoples. She believes in the transformative power of art to raise awareness and sensitize people to the indigenous cause. However, there is still little indigenous representation in theater, television, cinema, and advertising, with the vast majority of these spaces reserved almost exclusively for non-indigenous people.

 

​Kãisãró's resistance through art is often called activism, but she questions this definition. For her, the word “activist” has been appropriated and imposed by an external view, by non-indigenous people, who, once again, place indigenous people in a place that makes more sense to white people than to indigenous people themselves. For Kãisãró, indigenous people do not choose to be activists, but are born activists, that is, resistance is a natural consequence of their existence as indigenous people. For this reason, Kãisãró chooses not to be called an activist, even though she knows that what she does is a type of activism.

 

In addition, she believes that through art, she can immortalize the existence of her people, showcasing their language, writing, and culture. She emphasizes that indigenous peoples also live in the contemporary world, using cell phones, working in different professions, and actively participating in society. However, many film productions still portray indigenous people in a stereotypical way that is far from the current reality. For this reason, multi-artist Kãisãró is fighting to change this narrative and ensure that indigenous representations in audiovisual media are more authentic and respectful.

 

Her goal is to deconstruct the mistaken image of indigenous people as savage and uncivilized figures. She believes that the greater the visibility of indigenous peoples, the greater the chances of them speaking for themselves and ensuring the protection of their territories, thus guaranteeing their survival. She is not taking anyone's place; she is reclaiming the space that has always belonged to indigenous peoples.

 

As an artist from the Tariano ethnic group, from the 3rd clan, she represents, above all, her own people. After moving to the city, she realized that her mission was to fight for the inclusion and visibility of indigenous peoples, decolonizing narratives and promoting awareness, whether as an actress, singer, performer, director, or consultant. This journey is arduous and exhausting and often affects her mental health. However, for Kãisãró, this struggle is not an obligation, but a necessity.

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Resistance through art

 

She began her journey of resistance through art long before she fully understood the meaning of the word. One of the most memorable moments in her career occurred during the filming of a feature film, when she faced prejudice within the production itself. This experience marked the beginning of her conscious resistance. Offensive jokes, hostile words, and discriminatory attitudes on the part of some members of the team revealed a reality that she already knew well—both from the suburbs where she grew up and from spaces she frequented throughout her life. It was at that moment that Kãisãró understood that whenever she occupied places historically denied to indigenous peoples, she would face challenges like this. This is because, for a long time, indigenous people were relegated to secondary roles or represented by white actors, perpetuating a distorted narrative.

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Even in the face of these difficulties, she did not give up. She faced several situations alone and continues to resist to this day. Currently, the film industry has shown greater interest in self-declared indigenous people, descendants, and people with indigenous features, who often do not speak their native languages or are unaware of the meaning of being indigenous in Brazil. This scenario makes it easier for non-indigenous people to tell stories in a way that suits them, without the need for real consultation. Kãisãró, however, chose the path of struggle and resistance, placing this mission above her own career as an actress. She has been facing ever-greater challenges, mainly because most productions are composed and led by non-indigenous people, and often white people are reluctant to give up their privileges and this Westernized view of the world.

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Actress and Performer

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In 2017, director Sérgio Andrade, with whom Kãisãró had already worked on the film Antes o Tempo Não Acabava (Before Time Ran Out, 2016), invited her to be one of the protagonists of his new film. Recognizing her talent as an actress, he invited her to play the character “Kandra.” This invitation marked a significant moment in her career, as it was the first time she had played a leading role in a feature film. The film A Terra Negra dos Kawa (2018) premiered at festivals in São Paulo and Rio de Janeiro, and Kãisãró participated in the promotion, traveling with the film.

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The following year, she received her first proposal to present a solo performance. The chosen work, PÊ'TÍÍA'NÃWE - EXTERMÍNIO (2018), was presented at the event “Boteco da Diversidade - Vidas negras e indígenas importam” (Bar of Diversity - Black and Indigenous Lives Matter), held in São Paulo. The ritual performance denounced the violence suffered by the indigenous peoples of Brazil, attributing to the audience the responsibility of saving the planet and bringing to light the suffering of indigenous peoples amid environmental and social chaos. The presentation aroused great interest from the public and was well received at SESC Pompeia.

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Also in 2018, she participated in the selection process for the Globoplay series Aruanas, which deals with indigenous and environmental issues. After a long period of auditions and waiting, he landed the role of Payall. The series, produced by Maria Farinha Filmes in partnership with more than 20 organizations, such as WWF, Amnesty International, Global Witness, and Greenpeace, had a directing team composed of Estela Renner, Carlos Mangá Júnior, Bruno Safadi, and Lucio Tavares. However, according to Kãisãró, indigenous participation in the production took a back seat to the result sought by the team, reflecting the persistent difficulty of giving indigenous peoples a leading role and a real voice in the audiovisual media.

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The Move to São Paulo

 

​In early 2019, Kãisãró's family left Manaus and moved to São Paulo in search of better opportunities in the art scene as indigenous artists. At first, they had to adapt to the new city and even work in other areas, such as pest control, to support themselves. However, over time, they were able to resume their artistic activities and continue with their projects. A few months after the move, Kãisãró created, in partnership with the Dyroá Bayá arts group, the experimental play PÏADIÁPOA - DUAS FACES (2019), presented at Refinaria Teatral, in São Paulo. This performance explored the two faces of contemporary indigenous people and the interculturality experienced by those who move between different worlds.

 

Also in 2019, Kãisãró made a special appearance in the music video Sente o Tambor (2019), by artist and singer Caio Music, and was invited to join the cast of the play Brian ou Brenda (2019), directed by Yara de Novaes and Carlos Gradim, with dramaturgy by Franz Kappler. The play is based on the true story of David Reimer, a man who underwent sex reassignment surgery as a child without his consent and lived as a woman until he discovered the truth. Brian ou Brenda had two seasons in the city of São Paulo, at the São Paulo Cultural Center and at Viga Espaço Cênico. Accustomed to performing on open stages and in street theater, Kãisãró found herself on an Italian stage for the first time, acquiring knowledge and techniques that she might never have had access to otherwise. However, the experience also had its challenges. In some performances, the absence of other indigenous people in the audience brought her a feeling of loneliness and discouragement. Still, her passion for art prevailed, and she remained steadfast in her career.

 

​In 2020, before the pandemic, she collaborated again with Caio Music, participating in a show where the group Dyroá Bayá brought the culture of the North to the public, showcasing the richness of indigenous traditions.

 

During social isolation in 2020, Kãisãró explored new forms of artistic expression, immersing herself in the world of video art. One of the highlights of this period was the work CERCADOS (2020-2021), recorded over several months, which addresses how society is shaped so that each person thinks individually, ignoring the collective. The work reflects on how many people, even with access to information on the internet, just swipe their fingers across the screen without really engaging with the suffering of others.

 

​Another notable creation was ASFIXIA (2021), a performance loaded with metaphors, which reflects on urgent issues facing humanity. The first video of this work was recorded on the border between Brazil and French Guiana, in the heart of the Amazon. The performance was shown at the Dona Ruth Festival, an important black theater event in São Paulo.

 

 

Also in 2021, Kãisãró carried out an artistic intervention on Paulista Avenue against PL 490, demonstrating the impact of this legislative proposal on indigenous peoples. In addition, he participated in the project O que não está (What is not there), by the artists of Fronte Violenta, exploring the music and sounds that permeate our world, whether human or not.

 

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Recognition and recent works

 

In 2022, after the pandemic, Kãisãró joined the cast of the Netflix series Cidade Invisível (Invisible City) in its second season (2023). The series, created by Carlos Saldanha, is a fantasy thriller that explores Brazilian folklore and urban legends. In this series, she plays prosecutor Telma, who investigates supernatural crimes in the city.

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In 2022, she was also part of the cast of the film Ricos de Amor 2 (2023), directed by Bruno Garotti. The film is a romantic comedy that chronicles the adventures and misadventures of a couple from different social classes. Kãisãró plays the character Wunin, a young indigenous woman who works with alternative medicine in her community. Her daily life is interrupted when she meets Teto, a spoiled boy and son of a millionaire businessman.

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Continuing as a performer

 

​For Kãisãró, performance is a form of respite, a form of free and independent artistic expression. The artist creates from the moment she is living, inspired by her own experiences, by the cosmology of her people, by her ancestry, or by what is happening to indigenous peoples today. One of her latest creations was the performance Dɨ (blood) resurgence (2022), for the Solo Mulheres (Women Solo) Exhibition, at the Mugunzá Container Theater, in São Paulo. The performance addresses the body of the indigenous woman and her breadth as a woman in the world. She continues to work as a performer, considering this art essential in her life.

 

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Her latest work as an actress

 

​Kãisãró is the protagonist of the play Antígona na Amazônia (Antigone in the Amazon), playing Antigone herself. The play combines Greek tragedy with contemporary reality, being a powerful manifestation of solidarity with Brazil's landless rural workers.

 

The chorus of the play is composed of indigenous people from the Gavião tribe, from Marabá, who also participate in the show. The Amazonian Antigone says no to the destruction of the world's largest rainforest. For Milo Rau, this is the most impactful play of his career. The production is moving and cathartic, functioning as a beautiful act of solidarity that highlights the suffering of historically marginalized communities. By intertwining art and politics, the work questions why shocking realities should not be portrayed through art. More than a stage production, Antigone in the Amazon is a powerful example of the transformative potential of art and how theater can give voice to urgent social and environmental issues.

 

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Other works

 

​In addition to being an actress and performer, Kãisãró is also dedicated to music, singing the ancestral songs of her peoples, the Tukano and Tariano. She is an artist educator and tutor, with experience in courses, masterclasses, workshops, and lectures, sharing her experience and knowledge on indigenous issues and her experience in cinema, theater, and art in general.

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