The Xetá indigenous people were only contacted in the second half of the 20th century, given their concealment strategies to hide from the colonizers (LIMA, 2018). In the first decades of contact with non-indigenous people, between the late 1940s and early 1960s, more than 70% of the Xetás were killed. However, when repatriated in digital copies by the Paranaense’s Museum, the photographs and films produced by Vladimir Kozák between 1960 and 1970, based on a friendship of more than 20 years with the Xetás, have been fundamental for the resistance to new technologies of the genocide under which such people are still targeted (PACHECO, 2018; TUXÁ, 2022). The main objective of this research is to understand such agencies from their restitution to the Xetá indigenous peoples in two levels: 1) in the identification of relatives and in the proof to the State of the belonging of such subjects to the Xetá ethnic group; 2) in the use, in pedagogical terms, so that such subjects can learn customs of their people that could not be transmitted through direct contact, since they were deprived of such. We aim to understand how they (Xetás) have appropriated these images and made use of them to learn the cosmology of their people, the language (in danger of extinction), the making of basketry and other artifacts. We seek to collaborate in the field of heritage studies, given the urgent museological agenda of the 21st century to restore ethnographic collections to aboriginal and indigenous peoples (SCHORCH; WATERTON; WATSON, 2017; SCHORCH, 2020). Also, the emphasis on the repatriation of films comes to supplement absences in literature that privilege objects, and, when dealing with images, focus only on photographs (POIGNANT, 1992; EDWARDS, 2001; LYDON, 2010), addressing little about the particularities of the audio-visual.
