This article examines the ceramic art practice manga allpa awana by Amazonian Kichwa women in Ecuador, focusing especially on three elderly women from Sarayaku in Sucumbios, who exemplify how elder women embody the millenary knowledge this art form withholds. This practice is inseparable from the Kichwa cosmovision, which centres the harmonious relational existence within Kawsak Sacha—the living, breathing, and sentient forest. Practising manga allpa awana therefore demands not only artistic skill but also a scientific and relational understanding of the forest. By foregrounding the material, spiritual, and epistemic dimensions of this relational art and science, the authors propose a decolonial rethinking of both “art” and “science,” showing how Indigenous relational knowledge transcends hegemonic approaches to these fields. Furthermore, the practice challenges an external colonial model that seeks to homogenise and erase the multiple worlds of the pluriverse. In this light, safeguarding manga allpa awana constitutes a central pillar of Indigenous resistance for the protection of territories, biodiversity, planetary life and futures of liberation.