Musique des indiens Kuikuro. Haut-xingu, Brésil (Mato Grosso)
Collection
Titre
Musique des indiens Kuikuro. Haut-xingu, Brésil (Mato Grosso)
Artistes
Type de document
Audio édité
Cote MCM
BR.4226
Date de parution
2009
Origine géographique
Brésil
Langue
Anglais
Description
ABSTRACT
Sonic relations : kagutu male flutes and tolo female songs among the Kuikuro
Bruna Franchetto (UFRJ, Brazil)
Tommaso Montagnani (EHESS, France)
Six hundred Kuikuro live in 6 villages along the southern tributaries of the Xingu river, Southern Amazonia. They speak one variants of the Carib language spoken in the region known as Upper Xingu, a regional multilingual and multiethnic system, where other genetically distinct languages are spoken. The Upper Xingu Carib language is one of the two southern branches of the Carib family. Linguistic documentation has been improved during a DOBES project (2001-2006); since 2003, the documentation of today 15 already existing rituals is being done by the Kuikuro themselves with non-indigenous researchers
as consultants.
Our research combine linguistic, musical and ethnographic documentation and description. This presentation concerns the relation between the kagutu flutes sacred music, played exclusively by men, and the tolo songs, sung exclusively by women.
Kagutu is a native word as the same time for one of the Kuikuro main rituals, the music played during this ritual and the name of the instrument used by master flutists during the ceremony. An important taboo is associated to these flutes: their vision is strictly forbidden to women.
Nevertheless, women hold a very important role during the kagutu ritual, listening from their houses to the music coming from the kwakutu (the man's
house).
Kagutu music is the voice of itseke, spirit-animals. According to the myth about its origin, kagutu music was the chant of itseke who sung the sacred melodies with their own voice. The myth tells how humans once heard the spirits singing kagutu, learned it and started to execute it in their own village. In the myth, a young woman, kidnapped by an itseke, was the firth human to hear kagutu music sung by the spirits, although,
withdrawn to her kidnapper's house, she never sees the itseke singing. During the ritual, kagutu flutes reproduce the names of the itseke; the instrument is considered able to imitate the voice of the spirits and to say their names, making audible their sonic presence among the humans. Women learn most of the sacred music of the flutes and also have a repertoire of songs, called tolo, based on the same melodies. These songs are all in the Upper Xingu Carib language and are said to be originally Carib (Kalapalo).
Tolo songs are said to 'imitate' (h?) kagutu. However, some crucial differences between them must be focussed and analysed. The origin of kagutu is told in a shamanistic and mythical way; the tolo origin is told as a women's historical enterprise. On the level of their cultural value, kagutu music is sacred and dangerous, tolo songs are prophane and joyful; when women sing on and for their lovers, deceit and irony are emotionally and cognitively
outstanding features. Kagutu ritual is private, closed and realized mainly in the darkness;
Kagutu music is a huge repertoire of 10 suites, each one including from 15 to 45 pieces, and only few musicians are able to learn and execute it in its totality.
Sound is a crucial link between humans and spirits. Kagutu music is conceived as a faithful and subordinate reproduction of itseke songs by men.
plages du CD en format wav
Kuik Kag (Flûtes et sonnailles)
1. 2'43
2. 2'32
3. 2'56
Kuik Kul (Flûtes)
4. 1'22
5. 1'21
6. 1'08
7. 1'15 Kuik Milho (Flûte solo)
Kuik Kag (Flûtes et sonnailles et chant)
8. 3'02
9. 4'16
10. 5'39
Kuik Atanga
11. 2'53
12. 2'25
13. 2'21
14. 1'58 Kuik Kuluta (flûte solo)
Kuik Takwara
15. 1'51
16. 1'43
17. 1'53
Kuik Tihehe (flute solo)
18. 1'53
19. 2'03
20. 2'15
Kuik Atanga
21. 2'22
22. 2'05
Kuik Takwara
23. 1'45
24. 2'00
Kuik Kag
25. 2'24
26. 2'16
Voir aussi :
-Tommaso Montagnani
"Je suis Otsitsi : Musiques rituelles et représentations sonores Chez les Kuikuro du Haut-Xingu"
Thèse soutenue le 17 décembre 2011 à EHESS
Jury : Carlo Severi, directeur de thèse, EHESS ; Bruna Franchetto, université Fédérale de Rio de Janeiro ; Rosalia Martinet, université Paris 8 ; Acacio Piedade, université Fédérale de Rio de Janeiro ; Anne-Christine Taylor, CNRS
-Women and music in cross-cultural perspective. Edited by Ellen Koskoff. Illini books ed. 1989.
Article trouvé de Ellen B. Basso
Chapitre 10
Musical Expression and Gender Identity in the Myth and Ritual of the Kalapalo of Central Brazil (Rituel Katugu des hommes et ritual Yamurikumalu des femmes)
Sonic relations : kagutu male flutes and tolo female songs among the Kuikuro
Bruna Franchetto (UFRJ, Brazil)
Tommaso Montagnani (EHESS, France)
Six hundred Kuikuro live in 6 villages along the southern tributaries of the Xingu river, Southern Amazonia. They speak one variants of the Carib language spoken in the region known as Upper Xingu, a regional multilingual and multiethnic system, where other genetically distinct languages are spoken. The Upper Xingu Carib language is one of the two southern branches of the Carib family. Linguistic documentation has been improved during a DOBES project (2001-2006); since 2003, the documentation of today 15 already existing rituals is being done by the Kuikuro themselves with non-indigenous researchers
as consultants.
Our research combine linguistic, musical and ethnographic documentation and description. This presentation concerns the relation between the kagutu flutes sacred music, played exclusively by men, and the tolo songs, sung exclusively by women.
Kagutu is a native word as the same time for one of the Kuikuro main rituals, the music played during this ritual and the name of the instrument used by master flutists during the ceremony. An important taboo is associated to these flutes: their vision is strictly forbidden to women.
Nevertheless, women hold a very important role during the kagutu ritual, listening from their houses to the music coming from the kwakutu (the man's
house).
Kagutu music is the voice of itseke, spirit-animals. According to the myth about its origin, kagutu music was the chant of itseke who sung the sacred melodies with their own voice. The myth tells how humans once heard the spirits singing kagutu, learned it and started to execute it in their own village. In the myth, a young woman, kidnapped by an itseke, was the firth human to hear kagutu music sung by the spirits, although,
withdrawn to her kidnapper's house, she never sees the itseke singing. During the ritual, kagutu flutes reproduce the names of the itseke; the instrument is considered able to imitate the voice of the spirits and to say their names, making audible their sonic presence among the humans. Women learn most of the sacred music of the flutes and also have a repertoire of songs, called tolo, based on the same melodies. These songs are all in the Upper Xingu Carib language and are said to be originally Carib (Kalapalo).
Tolo songs are said to 'imitate' (h?) kagutu. However, some crucial differences between them must be focussed and analysed. The origin of kagutu is told in a shamanistic and mythical way; the tolo origin is told as a women's historical enterprise. On the level of their cultural value, kagutu music is sacred and dangerous, tolo songs are prophane and joyful; when women sing on and for their lovers, deceit and irony are emotionally and cognitively
outstanding features. Kagutu ritual is private, closed and realized mainly in the darkness;
Kagutu music is a huge repertoire of 10 suites, each one including from 15 to 45 pieces, and only few musicians are able to learn and execute it in its totality.
Sound is a crucial link between humans and spirits. Kagutu music is conceived as a faithful and subordinate reproduction of itseke songs by men.
plages du CD en format wav
Kuik Kag (Flûtes et sonnailles)
1. 2'43
2. 2'32
3. 2'56
Kuik Kul (Flûtes)
4. 1'22
5. 1'21
6. 1'08
7. 1'15 Kuik Milho (Flûte solo)
Kuik Kag (Flûtes et sonnailles et chant)
8. 3'02
9. 4'16
10. 5'39
Kuik Atanga
11. 2'53
12. 2'25
13. 2'21
14. 1'58 Kuik Kuluta (flûte solo)
Kuik Takwara
15. 1'51
16. 1'43
17. 1'53
Kuik Tihehe (flute solo)
18. 1'53
19. 2'03
20. 2'15
Kuik Atanga
21. 2'22
22. 2'05
Kuik Takwara
23. 1'45
24. 2'00
Kuik Kag
25. 2'24
26. 2'16
Voir aussi :
-Tommaso Montagnani
"Je suis Otsitsi : Musiques rituelles et représentations sonores Chez les Kuikuro du Haut-Xingu"
Thèse soutenue le 17 décembre 2011 à EHESS
Jury : Carlo Severi, directeur de thèse, EHESS ; Bruna Franchetto, université Fédérale de Rio de Janeiro ; Rosalia Martinet, université Paris 8 ; Acacio Piedade, université Fédérale de Rio de Janeiro ; Anne-Christine Taylor, CNRS
-Women and music in cross-cultural perspective. Edited by Ellen Koskoff. Illini books ed. 1989.
Article trouvé de Ellen B. Basso
Chapitre 10
Musical Expression and Gender Identity in the Myth and Ritual of the Kalapalo of Central Brazil (Rituel Katugu des hommes et ritual Yamurikumalu des femmes)
Durée
60
Support physique
Audio - CD
Type de captation
Terrain