Sensitive connections: following the ethnobiographic trail of a chacoan musician
DOI:
https://doi.org/10.11606/issn.2525-3123.gis.2021.174319Keywords:
Ethnobiography, Musical knowledge, Ritual, Guarani, ChacoAbstract
The text deals with the production of the ethnobiographic video Pascual Toro, flautero (flute player). I refer, first, to the theoretical and methodological proposal of the Argentine filmmaker and anthropologist Jorge Prelorán (1933-2009), who inspired the work. In a second moment, I describe the characteristics of the repertoire and the genre performed by the protagonist of the film in the arete guasu ritual to explain the reasons that guided the organization of the editing project. In turn, I discuss the value of individuality in the scope of arete guasu flute music, arguing that the ethnobiographic method is a fruitful way to understand the connections that sustain the skills to be a good flute player in this universe.
Downloads
References
Acosta, Lucía. 2016. Jorge Prelorán: las voces que aún podemos escuchar. Cuaderno 60, Buenos Aires: Centro de Estudios en Diseño y Comunicación, 73-86.
Boas, Franz. 1927/1955. Primitive Art. New York: Dover Publications.
Brucher, Katherine; Reily, Suzel Ana. (orgs.). 2018. The Routledge Companion to the Study of Local Musicking. New York: Routledge/Taylor and Francis.
Caiuby Novaes, Sylvia. 2008. Imagem, magia, imaginação: Desafios ao texto antropológico. Mana, v.14, n.2, 455-475.
Caiuby Novaes, Sylvia (org.). 2015. Entre arte e ciencia. Usos da fotografía na antropologia. São Paulo: EDUSP.
Calvo de Castro, Pablo. 2018. La evolución del cine etnográfico en el documental latinoamericano. Cine Documental, 17, 1-23.
Chion, Michel. 1994. Audio Vision: Sound on Screen. New York: Columbia University Press.
Chion, Michel. 1999. El sonido. Música, cine, literatura. Barcelona: Paidós.
Domínguez, María Eugenia. 2018a. Sons, Ritual e História Indígena no Oeste do Chaco. Ilha. Revista de Antropologia, Florianópolis, v. 20, n. 1, p. 45-66.
Domínguez, María Eugenia. 2020. Um lugar onde se achar. Deslocamentos e rituais entre os Guarani do Chaco boreal paraguaio. Revista de Antropologia, São Paulo, v.63, n.2.
Domínguez, María Eugenia. 2021 (no prelo). Sentido na dança. Sobre os movimentos no Arete Guasu dos Guarani do Chaco boreal paraguaio. Ilha. Revista de Antropologia. Florianópolis, v.23, n.2.
Fausto, Carlos; Franchetto, Bruna; Montagnani, Tommaso. 2011. Les formes de la mémoire: arts verbaux et musique chez les Kuikuro du Haut Xingu (Brésil). L’Homme, Paris, n. 197, p. 41-70.
Feld, Stephen. 1996. Waterfalls of Song: an Acoustemology of Place Resounding in Bosavi, Papua New Guinea. In: Stephen Feld e Keith Basso (Eds.) Senses of Place. New Mexico: School of American Research Press, pp. 53-91.
Feld, Stephen e Keith Basso (Eds.). 1996. Senses of Place. New Mexico: School of American Research Press.
Foley, Karma. 2011. Guide to the Jorge Prelorán Collection. Washington: Human Studies Film Archives, Smithsonian Institution.
García, Miguel Ángel. Un oído obediente (y algunas desobediencias). In: Brabec, Bernd; Matthias Lewy; García, Miguel Ángel. (Org.). Sudamérica y sus mundo audibles. Estudios Indiana 8. Berlin: Ibero-Americanisches Institut- Gebr. Mann Verlag, 2015. p. 197-210.
Giannecchini, Doroteo. 1996 [1898]. Historia natural, etnografía, geografía, lingüística del Chaco boliviano. Tarija: FIS/Centro Eclesial de Documentación.
Gonçalves, Marco Antônio. 2012a. Etnobiografia: biografia e etnografia ou como se encontram pessoas e personagens. In: Etnobiografia, subjetivação e etnografía, Marco A. Gonçalves, Roberto Marques and Vania Z. Cardoso (eds.), 19-42. Rio de Janeiro: 7 Letras, 2012.
Gonçalves, Marco Antônio. 2012b. “Sensorial thought: Cinema, perspective and Anthropology”. Vibrant, v. 9, n. 2. Brasília.
Gorbman, Claudia. 1987. Unheard melodies: narrative film music. Bloomington- Indianapolis: Indiana University Press.
Ingold, Tim. 2000. The Perception of the Environment: Essays on Livelihood, Dwelling and Skill. London: Routledge.
Ingold, Tim. 2013. Making. Anthropology, Archeology, Art and Architecture. London: Routledge.
Kunst, Jaap. 1959. Ethnomusicology. The Hague: Martinus Nijhoff.
Mac Dougall, David. 2006. The Corporeal Image. Film, Ethnography and the Senses. New Jersey: Princeton University Press.
Magrassi, Guillermo. 1981. Chiriguano-chané, Buenos Aires: Búsqueda- Centro de Artesanía Aborigen.
Menezes Bastos, Rafael J. de. 1978/1999a. A Musicológica Kamayurá: para uma Antropologia da Comunicação no Alto Xingu, 2. ed. Florianópolis: Editora da UFSC, 1999.
Menezes Bastos, Rafael J. de. 1999b. Apùap World Hearing: On the Kamayurá Phono- Auditory System and the Anthropological Concept of Culture”. The World of Music, v.41, 1, 85-96.
Menezes Bastos, Rafael J. de. 2017. Tradução intersemiótica, sequencialidade e variação nos rituais musicais das terras baixas da América do Sul. Revista de Antropologia, São Paulo, v. 60, n. 2, p. 342-355.
Merriam, Alan. 1964. The Anthropology of Music. Illinois: Northwestern University Press.
Métraux, Alfred. 1942. The Native Tribes of Eastern Bolivia and Western Chaco. Washington: Smithsonian Institution, Bulletin 134.
Métraux, Alfred. 1946. Tribes of the Eastern Slopes of the Bolivian Andes. Chiriguano and Chané. In: Julian H. Stewart. (ed) Handbook of South American Indians, vol. 3, pp.365-385.
Middleton, Richard. 1983. Play It Again Sam: Some Notes on the Productivity of Repetition in Popular Music. Popular Music, Cambridge University Press.
Nettl, Bruno. 1956. Music in Primitive Culture. Cambridge: Harvard University Press.
Nordenskiöld, Erland. 1912/2002. La vida de los índios. El Gran Chaco (Sudamerica). La Paz: APCOB.
Nordenskiöld, Erland. 1920. The Changes in the Material Culture of two Indian Tribes Under The Influence of New Surroundings. Göteborg: Elanders Boktryckeri Aktiebolag.
Nordenskiöld, Erland. 1924/2001. Exploraciones y aventuras en Sudamérica. La Paz: APCOB.
Palavecino, Enrique. 1949. Algunas informaciones de introducción a un estudio sobre los chané. Revista del Museo de La Plata, IV, 117-131.
Perez Bugallo, Rubén. 1982. Estudio etnomusicológico de los chiriguano-chané de la Argentina. Cuadernos del Instituto Nacional de Antropologia. (9) 221-268, Buenos Aires, 1979-1982.
Perez Bugallo, Nahuel. 2012. Algunos apuntes sobre el patrimonio etno-organológico de los guaraníes de Pichanal (Salta). Folklore Latino Americano, XIII, pp. 195-200.
Prelorán, Jorge. 1975. Documenting the Human Condition. In: Principles of Visual Anthropology, ed. Paul Hockings, 103-107. The Hague: Mouton Publishers.
Prelorán, Jorge. 2006. El Cine Etnobiográfico. Buenos Aires: Universidad del Cine.
Rocca, Manuel e Sara Newbery. 1976. El carnaval chiriguano chané. Cuadernos del Instituto Nacional de Antropología, 8, 43-92, Buenos Aires.
Rossi, Juan José. 1987. El cine documental etnobiográfico de Jorge Prelorán. Buenos Aires: Ediciones Búsqueda.
Sánchez, Wálter. 1998. La plaza tomada. Proceso histórico y etnogénesis musical entre los chiriguanos de Bolivia. Latin American Music Review, Vol. 19, No. 2: 218-243. University of Texas, Austin.
Schneider, Arnd. 2007. Appropriaton as Practice. Art and Identity in Argentina. New York: Palgrave MacMillan.
Schneider, Arnd (ed.). 2017. Alternative Art and Anthropology. Global Encounters. London: Bloomsbury Academic.
Seeger, Anthony. 2015. El oído etnográfico. In: Brabec de Mori, Bernd; Lewy, Matthias; Garcia, Miguel Ángel (eds). Sudamérica y sus mundos audibles: cosmología y prácticas sonoras de los pueblos indígenas. Berlin: Gebr. Mann Verlag.
Severi, Carlo, Lagrou, Els. (orgs.). 2013. Quimeras em diálogo. Grafismo e figuração na arte indígena. Rio de Janeiro: 7 Letras.
Sherman, Sharon. 2007. From Romanticism to Reflexivity in the Films of Jorge Prelorán. In: Memories of the Origins of Ethnographic Film, ed. Beate Engelbrecht, 279-291. Frankfurt am Main: Peter Lang.
Small, Christopher. 1998. Musicking: the meanings of performance and listening. Middletown, Ct: Wesleyan University Press.
Sterne, Jonathan. 2012. Sonic Imaginations. In: The Sound Studies Reader, ed. Jonathan Sterne, 1-18. New York: Routledge.
Stokes, Martin. 1994. Introduction. Ethnicity, Identity and Music. In: Ethnicity, Identity and Music: The Musical Construction of Place, Martin Stokes (Ed.). Oxford: Berg, pp.1-27.
Taquini, Graciela. 1994. Los Directores del Cine Argentino. Jorge Prelorán. Buenos Aires: Centro Editor de América Latina.
Vilella, Alice. et. al. 2019, O musicar como trilha para a etnomusicologia: Introdução ao Dossiê. Revista do IEB. n. 73, ago. 2019, p. 17-26.
Villar, Diego; Bossert, Federico. 2011. Masques et morts chez les Chané. In: Masques des hommes, visages des dieux, Goulard, Jean-Pierre e Dimitri Karadimas (eds.). Paris: CNRS Editions, 183-204, 2011.
AMONG Flute Players. Maria Eugenia Domínguez. 2018b. 1 vídeo (17:15 min). Publicado pelo canal Musa Ufsc. Florianópolis, Instituto Nacional de Ciência e Tecnologia Brasil Plural, CNPQ. Disponível em: https://youtu.be/JdN2Ih1IMrg
ARETE Guasu: El tiempo escindido. Dea Pompa e Lia Colombino. 2012. 1 vídeo (37 min). Publicado pelo canal Deamaria. Asunción del Paraguay: Red Conceptualismos del Sur/ Korekogua. Disponível em: https://youtu.be/tXhVB_Cd3VQ
HERMÓGENES Cayo, imaginero. Jorge Prelorán. 1969. 1 vídeo (1h32). Publicado pelo canal Gabriela Bernaola Deli. Buenos Aires: Fondo Nacional de las Artes/ Universidad Nacional de Tucumán. Disponível em: https://youtu.be/fRUHZBZ-BlQ
PASCUAL Toro, flautero. Maria Eugenia Domínguez. 2019. 1 vídeo (21:09 min). Publicado pelo canal Musa Ufsc. Revista Visagem. Belém do Pará, UFPA. Disponível em: https://grupovisagem.org/revista/edicao_v5_n1/videos1.html
Downloads
Published
Issue
Section
License
Copyright (c) 2021 María Eugenia Domínguez
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Authors who publish in this journal agree to the following terms:
a. All rights reserved for authors. Journal has right to first publication. Work is simultaneously licensed under Creative Commons Attribution License which permits sharing work with recognition of authorship and initial publication in this journal for non-commercial ends.
b. Authors are authorized to separately make additional contracts for non-exclusive distribution of version of work published in this journal (e. g. publish in institutional repository or as book chapter), with recognition of authorship and initial publication in this journal.
