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Músicas En Las Ceremonias De Yajé Del Taita Orlando Gaitán Mónica

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Músicas En Las Ceremonias De Yajé Del Taita Orlando Gaitán Mónica LAS COORDENADAS DEL CIELO Músicas en las ceremonias de yajé del taita Orlando Gaitán Mónica Sofía Briceño Robles Universidad Nacional de Colombia Facultad de Ciencias Humanas Departamento de Antropología Bogotá, Colombia 2014 LAS COORDENADAS DEL CIELO Músicas en las ceremonias de yajé del taita Orlando Gaitán Mónica Sofía Briceño Robles Tesis presentada como requisito parcial para optar al título de: Magister en Antropología Director: Ph.D. Roberto Pineda Camacho Universidad Nacional de Colombia Facultad de Ciencias Humanas Departamento de Antropología Bogotá, Colombia 2014 “[…] la principal función de la música es promover una humanidad sonoramente organizada agudizando la conciencia humana.” Jhon Blacking (2006: 157) AGRADECIMIENTOS Son muchos los motivos para agradecerle al taita Edgar Orlando Gaitán Camacho. Pensé hablarle de una idea para realizar una investigación sobre la música en sus ceremonias pero finalmente fue él quien primero me habló y me sugirió el tema. No sólo me abrió un camino de indagación sino que también me dio su voto de confianza en mis posibilidades y capacidades. De su mano he aprendido sobre música y he adquirido comprensiones sobre la vida misma, sobre el compartir del conocimiento y sobre la enseñanza. No puedo dejar de lado un agradecimiento especial a las personas de la Comunidad Carare, pues me han permitido conocer sus íntimas experiencias escuchando y haciendo música. Al programa de Maestría en Antropología le agradezco por haberme proporcionado un espacio absolutamente enriquecedor. En los seminarios cada docente ofreció lo mejor de sí para generar un ambiente de crecimiento académico, pero ante todo, de respeto por el conocimiento del otro. Esto, sin duda ha sido una gran lección para mí como estudiante, como docente y como investigadora. Agradezco al profesor Roberto Pineda Camacho por su confianza, compañía y apoyo en estos años de aprendizaje en el quehacer antropológico. Su trabajo como antropólogo y su labor como director de este trabajo, han sido profundamente inspiradores. Así mismo, las indicaciones y comentarios de los profesores Carlos Páramo y Carlos Miñana sobre el proyecto original, me han servido para pulir el trabajo en sus diferentes etapas aunque hasta ahora no han conocido el resultado final. La profesora Consuelo de Vengoechea revisó el apartado de los cantos y me realizó importantes observaciones. Mis compañeras y compañeros asistieron cada paso de mis pesquisas a través de su cercanía, de sus palabras y de su disposición para leer y comentar los avances de investigación. Como parte de la vida académica de la Universidad Nacional no puedo dejar de mencionar los aportes del profesor Egberto Bermúdez, quien me brindó pistas y material documental significativo que nutrieron las indagaciones. Una parte de la investigación fue financiada por el programa de Apoyo a Tesis de Posgrado de la División de Investigación de la Sede Bogotá (DIB) de la Universidad Nacional de Colombia. Gracias a ella fue posible el intercambio académico realizado en el segundo semestre del año 2009 con el Programa de Maestría en Música (Línea en Etnomusicología) de la Escuela Nacional de Música (ENM) de la Universidad Nacional Autónoma de México (UNAM). En la ENM tuve la fortuna de contar con la tutoría del Doctor Gonzalo Camacho, cuyos seminarios y trabajos han sido una fuente importante para los planteamientos sobre análisis musical y sobre la relación entre música y ritual. Mi familia, sin duda, ha sido un pilar fundamental a lo largo de estos años de investigación. Martha, mi mamá y Daniel, mi hermano, no sólo han cuidado de mí sino también me han dado aliento y fortaleza. María Clara Cortés y Andrés Villaveces iv Agradecimientos también han sido testigos y un gran soporte para mi trabajo. Hay otra familia, más amplia, constituida por una red de amigos: Angélica Rivera, Antonio Vallejo, Catalina Olaya, Claudia Montagut, Juan Carlos Cubillos, María Soledad García, Maritza Ayure, Martha García, Natalia Ciódaro, Nathalia Contreras, Nurys Esperanza Silva, Sylvia Suárez y William López. Cada uno, a través de su apoyo, aliento, comentarios y observaciones han contribuido inimaginablemente al desarrollo de este trabajo, aunque ellos tal vez no lo saben. Otra parte de esa familia la encontré en México D.F. Mario Barbosa y Joel Vargas me acogieron en su hogar, me entregaron su compañía, su tiempo y me enseñaron sobre la vida en el D.F. Al lado de Marcela García y Francisco Delgado tuve y sigo teniendo momentos inolvidables de alegría. En Marcela he encontrado, además de una amiga, una colega con quien compartir inquietudes y reflexiones sobre el mundo sonoro en comunidades indígenas. A Adrián Sánchez le debo abrirme las puertas de la Biblioteca de la ENM y generosidad en medio de la vida mexicana. Don Miguel, doña Juanita, sus hijos y sus nueros y nueras, hicieron de su casa un hogar para mí y mi familia. Héctor y Mauricio me han enseñado sobre la amistad a través del tiempo y de las fronteras. Finalmente, no encuentro palabras para expresar el sentimiento hacia Jaime Cortés, mi esposo y Teo Zamanaya, mi hijo: han sido mis más grandes maestros. A ellos todo mi amor. RESUMEN La presente investigación es un estudio de caso sobre las prácticas musicales que tienen lugar en las ceremonias de yajé dirigidas por el taita Orlando Gaitán en el municipio de La Vega - Cundinamarca. Se busca comprender cómo la música está presente en una práctica ceremonial de yajé, cómo ésta se concibe en ese contexto particular y cuál es el sentido que adquiere en el marco del sistema de pensamiento que subyace a las ceremonias estudiadas. Para ello se centra la atención el conocimiento y las acciones del especialista ritual. Observación participante, entrevistas, audiciones y transcripciones musicales, convergen para brindar una inmersión en prácticas musicales relacionadas con lo que en términos generales se conoce como chamanismo y lo que se denomina “música chamánica” como corazón de la práctica del chamán. Palabras clave: Música; antropología de la música; yagé; chamanismo ABSTRACT This research is a case study of musical practices that take place in yage ceremonies led by taita Orlando Gaitán in the town of La Vega-Cundinamarca. It aims to discover how music takes place in a ceremonial yage practice, how it is seen in that particular context and what it means, under the thought system of the studied ceremonies. This work focuses on ritual specialist’s knowledge and actions. Participant observation, interviews, auditions and musical transcriptions converge in order to provide an immersion in musical practices related to what is generally known as shamanism and what is called "shamanic music", as the heart of shaman practice. Keywords: music; anthropology of music; yage; shamanism Contenido AGRADECIMIENTOS ......................................................................................................................... iii Lista de ejemplos musicales ............................................................................................................ ix Lista de ilustraciones ......................................................................................................................... x Lista de imágenes ............................................................................................................................. xi Lista de tablas .................................................................................................................................. xii INTRODUCCIÓN ................................................................................................................................. 1 El tema de estudio ........................................................................................................................ 2 Chamanismo, pensamiento ancestral y música ............................................................................ 7 Nociones claves para el abordaje de las ceremonias del taita Orlando .................................... 11 El caso del taita Orlando Gaitán .................................................................................................. 13 La perspectiva de investigación .................................................................................................. 15 El texto ......................................................................................................................................... 18 1 EL TAITA ORLANDO Y EL PENSAMIENTO ANCESTRAL ............................................................. 21 1.1 El taita Orlando Gaitán ..................................................................................................... 21 1.1.1 La semilla ancestral ................................................................................................. 22 1.1.2 La vida de campesino .............................................................................................. 27 1.1.3 La experiencia de la paz .......................................................................................... 30 1.1.4 El exilio del Carare: de funcionario público a taita ................................................ 32 1.2 Pensamiento ancestral ................................................................................................... 36 1.2.1 Ritual, ritualización y ceremonia ............................................................................ 41 2 EL SENTIDO DE COMUNIDAD Y SU CONFIGURACIÓN EN EL ESPACIO CEREMONIAL ....... 48 2.1 La Comunidad Carare .....................................................................................................
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