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Hugo Maximino Camarinha ENTRE O VOO E POUSO DE YAPUCANI E

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Hugo Maximino Camarinha ENTRE O VOO E POUSO DE YAPUCANI E Hugo Maximino Camarinha ENTRE O VOO E POUSO DE YAPUCANI E OS REPERTÓRIOS MUSICAIS XAMANÍSTICOS DO POVO KA’APOR Dissertação submetida ao Programa de Pós-Graduação em Antropologia Social da Universidade Federal de Santa Catarina para a obtenção do Grau de mestre em Antropologia Social Orientador: Prof. Dr. Rafael José de Menezes Bastos Florianópolis 03/02/2019 Ficha de identificação da obra elaborada pelo autor através do Programa de Geração Automática da Biblioteca Universitária da UFSC. Camarinha, Hugo Maximino Entre o Voo e Pouso de Yapucani e os Repertórios Musicais Xamanísticos do Povo Ka'apor / Hugo Maximino Camarinha ; orientador, Rafael José de Menezes Bastos, 2019. 201 p. Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Antropologia Social, Florianópolis, 2019. Inclui referências. 1. Antropologia Social. 2. Música indígena. 3. Povo Ka'apor. 4. Xamanismo. 5. Etnomusicologia. I. Menezes Bastos, Rafael José de . II. Universidade Federal de Santa Catarina. Programa de Pós-Graduação em Antropologia Social. III. Título. Aos Ka‘apor, AGRADECIMENTOS Agradeço a todos aqueles que de alguma forma contribuíram para que este trabalho se tornasse possível. Em especial agradeço a minha mãe, e meu irmão Bruno, que desde Além Mar, nunca deixaram de apoiar meus projetos e aspirações. Da mesma forma e com o mesmo sentimento agradeço à minha avó e ao meu avô maternos. Agradeço também a meu pai, Ana Julia e Victor que ainda longe em distancia estão um pouco mais perto. Aos colegas e professores do Mestrado e em particular ao Professor Rafael Menezes Bastos, orientador deste trabalho, agradeço a amizade, simpatia, paciência, pelas palavras alentadoras que sempre me dirigiu e ter desde principio confiado em minha proposta de pesquisa. Agradeço à CAPES pela bolsa concedida durante o período de mestrado para a realização do mesmo. Agradeço à Professora Claudia López, a quem devo minha inserção na pesquisa sobre música indígena Tembé e Ka’apor, nas visitas às aldeias, na aproximação ao trabalho de campo e ao método etnográfico. Ao Staff do Museu Goeldi agradeço ainda aos Pesquisadores Hein Van Der Voort, Glenn Shepard, Johshua Birchall, Antonio Maria Santos, e aos técnicos Ellison dos Santos, Fábio Jacob, Suzana Primo e Manu. Um agradecimento especial ao colega Gustavo Godoy, que ajudou nas transcrições linguísticas deste trabalho e pelos esclarecimentos e subsídios enquanto seguia em sua pesquisa de campo. Ao Povo Ka’apor agradeço pelo acolhimento nas aldeias e terem aceite minha proposta de pesquisa. Em particular agradeço a Valdemar, Valdemir, Mariuza, Tututa e Teõ, Mati e Filomena, Salomão, Raimundão, Carairana, Herino, Xaí e Jamoi e a todos os demais Ka’apor das aldeias Xiépihu-rena e Paracuí-rena. A Deus agradeço em primeiro lugar e em seguida a seus agentes luminosos. ―Je hais les voyages et les explorateurs. Et voice que je m‘apprête à ranconter mes expéditions.‖ ― Claude Lévi-Strauss, Tristes Tropiques 1955 RESUMO Os Ka'apor, são um grupo falante de língua do tronco Tupi, vivem no estado do Maranhão na Terra Indígena Alto Turiaçu e são cerca de 1.584 indígenas (IBGE 2010). Considerando o levantamento bibliográfico na área de antropologia, etnomusicologia, este estudo manteve o critério teórico dos trabalhos já desenvolvidos no âmbito de minha pesquisa sobre música Ka'apor. Nesse sentido, Etnografias da música indígena das Terras Baixas Sul Americanas, estudos sobre xamanismo, considerações desde antropologia, a relação medicina tradicional e música desde a etnomusicologia, subsidiaram esta investigação. A pesquisa de campo decorreu de forma intermitente por meio curtas visitas às aldeias Xié e Paracuí da TI Ka'apor, entre 2014, início da pesquisa, até ao momento, assim como investigação no Acervo Reserva Técnica ―Curt Nimuendajú do MPEG. Nesse contexto, visando o método etnográfico, a coleta de dados resultou por meio de observações, entrevistas; depoimentos e documentação vídeo e áudio, com foco principal no domínio musical relacionado ao xamanismo deste povo. No presente estudo constam a etnografia do ritual de pajelança, assim como preposições sobre música, não-humanos e o xamanismo. Fruto do contato com o campo e resultante etnográfica, dos levantamentos precedentes, e a partir de algumas asserções relativas à comparação entre práticas xamanísticas, percebi que o processo musical aplicado ao ritual de pajelança Ka‘apor, assiste a corporificação com transe (incorporação de agentes não-humanos), e a (conhecida) viagem do xamã (excorporação), alicerçada na musicalidade coletiva; enfatizo que os sujeitos não-humanos tupiwar têm um papel preponderante no processo musical, e que sua agencia pode ser percebida no ritual a partir das interferências e variações de elementos musicais como as de: dinâmica, pulso e altura. Por este conjunto de permissivas, refuto a alegação de que o xamanismo foi extinto entre os Ka'apor. Palavras-chave: Música indígena. Povo Ka'apor. Xamanismo. Etnomusicologia. ABSTRACT The Ka'apor are a talking group of Tupi language, living in the state of Maranhão in the Alto Turiaçu Indigenous Land. This people are about 1,584 Indians (IBGE 2010). Considering the literature review in anthropology and ethnomusicology, the study remained the theoretical criterion of the work already undertaken in my research on Ka'apor music. In this sense, Ethnographies the indigenous music of the Lowlands South America, studies on shamanism from anthropology, the relationship of traditional medicine and music from ethnomusicology, subsidize this research. The fieldwork took place intermittently through the visits to the villages Xié and Paracuí from Ka'apor IL, between 2014, until today, as well as research in the Technical Reserve (ethnographic collection) Curt Nimuendajú - Gueldi Museum. In this context, the ethnographic method, the data collection was made through observations and interviews; testimonials and audio-visual recordings, and mainly with a primary focus in the musical field related to shamanism of this people. In the present study is included the ethnography of shamanic ritual, as well as prepositions about music, non-human and shamanism. As a result of contact with the field and the resulting from previous surveys, and also from some assertions concerning the comparison of shamanistic practices realized that musical process applied to pajelança ritual Ka'apor, succeeds the embodiment with trance (incorporation of non-human agents), and the (known) shaman's journey, based on the collective musicianship; I emphasize that the subject non-human tupiwar have a leading role in the musical process, and that his agency can be perceived in the ritual from the interference and variations of musical elements such as: dynamic, pulse and vocal pitch. For this set of permissive, I refute the claim that shamanism was extinguished between the Ka'apor indigenous peolpe. Keywords: Indigenous music. Ka'apor people. Shamanism. Ethnomusicology. LISTA DE FIGURAS Figura 1 Terra Indígena Alto Turiaçu TIAT-MA. Autoria: Centro de Sensoriamento Remoto, MPEG in: LÓPEZ GARCÉS, Claudia Leonor. O mundo da horticultura Ka‘apor: práticas, representações e as suas transformações. Bol. Mus. Para. Emílio Goeldi. Ciênc. Hum., Belém, 2016. ...................................................................................................... 39 Figura 2: Forma de onda; Intensidade; e pitch - três cantos - pajelança Ka'apor - aldeia Paracuí....................................................................... 103 LISTA DE QUADROS Quadro 1 Escalas dos cantos de pajelança Ka'apor ............................... 83 Quadro 2 Música de pajelança | Música de festa (Cauim) .................. 110 LISTA DE TABELAS Tabela 1 Consoantes e vogais ............................................................... 27 LISTA DE ABREVIATURAS E SIGLAS CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior ECAM - Equipe de conservação da Amazônia IBGE – Instituto Brasileiro de Geografia e Estatística MPEG - Museu Paraense Emílio Goeldi SEMA - Secretaria de Estado do Meio Ambiente (Pará) TBAS - Terras Baixas da América do Sul TI - Terra Indígena TIARG - Terra Indígena Alto Rio Guamá TIAT - Terra Indígena Alto Turiaçu SUMÁRIO Nota sobre a grafia Ka'apor ............................................................... 27 INTRODUÇÃO ................................................................................... 28 Metodologia.......................................................................................... 31 1 CAPÍTULO 1 MÚSICA NO XAMANISMO KA'APOR 38 1.1 Área De Estudo ..................................................................... 38 1.2 Jyngarha ................................................................................ 41 1.3 Pajelança Ka‘apor - Prelúdio – 1º Contato ............................ 42 1.4 Ritual de Pajelança ................................................................ 66 1.5 Música no xamanismo Ka‘apor ............................................. 88 1.6 Não humanos Amistosos e Letais ......................................... 89 1.7 Particularidades do Ritual de Cura Ka‘apor .......................... 91 1.8 As Técnicas Xamanísticas ..................................................... 92 1.9 Outras Pajelanças e o Auxílio Musical no Ritual .................. 94 1.10 Feitiços, Suspeita de Feitiços e Acusações de Feitiçaria ....... 95 1.11 O Abandono Forçado, o ―dono‖ dos Bichos e a Viagem do Pajé 97 1.12 A Iniciação – Transmissão do Legado
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