sion derived from agriculture, livestock, mining, extraction of wood, and so forth. And as a result, the climate changes, the anthropos must be taken as the only geological agent responsible for this transformation? Or even, when a Historic Ecology concept shifts the forest ecosystems genesis to the human collectives exclusively. This can be considered by any means as another anthropocentric imposition? For Ka'apor (Tupian-speaking people, from the Alto Turiaçú Indigenous Land, Maranhão-Brazil), from their creation myths, people emerged from trees. Considering that its origins are straightly associated with the woody stem beings, it's inherent the importance given by them to those living entities. Colossal outrage when the "alienation that turn[s] [...] beings into resources" (Tsing, 2015: 20) takes them the forest. That said, the intention here it is to merge a few statements concerning the concepts of "Anthropocene" and the "anthropogenic forest" and in sequence reflect them on some existing categories in anthropology in order to try some intersections between these points and some research aspects about ka'apor music and shamanism. A contribution to a possible multispecies ethnomusicology. Anthropocene. Anthropic forest. Ka'apor people. Shamanism. Indigenous music. Non-human agency. Multispecies ethnomusicology.
Resumo Trabalhos sobre música indígena, com foco específico na organologia ameríndia, dão prevalência aos instrumentos musicais aerofones. Colocar em paralelo o estudo de outros instrumentos musicais indígenas nos parece significativo. Entre o conjunto de instrumentos característicos dos povos indígenas, no contexto da Amazônia, o tambor tem sido o menos abordado pela etnomusicologia. O presente estudo aborda o tambor dos indígenas Ka’apor, povo falante de língua do tronco Tupi, habitantes da Terra Indígena Alto Turiaçu, Maranhão, Brasil. A partir do enfoque da etnomusicologia e com base em levantamento feito em acervos etnográficos e em pesquisa etnográfica, procuramos evidenciar as particularidades do tambor Ka’apor e de seus aspectos performáticos, em paralelo com outros instrumentos membranofones em outros contextos indígenas e quilombolas. A multiplicidade de desígnios e a aplicabilidade do instrumento, entre os diferentes grupos abordados, denotam correlação ou divergência, dependendo dos contextos culturais particulares. Por haver escassa equanimidade entre as diversas abordagens, é importante que haja um olhar distinto sobre o membranofone indígena, devendo este ser elevado a outra categoria, uma que lhe conceda um lugar justo, junto ou a par dos estudos dos demais instrumentos musicais indígenas.
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