“…The park is a massive developmental institution established over six decades ago, and social scientific analysis has shown that it has influenced the experiences and practices of identification and differentiation of self and other for the indigenous people who reside within and increasingly cross its boundaries (Ball nd. ; Franchetto and Heckenberger ; Garfield ; Menenzes ; de Menezes Bastos ). Are Xinguans “literally” off the map for viewers, or is it understood that in Genesis they are merely portrayed as if they were?…”
Sebastião Salgado's 2013 photographic book Genesis is analyzed as a work of primitivist realism. This analysis is based on ethnography of the photographer's encounter with Wauja people in Brazil in 2005 while he was taking photographs for the book. Primitivism has a long history in the production of images of indigenous subjects in anthropology, and it often projects through its images a narrative suggesting a separation between the modern and the premodern. The realist dimensions of photography reinscribe the spatiotemporal divide, whereas the artistic dimensions of Salgado's black-and-white images of indigenous people featured in Genesis suggest romantic nostalgia.
“…The park is a massive developmental institution established over six decades ago, and social scientific analysis has shown that it has influenced the experiences and practices of identification and differentiation of self and other for the indigenous people who reside within and increasingly cross its boundaries (Ball nd. ; Franchetto and Heckenberger ; Garfield ; Menenzes ; de Menezes Bastos ). Are Xinguans “literally” off the map for viewers, or is it understood that in Genesis they are merely portrayed as if they were?…”
Sebastião Salgado's 2013 photographic book Genesis is analyzed as a work of primitivist realism. This analysis is based on ethnography of the photographer's encounter with Wauja people in Brazil in 2005 while he was taking photographs for the book. Primitivism has a long history in the production of images of indigenous subjects in anthropology, and it often projects through its images a narrative suggesting a separation between the modern and the premodern. The realist dimensions of photography reinscribe the spatiotemporal divide, whereas the artistic dimensions of Salgado's black-and-white images of indigenous people featured in Genesis suggest romantic nostalgia.
“…58 In 1964, then, the Xingu National Park was set up largely from a Brazilian nationalistic rationale in which the ''primitive'' Xingu tribes could function as the ''essence'' of the Brazilian nation. 59 Such projects, however, received little notice at IUCN, which focused on a type of ecology that no longer carried anthropological ambitions. At least in this institutional context, conservation had become temporarily detached from salvage anthropology.…”
This article explores a long-standing discursive tradition within international nature conservation. In this tradition the argument is made that “primitive” people should be allowed to live in the areas the conservationists deem as “pristine” or “natural.” The article explores the (changing) relative importance of this tradition in the conservation discourse as a whole, and analyzes the shifting composition of its argumentative arsenal from the 1910s to the 1970s. Particular attention goes to the uneasy combination of two types of argument: one in which indigenous people are presented as part of nature, another in which their customary rights are stressed.
“…The park's originators, the Villas‐Bôas brothers, sought to enclose an already timeless but threatened human ecosystem in a bubble, and to preserve both the traditions of indigenous inhabitants and the tradition of a part European, part African, and part Indian Brazilian national identity. Indigenous inhabitants of the first national park designed to preserve people and their culture have been caught between the goals of pacification, state control, and preservation as if in amber (Garfield ). Pacification arrived with the imposition of a reimagined picture of (Upper) Xinguan social relations maintained through cooperative ritual instead of intergroup warfare, which is part of a process that Menezes de Bastos () calls “pax Xinguensis.”…”
Resumo
Este artigo aborda a facilitação de percepções da perda por diferenças entre ideologias de cambio na política cultural na Amazônia indígena. Etnografia de relações entre o povo Wauja do Parque Indígena do Xingu e não‐índios mostra que pessoas indígenas tentam enfocar‐se nos aspectos abertos de relações de troca, enquanto agentes de desenvolvimento não‐índios tentam enfocar‐se em resultados finais. Pessoas de ambos lados percebem problemas em interação como índices de perda. Para os Wauja, cerramento em relações de cambio é um sinal da perda da possibilidade de relações sociais futuros. Para não‐índios resistência em negociações é um sinal de perda cultural. Isso contribua á reprodução dos discursos de perda que estão na base do instituição do parque e do desenvolvimento na Amazônia em geral. Desenvolvimento representa até elementos de continuidade indígena em termos de perda. Os Wauja respondem em parte com a indigenização das ideologias de cambio externais.
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