"Pulling the Ancestors": Performance Practice and Praxis in Mapuche Ordering

Robertson, Carol E.

doi:10.2307/850912

Cited by 16 publications

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“…Ethnographic descriptions of beliefs, rituals, religious practices and symbolic elements that are mentioned can be found in Briones (1983); Briones and Olivera (1985); Casamiquela (1964); Faron (1962); Grebe (1973); Grebe etal. (1971); Metraux (1973); Olivera (1983); Robertson (1979), among others. u From the perspective of nation-building processes, it is suggestive that these campaigns were thus called, for the region was neither a geographical nor a sociological desert (Curruhuinca-Roux 1984).…”

Section: Epilogue 26mentioning

confidence: 99%

Re‐membering the Dis‐membered A Drama about Mapuche and Anthropological Cultural Production in Three Scenes (4th edition)

Briones

2003

Journal of Latin American Anthropology

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Este articulo procura hacer sentido de un lapso de veinte afios de trabajo de campo intermitente, buscando explorar en paralelo y de manera vinculada procesos de produc-ci6n cultural y antropol6gica. Las descripciones etnogrdficas y las discusiones te6ricas se organizan en torno a umbrales que-yendo de la ausencia al surgimiento y luego la cx>nsolidaci6n del activismo cultural Mapuche-permiten dar cuenta de procesos de organizaci6n politica sin precedentes, procesos que afectaron tanto la vida de mis interlocutores como mis "intereses acad^micos". Asi, al trazar"la recuperacion" de una prdctica ritual-el Winoy Xipantu o Ano Nuevo Mapuche-intento no simplemente analizar diferentes entextualizaciones de "lo Mapuche" (la mia induida), sino fundamentalmente explorarlas en su devenir. 1 BEGAN DOING FIELDWORK among the Mapuche in 1980, while Argentina was still experiencing the crudest of its military dictatorships. I was an undergraduate student in Anthropology, interested in mythology and ritual. Back then, the "practice approach" that would hegemonize anthropological theory in the 1980s (Ortner 1984) was far from widespread, not only within my academic milieu. Despite the existence of the Confederacidn Mapuche Neuquina or Neuquenian Mapuche Confederation (CMN), 1 the political organization of Mapuche reservations-and my own work-was at that point taking place mostly at the community level. 2 In Argentina, the Mapuche People are scattered in the southern part of the country (provinces of Buenos Aires, La Pampa, Chubut, Santa Cruz, Rio Negro and Neuque'n), as well as many cities of other provinces. Some of them live within localized settlements recognized by the state as indigenous reservations. Others are Indigenous Struggles and Contested Identities in Argentina 31 considered dispersed rural settlers. Whether they live or not in reservations, rural Mapuche mainly are sheep and goat herders, and temporary workers in estanciasoi the region, private enterprises dedicated to an extensive exploitation of cattle and sheep. The rest of the Mapuche-in numbers that are difficult to estimate but probably surpass those of the rural population-are urban dwellers. Historically, migrant Mapuche were mostly blue-collar workers; yet today many of them are unemployed. 3 Amidst such a backdrop, even in the early 1980s I was conscious that doing fieldwork in Neuquen did not guarantee a complete picture of the Mapuche people. Yet, for almost eleven years, I continued coming back to the same Mapuche community on a regular basis, while paying shorter visits to neighboring reservations of Neuquen province. I also visited the headquarters of political organizations of young urban Mapuche that started arising by the mid-1980s, after the recovery of the democratic system in 1983. By 1991,1 was ready to move to the United States to begin graduate school. I decided then to do one last fieldwork before a lengthy absence. While in a Mapuche rural community of Neuquen province, I was invited by its leaders to escort them to a meeting in Junin de ...

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Section: Epilogue 26mentioning

confidence: 99%

Re‐membering the Dis‐membered A Drama about Mapuche and Anthropological Cultural Production in Three Scenes (4th edition)

Briones

2003

Journal of Latin American Anthropology

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“…While the act of singing is referred to as ülkantun , the songs themselves are referred to as ül 7 . There is no generic category of ‘music’ in Mapuche society, and the people I knew tended to treat instrumental music and song as distinct practices (Grebe 2004; Robertson 1979; 2008). The foremost distinction within the category of ül is that between what could be called ‘secular’ and ‘religious’ song (see Painequeo 2000).…”

Section: The Formal Aspects Of Mapuche Songmentioning

confidence: 99%

“…A more suggestive answer was given by a Mapuche man, Francisco Ancatruz, to the ethnomusicologist Carolina Robertson in 1972: ‘It is known that tayil means something, but the answer comes out slowly. This must be because it has another kind of meaning’ (Robertson 1979: 403). Although Francisco's answer refers to tayil or ‘sacred song’, I believe it equally applicable to ül .…”

Section: Song As Indexmentioning

confidence: 99%

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Why Mapuche sing

Course

2009

Royal Anthropological Inst

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This article attempts to draw out some of the connections between the attraction of personal songs (ül) and ideas about personhood among rural Mapuche people in southern Chile. Approaching these songs from both sociological and semiotic perspectives, I argue that they are constituted as imprints of the singular subjectivities of their initial composers. A focus on three specific features of ül– their use of first‐person pronouns, their entextualization, and their musicality – reveals how they allow the subjectivities encapsulated within them to become ‘inhabited’ by others. I conclude by suggesting that this process of inhabiting distinct subjectivities through song resonates with and responds to a problem of epistemological solipsism grounded in Mapuche ideas about the singularity of human nature. Résumé Le présent article cherche à retracer quelques‐uns des liens entre l'attrait des chants personnels (ül) et les idées sur la personnalité chez les Mapuches ruraux du Sud du Chili. À travers une approche à la fois sociologique et sémiotique de ces chants, l'auteur avance qu'ils sont perçus comme des empreintes de la subjectivité singulière de leur compositeur initial. L'accent mis sur les trois caractéristiques spécifiques des ül (utilisation de pronoms à la première personne, entextualisation et musicalité) révèle la façon dont ils permettent aux subjectivités qu'ils renferment d'être « habitées » par d'autres. L'auteur suggère, en conclusion, que ce processus d'investissement de subjectivités distinctes par le chant entre en résonance et en correspondance avec un problème de solipsisme épistémologique, ancré dans les idées de singularité de la nature humaine des Mapuches.

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“…However, since the publication of landmark studies by Zemp (1978Zemp ( , 1979, Robertson (1979), and Rice (1979), to name but a few, ethnomusicologists have become increasingly aware of the danger in using folk classifications "as the total expression, the codified expression of folk knowledge" (Baumann 1981:62). However, since the publication of landmark studies by Zemp (1978Zemp ( , 1979, Robertson (1979), and Rice (1979), to name but a few, ethnomusicologists have become increasingly aware of the danger in using folk classifications "as the total expression, the codified expression of folk knowledge" (Baumann 1981:62).…”

Section: Ful'be Conceptsmentioning

confidence: 99%

Model, Variation and Performance. Ful'be Praise-Song in Northern Cameroon

Erlmann¹

1985

Yearbook for Traditional Music

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This paper discusses the role of techniques and concepts roughly corresponding to the Western notion of “improvisation” in the cognitive domain of sung mantoore (praise), i.e., praise-songs, among the Ful'be (engl. Fulani, fr. peul) of Diamaré in North Cameroon. Fieldwork in Diamaré was carried out between June 1975 and October 1976 in thirty-two towns and villages of the region of Maroua, the administrative and commercial centre of the Département du Diamaré with 70,000 inhabitants. Fourteen examples, drawn from approximately 400 praise-songs recorded during the course of the study, have been selected for analysis.

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"Pulling the Ancestors": Performance Practice and Praxis in Mapuche Ordering

Cited by 16 publications

References 0 publications

Re‐membering the Dis‐membered A Drama about Mapuche and Anthropological Cultural Production in Three Scenes (4th edition)

Re‐membering the Dis‐membered A Drama about Mapuche and Anthropological Cultural Production in Three Scenes (4th edition)

Why Mapuche sing

Model, Variation and Performance. Ful'be Praise-Song in Northern Cameroon

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