OLAC Record
oai:www.mpi.nl:lat_1839_00_0000_0000_0022_4EC2_6

Metadata
Title:TBA-20140827-HV-PI-flautas
flautas com AAN
Contributor (annotator):Hein
Contributor (compiler):Hein
Contributor (depositor):Hein
Contributor (editor):Hein
Contributor (interviewer):Hein
Contributor (photographer):Hein
Contributor (recorder):Hein
Contributor (speaker):Pe´i
Coverage:Brazil
Amazonia
(macro-região, como "norte" "centro-oeste")
(estado, UF)
(município)
(parque / terra indígena, se houver)
Description:Pe’i is playing the purikai flute. The same songs he plays have hour-long chants with texts in the same melody as the flute music. Thus, there is a kind of language of the flutes, as the music plaid with them follows the sounds of vocals. There are different types of Aikana flutes played at festivities, for instance, the atuehẽhẽ’i (the angry grandfathers), which is played sideways by humming and talking into an incised part at the side, making an angry kind of sound, thus the name. The purikai, is a longitudinal flute with four holes, played with outstretched index and middle fingers of both hands. Few people still know how to make the purikai flutes, which were used in now extinct initiation customs. Today there is only one man left, Pe’i, who plays the purikai flute. Bamboo flutes with four holes is the most common number occurring in South American flutes, and which according to Snethlage (1939: 33) can be found in the Xingu headwaters, among the Paresi, in northwestern Brazil and the Yeltuanh, as well as in Colombia. Building on Erland Nordenskiöld’s 1924 [1915] information on the Huari (Aikana), he further states that similar flutes like the purikai were encountered among the Mampiapä and Cuaratrigaja, played at dance festivities (Snethlage, 1939: 33). In general, Snethlage (p.36) sees the longitudal purikai flutes, as well as the rattle belts, as particularly characteristic of the Aikana (Huari), Mequens and neighbouring Tupari-speaking groups. Becker-Donner (1955: 281) notes that two holy bamboo flutes, which she calls the purikai hani and the yäpoé, (probably the hijepɨi), were only played by men and during the night and were stored in a men’s house. It is not quite clear whether these men’s houses really existed, what is clear is that flutes like the purikai used to be strictly played by only men and Aikana mythology tells about the stealing of the sacred flutes by the women in ancient times, which is why women were forbidden to play them today.
Pe'i está tocando a flauta purikai e cantando. As mesmas músicas que ele toca também são cantadas com textos, na mesma melodia e entonação que a música de flauta. Assim, existe uma linguagem das flautas, como a música tocada segue os sons vocais. Existem diferentes tipos de flautas Aikanã tocados em festas, por exemplo, a atuehẽhẽ'i, “os avôs zangados”, são tocadas de lado por cantarolando e falando pela incisão na parte lateral, fazendo um som “raivoso”, daí o nome. A purikai, é uma flauta longitudinal com quatro buracos, tocado com índice estendido, e os dedos médios de ambas as mãos. Poucas pessoas ainda sabem como fazer as flautas purikai, que foram utilizados nos rituais de iniciação agora extintos. Hoje, apenas Unpe'i toca a flauta purikai. Flautas de bambu com quatro buracos são o tipo mais comum de flautas da América do Sul, e de acordo com Snethlage (1939: 33) podem ser encontradas nas cabeceiras do Xingú, entre os Paresi, no noroeste do Brasil e no Yeltuanh, bem como na Colômbia. Erland Nordenskiöld afirma sobre os Huari (Aikanã), que flautas semelhantes, como os purikai foram encontrados entre os Mampiapä e Cuaratrigaja, tocados em festas de dança (Snethlage, 1939: 33). Em geral, Snethlage (1939: 36) vê as flautas longitudinais purikai, bem como as correias de chocalho, como particularmente características dos Aikanã (Huari), Mequens e grupos vizinhos de língua tupari. Becker-Donner (1955: 281) observa que duas flautas de bambu sagradas, que ela chama de Hani purikai e a yäpoé, (provavelmente a hijepɨi), apenas foram tocados por homens e durante a noite, e foram armazenados na “maloca dos homens”. Não está muito claro se “malocas de homens” realmente existiram, o que está claro é, que flautas como a purikai costumavam ser estritamente tocadas por apenas homens, e a mitologia Aikanã conta do roubo das flautas sagradas pelas mulheres em tempos antigos, razão pela qual as mulheres eram proibidas de toca-las.
Identifier (URI):https://hdl.handle.net/1839/00-0000-0000-0022-4EC2-6
Is Part Of:DoBeS archive : Sudeste de Rondonia - Southeastern Rondonia
Language:Portuguese
Aikanã
Language (ISO639):por
tba
Publisher:The Language Archive, Max Planck Institute for Psycholinguistics
Subject:Portuguese language
Aikanã language
Subject (ISO639):por
tba

OLAC Info

Archive:  The Language Archive
Description:  http://www.language-archives.org/archive/www.mpi.nl
GetRecord:  OAI-PMH request for OLAC format
GetRecord:  Pre-generated XML file

OAI Info

OaiIdentifier:  oai:www.mpi.nl:lat_1839_00_0000_0000_0022_4EC2_6
DateStamp:  2018-04-05
GetRecord:  OAI-PMH request for simple DC format

Search Info

Citation: Hein (annotator); Hein (compiler); Hein (depositor); Hein (editor); Hein (interviewer); Hein (photographer); Hein (recorder); Pe´i (speaker). n.d. DoBeS archive : Sudeste de Rondonia - Southeastern Rondonia.
Terms: area_Americas area_Europe country_BR country_PT iso639_por iso639_tba

Inferred Metadata

Country: BrazilPortugal
Area: AmericasEurope


http://www.language-archives.org/item.php/oai:www.mpi.nl:lat_1839_00_0000_0000_0022_4EC2_6
Up-to-date as of: Fri May 31 11:16:51 EDT 2019