OLAC Record oai:www.mpi.nl:tla_1839_00_0000_0000_0022_4EC6_3

Metadata
Title:		TBA-20140320-ESR-PI-flautaspurikaiatuehehei
		flautaspurikaiatuehehei com MT
Contributor:		DobeS Team
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 and Maria Tadeu the atuehẽhẽ’i (“the angry grandfathers”) flute. 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 a vexed 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 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. Another famous flute used at festivities by men, is the taboca without holes but with different lengths and tones, which is played blown through the top hole open. These tabocas have been revived on several occasions, like the Sao Pedro Festivities in 2012, and are played during the night by a group of men dancing slowly in a circle, swaying the flutes back and forth together. 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 Maria Tadeu a atuehẽhẽ'i. 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/1839/00-0000-0000-0022-4EC6-3
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:tla_1839_00_0000_0000_0022_4EC6_3
DateStamp:		2021-12-13
GetRecord:		OAI-PMH request for simple DC format
Search Info
Citation:		Pe´i (speaker); DobeS Team. 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