Edson Matarezio Filho
Professor efetivo da Universidade Estadual de Feira de Santana (UEFS) e pesquisador colaborador do Consórcio Humanitas da Universidade do Estado do Amazonas (UEA) para pesquisa aplicada com povos e comunidades tradicionais do Amazonas no âmbito do Programa de Desenvolvimento da Pós-Graduação (PDPG) na Amazônia Legal (CAPES). Formado em Ciências Sociais (USP), bacharelado e licenciatura. Mestre em Antropologia Social (USP), primeiro colocado na classificação de seleção para Doutorado 2010/2011 do PPGAS/USP, com pesquisa sobre a música, ritual, mitologia, organização social e parentesco dos índios Ticuna. Autor dos livros "Ritual e Pessoa entre os Waimiri-Atroari" (Annablume-FAPESP, 2014) e "A Festa da Moça Nova - Ritual de iniciação feminina dos índios Ticuna" (Humanitas FFLCH/FAPESP, 2019). Dirigiu os filmes documentários "O que Lévi-Strauss deve aos Ameríndios" (LISA, 2013), "IBURI Trompete dos Ticuna" (LISA, 2014), "Caminho de Mutum" (LISA, 2018) e Mapana (LISA, 2019). É pesquisador do Centro de Estudos Ameríndios (CEstA-USP), do grupo de Pesquisas em Antropologia Musical (PAM-USP) e do Grupo de Antropologia Visual (GRAVI-USP). Pesquisador associado ao projeto temático FAPESP "O Musicar Local - novas trilhas para a etnomusicologia" (16/05318-7). Desenvolveu pesquisa de pós-doutorado com bolsa FAPESP no Departamento de Antropologia da USP, com estágio BEPE-FAPESP no Laboratoire d'Anthropologie Sociale (LAS - EHESS - Paris) e no Departamento de Linguistica da Universidad Nacional de Colombia (UNAL), sobre a Festa da Moça Nova, o ritual de iniciação feminina dos Ticuna. Suas pesquisas abordam as seguintes temáticas: teoria antropológica, etnologia indígena, organização social e parentesco, ritual, música, mitologia, cosmologia, xamanismo, segurança e soberania alimentar, alimentação escolar e associativismo comunitário.
Supervisors: Carlo Severi, Marta Amoroso, Marcio Silva, Maria Emilia Montés Rodrigues, and Pedro Rapozo
Supervisors: Carlo Severi, Marta Amoroso, Marcio Silva, Maria Emilia Montés Rodrigues, and Pedro Rapozo
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Books by Edson Matarezio Filho
Livro físico disponível para venda em https://tinyurl.com/y2yanzsu
É neste ritual que o socius, as relações e as pessoas Waimiri-Atroari são produzidas, momento em que as qualidades que se deseja apropriar circulam e conformam os futuros homens do grupo. As páginas que aqui se encontram mostram como são produzidos os verdadeiros homens kinja. Para tornar-se parte do “nós” – perspectiva atualizada durante o ritual, mas que pode ser perdida –, para tornar-se um ser consanguíneo, o menino deve ser fabricado enquanto tal, contra-inventando a afinidade.
Papers by Edson Matarezio Filho
Edições Sesc São Paulo, 2021. - 328 p. il.: fotografías.
This article focuses on the relationship of the girls who participate in the Festa da Moça Nova, the Ticuna female initiation ritual, with “beasts” (bichos in Portuguese, ngo’o in Ticuna). Specifically, we describe and analyze what the girls feel about some of the beasts that appear in this ritual as masked figures. Some affections or emotions stand out in the analysis, such as “fear” (mu’ũ), “joy” or “amusement” (tchitãẽ, taẽ’ũ), “anguish” or “anxiety” (ĩãtchiae), and “helplessness” (nhemagü’ü͂). Finally, we examine what happens in the ritual as a kind of “trauma” that generates the desired transformations in the participants.
A passage between both Americas: Ticuna myth and ritual. Following the trail left by Lévi-Strauss when suggesting that the analysis of a Ticuna myth would impose a “passage from one continent to the other,” I contribute to the hypothesis that the mythology of this people can be thought as operating the transition between the indigenous mythologies of South and North America. Instead of the classic mitema of the “bird nester,” Ticuna mythology would have as one of its characters a “fruit nester.” Thus, these narratives would relate less to the origin of fire, as in the stories of the “bird nester,” than to the origin of adornments, game meat and human flesh. Like in the narratives from North America, culture is more closely associated with the origin of clothing than that of cooking. An analogous “twist” occurs in ritual exchanges between the Ticuna. While the pattern of South Amerindian ritual supposes the exchange of meat for drinks, during the ritual of female initiation among the Ticuna, drinks and/or meat are exchanged for adornments.
Film by Edson Matarezio Filho
https://youtu.be/o5dRXtxPyVg?si=HxVASn6QXwzhTcGc
Sinopse: O Hino Nacional brasileiro foi traduzido pela primeira vez para a língua ticuna em 2009 pelo professor Sansão Flores. Djuena Tikuna torna a versão indígena do Hino bastante conhecida e mostra que pode ser uma poderosa arma de luta política.
Ao traduzir o Hino Nacional para o idioma ticuna muito do sentido que conhecemos é subvertido, mostrando uma “terra adorada” e um “Brasil” com outras possibilidades de significados.
“Uma das músicas de maior destaque entoadas por Djuena é uma versão do Hino Nacional em língua tikuna. A “terra adorada” cantada no Hino não é a terra do agronegócio, do latifúndio e da monocultura. Na’ane, como se diz em língua tikuna, é uma “terra” viva, um ente que deve ser respeitado, que possui os mesmos atributos de uma pessoa e produz o alimento do povo. Que seu canto reverbere nos corações e mentes de todos, levando essa cultura belíssima para todos os cantos.” (trecho do texto que escrevi para o livro Torü Wiyaegü de Djuena Tikuna).
Realização: Edson Matarezio (UEFS)
Mandacaru Laboratório de Antropologia
Universidade Estadual de Feira de Santana
Livro "A FESTA DA MOÇA NOVA Ritual de iniciação feminina dos índios Ticuna" disponível para venda em:
https://tinyurl.com/y2yanzsu
https://vimeo.com/345066943
https://vimeo.com/lisausp/caminhodemutum
https://vimeo.com/lisausp/iburi
This documentary records the process of building and running the trumpet Iburi, the Indians Ticunas instrument that is played during the Festival of New Girl, initiation ritual of female Ticunas. The girl who menstruated for the first time will be primed recluse until his Party, the end of which she will come out of seclusion. Behind the place of imprisonment will be the tools that will counsel the girl. The¬se instruments can not be seen by women, children and especially the girl being initiated. Parallel to the construction of Iburi, the film shows the story of To’oena, “the first new girl” who, in time of myth, broke the taboo and paid with his life.
https://youtu.be/K7MI15TJJeA?si=dZG4DzKu2RRT45gU
What does Levi-Strauss own to the Amerindians? Through interviews with leading experts in the work of the French Master of Anthropology - including some of his former students - this film intends to show how some fundamental concepts of Levi-Straussian Structuralism has its roots in the world of the indigenous people as well as in the Western thought. Less than collect a debt, it is a tribute to the greatest anthropologist of all time. Levi-Strauss made the discipline less anthropocentric, while showed us ethical principles from people made up of its relations to the world. Levi-Strauss was the one who best revealed the sophistication of the "savage mind", putting it in dialogue with the most elaborate philosophy and Western science.
https://youtu.be/-5xDsygCDKc?si=a4wFHhrlGn-W16Ve
Interviews by Edson Matarezio Filho
Livro físico disponível para venda em https://tinyurl.com/y2yanzsu
É neste ritual que o socius, as relações e as pessoas Waimiri-Atroari são produzidas, momento em que as qualidades que se deseja apropriar circulam e conformam os futuros homens do grupo. As páginas que aqui se encontram mostram como são produzidos os verdadeiros homens kinja. Para tornar-se parte do “nós” – perspectiva atualizada durante o ritual, mas que pode ser perdida –, para tornar-se um ser consanguíneo, o menino deve ser fabricado enquanto tal, contra-inventando a afinidade.
Edições Sesc São Paulo, 2021. - 328 p. il.: fotografías.
This article focuses on the relationship of the girls who participate in the Festa da Moça Nova, the Ticuna female initiation ritual, with “beasts” (bichos in Portuguese, ngo’o in Ticuna). Specifically, we describe and analyze what the girls feel about some of the beasts that appear in this ritual as masked figures. Some affections or emotions stand out in the analysis, such as “fear” (mu’ũ), “joy” or “amusement” (tchitãẽ, taẽ’ũ), “anguish” or “anxiety” (ĩãtchiae), and “helplessness” (nhemagü’ü͂). Finally, we examine what happens in the ritual as a kind of “trauma” that generates the desired transformations in the participants.
A passage between both Americas: Ticuna myth and ritual. Following the trail left by Lévi-Strauss when suggesting that the analysis of a Ticuna myth would impose a “passage from one continent to the other,” I contribute to the hypothesis that the mythology of this people can be thought as operating the transition between the indigenous mythologies of South and North America. Instead of the classic mitema of the “bird nester,” Ticuna mythology would have as one of its characters a “fruit nester.” Thus, these narratives would relate less to the origin of fire, as in the stories of the “bird nester,” than to the origin of adornments, game meat and human flesh. Like in the narratives from North America, culture is more closely associated with the origin of clothing than that of cooking. An analogous “twist” occurs in ritual exchanges between the Ticuna. While the pattern of South Amerindian ritual supposes the exchange of meat for drinks, during the ritual of female initiation among the Ticuna, drinks and/or meat are exchanged for adornments.
https://youtu.be/o5dRXtxPyVg?si=HxVASn6QXwzhTcGc
Sinopse: O Hino Nacional brasileiro foi traduzido pela primeira vez para a língua ticuna em 2009 pelo professor Sansão Flores. Djuena Tikuna torna a versão indígena do Hino bastante conhecida e mostra que pode ser uma poderosa arma de luta política.
Ao traduzir o Hino Nacional para o idioma ticuna muito do sentido que conhecemos é subvertido, mostrando uma “terra adorada” e um “Brasil” com outras possibilidades de significados.
“Uma das músicas de maior destaque entoadas por Djuena é uma versão do Hino Nacional em língua tikuna. A “terra adorada” cantada no Hino não é a terra do agronegócio, do latifúndio e da monocultura. Na’ane, como se diz em língua tikuna, é uma “terra” viva, um ente que deve ser respeitado, que possui os mesmos atributos de uma pessoa e produz o alimento do povo. Que seu canto reverbere nos corações e mentes de todos, levando essa cultura belíssima para todos os cantos.” (trecho do texto que escrevi para o livro Torü Wiyaegü de Djuena Tikuna).
Realização: Edson Matarezio (UEFS)
Mandacaru Laboratório de Antropologia
Universidade Estadual de Feira de Santana
Livro "A FESTA DA MOÇA NOVA Ritual de iniciação feminina dos índios Ticuna" disponível para venda em:
https://tinyurl.com/y2yanzsu
https://vimeo.com/345066943
https://vimeo.com/lisausp/caminhodemutum
https://vimeo.com/lisausp/iburi
This documentary records the process of building and running the trumpet Iburi, the Indians Ticunas instrument that is played during the Festival of New Girl, initiation ritual of female Ticunas. The girl who menstruated for the first time will be primed recluse until his Party, the end of which she will come out of seclusion. Behind the place of imprisonment will be the tools that will counsel the girl. The¬se instruments can not be seen by women, children and especially the girl being initiated. Parallel to the construction of Iburi, the film shows the story of To’oena, “the first new girl” who, in time of myth, broke the taboo and paid with his life.
https://youtu.be/K7MI15TJJeA?si=dZG4DzKu2RRT45gU
What does Levi-Strauss own to the Amerindians? Through interviews with leading experts in the work of the French Master of Anthropology - including some of his former students - this film intends to show how some fundamental concepts of Levi-Straussian Structuralism has its roots in the world of the indigenous people as well as in the Western thought. Less than collect a debt, it is a tribute to the greatest anthropologist of all time. Levi-Strauss made the discipline less anthropocentric, while showed us ethical principles from people made up of its relations to the world. Levi-Strauss was the one who best revealed the sophistication of the "savage mind", putting it in dialogue with the most elaborate philosophy and Western science.
https://youtu.be/-5xDsygCDKc?si=a4wFHhrlGn-W16Ve
Nesta entrevista, Manuela nos apresenta um panorama de como eram os estudos da América do Sul indígena antes de Lévi-Strauss. Principalmente, nos mostra o quanto os estudos do antropólogo francês motivaram e influenciaram as gerações de pesquisadores que o sucederam. Termos e oposições difíceis de se compreender no jargão estruturalista são elucidados por Manuela, como estrutura ou as oposições entre universais e etnografia, ciência moderna e ciência do concreto, conceitos e perceptos, dentre outros.
Após esta magnífica aula sobre Lévi-Strauss, a entrevista envereda para considerações sobre o crescente número de indígenas que estão entrando na universidade, para fazer os mais diversos cursos, inclusive de antropologia. O contato destes indígenas com o estudo da antropologia indicaria um pensamento novo por vir? Quais os paradoxos envolvidos na formação de professores indígenas? O que acontece quando os próprios indígenas começam a reivindicar “um papel central na interpretação das suas próprias sociedades”? “Certamente eles vão fazer muitas críticas à antropologia”.
Centre National de la Recherche Scientifique (CNRS). Dentre seus temas de estudo, presentes em diversos artigos e livros, destacam-se os dos rituais, da memória e das imagens. Escreveu com Michael Houseman uma das
obras mais relevantes sobre a análise de rituais na Antropologia, Naven, ou le donner à voir. Essai d’interprétation de l’action rituelle (1994). Muitos de seus textos, incluindo traduções em português, estão disponíveis em seu site carloseveri.net, juntamente com informações sobre o autor.
The masks are produced exclusively by men and its use is unique in the rite of passage of girls to adulthood. The masks and the girls share a metamorphic process where at the end of the ritual, both start a new life cycle.
However, the ephemerality of these objects is daily witnessed. The preservation of these materials is a race against time, where conservators seek to prolong the life of objects that are produced for a ritual and are often discarded after its use.
From the standpoint of its patrimony, we can acknowledge the Museu de Arqueologia e Etnologia (MAE) from University of São Paulo (USP) as the holder of one of the largest, most meaningful and best preserved collections of the Brazilian indigenous cultural heritage. From 1942 to 1965, the ethnographer-photographer Harald Schultz distinguished as one of the greatest collectors of the indigenous ethnological heritage. The collection of Ticunas’s masks and costumes consists of six hundred ninety-one barkclothes objects collected between 1955-1960.
During his expeditions, Harald Schultz also recorded their field experiences in photos and films and his production is still of great importance to understand the continuity of processes and cultural resistance.
Plant materials which are modified to provide raw materials for the manufacture of objects and the ways in which these objects were used can be elucidated with the information recorded during these expeditions. These photos and videos help us understand the biography of these objects that are lying inside of our storage areas.
This paper explores the research project that is currently ongoing at MAE/USP. We identifed three types of barkcloth used for making objects in this collection. These materials have different degradation processes. Some masks have preserved its flexibility and integrity, while others has rigidity, brittle fibers, and losses. To understand the relationship between its composition and intrinsic factors of degradation of these objects, the barkclothes was rated by their conservation status and by the results of X-ray fluorescence (XRF) and pH analysis.
We also present here treatments that are carried out such as cleaning, humidification, reshaping and infilling of losses. These actions are performed for several reasons - some have an actively deteriorating process, others need to be prepared for exhibitions, transport and research.
This project also involves the cooperation of an interdisciplinary team to conduct collaborative work with the Ticuna. Through these collaborations, we were able to come up with more effective preservation strategies and we strengthened our relationships with the originators of collections. Join efforts to understand the perspectives of indigenous groups on the conservation of its heritage is one of the objectives of this project.
al. (Org.). – Rio de Janeiro: Vermelho Marinho, 2014.