Year: 2022
Type: dissertation
Abstract: Music has a special place in the art of the Mbya Guarani people. Occupying a large region in the southern cone of the so-called American continent, the Mbya gather daily to sing, dance and listen to their Mborai chants. On feast days and special rituals, musical practice is intensified, played for several hours in different spatial or ceremonial contexts. In addition to the aesthetic delight it provides, this music is sacred and has healing, communication and learning functions with the Nhanderu Kuery deities. The practice of Mborai is thus a fundamental knowledge to learn to live on earth according to the guidelines of the creator-god Nhanderu Nhamandu. With this important role, Mbya Guarani music figures prominently in its own cosmology. In the musical thought that stems from this genealogy, we find key concepts such as feeling/listening and its resulting making music or listening/feeling together nhamonhendu. In addition to their sacred, more traditional and ritual music, the Mbya Guarani people also venture into popular genres such as sertanejo, forr and rap, demarcating their space in the phonographic industry and in non-indigenous genres. In this way, the objective of this work is to observe the variations and diversities of practices, styles and uses of music in Mbya everyday life. Always observing the perspective from the reports, materials found in the research and collected in the field, testimonies and translations prepared with the interlocutors, this work seeks to elaborate a panorama of this musicality giving centrality to its concepts and authors.
Author: José Calixto Kahil Cohon
Language: Portuguese
Subfield: Music
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: gold
OpenAlex ID: W4315780847