DOBES Archive

The session contains a sequence of tolo songs performed by kuikuro women during the tolo ritual or feast. Tolo songs contain texts in the Kuikuro language; they are mainly love songs, but they speak also of witchcraft and affinal relations.
The young Takumã, member of the Kuikuro video team, asks to one of the village shamans what's happening when he smokes his tobacco cigars, what he sees. Aitsehü, the shaman, answers telling about the itseke (suopernatural beings) he sees during the transe caused by the ingestion of the tobacco. He tells how he became a shaman, a short story of his initiation. At the end he explains the characteristics of one particular iseke, the Hyper-Hummingbird, responsible for the sikness of Tapualu, a Kalapalo woman, as well for the performance of the Hugagü ritual. In the background, it is possible to hear the sound of the atanga flutes, played in the daytime during the realization of the Hugagü feast.
Amunegi asks to Asahü, his maternal grand-father to explains what he is doing. Asahü is making "ha", a bag used for carrying pequi (Caryocar brasiliense) fruits. Then, Amunegi continues asking about the bag, its meanings and its origin. Asahü tells the story of the mythical Armadillo, who invented the bag and is one of the personnages of the myth on the origin of the pequi tree. During the telling of the story, Asahü sings the Aramadillo songs and explains that they are part of the hugagü ritual. Hugagü is the main feast of the pequi ritual complex. So, he makes and explains the links between ritual, myth and songs. Moreover, Asahü tells about the reasons of the ongoing hugagü: the sikness of Tapualu, the cure by the shamans and how Tapualu's husband became the "hugagü owner". Amunegi tries to learn how to make "ha".
OHOGI is one of the songs performed during the Kwaryp festival, realized in honour of a dead person of chief line. The kwaryp festival marks the end of one year mourning period for the parents of the dead, as well as the public presentation of the secluded girls now ready for marriage. Is the most important intertribal feast (ritual) of the upper Xingu social system. This particular OHOGI was sung by the Mehinaku men invited to the Kwaryp held at the Kuikuro village in August 2002. OHOGI is a song "without words".
The old Agatsipá remember the villages and their chiefs around the Tahununu lake, east of the Culuene river and present villages, where he was born probably around the end of the first decade or the beginning of the twenties of the XXth century.
The young Jamalui walks in a "pequizal" (place where pequi trees, Caryocar brasilienese, were planted by the owner of the "pequizal"), not far from the village; he is collecting fruits, showing and describing different types of the fruits (pequi species). On the background, it is possible to hear the strong sound of the cicadas, characteristic of the end of the dry season, the pequi fruits time. After this, Jamalui goes back to the village carrying some pequi fruits. He reachs the house of Tsana, a mature man and a ritual specialist. Inside the house, Tsana is making a very traditional and valued piece of the upper Xingu karib groups material culture: a necklace made with terrestrial snails. Jamalui shows to him the fruits that he found in the "pequizal", puts them on the ground and begins a conversation with the other man, asking for explanations on the "pequi way of being". Tsana explains the native know-how for storing the pequi pulp, some aspects of the pequi economy and ritual cycle. He talks about the Hugagü feast (or ritual) and sings some Hugagü songs (birds songs and the fox song).
The old Tugupé tells a "true story" (akinhá ekugu), the myth of the origin of the pequi tree (and fruits, Caryocar brasiliense) as well as of the Hugagü ritual (or feast), linked to the pequi economic and ritual complex.