The Language Archive

030 saw the Awetí-Kuarup-98 film several times and was then asked to comment the film while watching it (without sound). He mostly describes what he sees, or what he identifies to be happening, but he does not give an explanation proper. There are long pauses, and the collector (Sebastian Drude) sometimes asks to continue descibing what is going on.
People from the Terra Preta and Boa Esperança villages go to the woods in order to extract the "Genipapo" fruit, which is later processed in order to make a blanck paint.
Presents brought by 146, the chief, from a local politician, and presents brought by the researcher Sebastian Drude to the village, are distributed. For details see description of media file.
Dance and songs of the ear pearcing ritual, called tiponhü in the Kuikuro language (tiponhü means "the one who was ear-pearced"). It is a performance made during the ritual cycle that precedes the ear pearcing of the boys to be initiated to the adulthood. The boys of chiefly lines are at the center of the group of singers and dancers. With feather headresses and all the male ornaments, they show their white skin and the beauty of their strong and fat bodies. Around them and taking their hands, men are dancing and singing, conducted by the ritual leader. The songs are ritual formulas with some near inintelligible karib words. At the end, one of the dancers/singers, a Kuikuro leader, Jumu, seated on the bench in front of the kwakutu (menÂ?s house), explains the meaning of the performance and the continuity of the kuikuro tradition.
Men (including the researcher SD) dancing the jawari dance.
Explanation about animals classified by the Trumai as "kodetl".
This is a spontaneous recording of a conversation in Aikanã between a group of women that happened to meet up outside of the house of Mariuza in Rio do Ouro.
A Trumai student writes about a historical fact: the first contacts between the Trumai people and Whitemen.
The session consists of a story/ part of a story told by 157 who is the most prestigious story-teller of the Awetí community. ###
Elicitation of names of fruits, which were obtained from several Trumai consultants. The data was recorded with the help of a Trumai woman.
A Trumai woman shows how she makes necklaces.
The session consists of the third of three versions of a story with a tatú as a protagonist which is told by Alcides Alfredo Kaxinawá who is an agroforestry agent living in a place about half an hour by boat from the village of Mucuripe/ Praia do Carapanã. The story was elicited by elaborating in a workshop on a narrative text collected by Capistrano de Abreu between 1904 and 1905 with two Cashinahua speakers from the Murú (Ibuaçu) river, an area which is situated adjacent to the areas in which the participants of the workshop are living. The narrative by Capistrano with a similar subject (an old woman that turned into a tatú) was written down in a phonetic orthography developed by the author. In the workshop it was conversed into current official and phonological orthography as an exercise to conscientiate the participants about orthographic practice as a process which may change with time and increasing knowledge with regard to the structure of the language. Alcides is the only one of the three story-tellers who accompanies his speech with many gestures. He gives an introduction of about 2 minutes before starting with the story itself.
Elicitation of lexical items: birds