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This interview with Seu Manoel Aikanã about the history of the occupation of the TI Tubarão-Latundê, was conducted on 2nd December 2012, at around 4pm, in Manoel’s home in Gleba. He is sitting at the big table in the entrance room, the camera is in front of him on a tripod, a sound recorder on the table. The camera is operated by Lisa Grund, the sound recorder by Eduardo Ribeiro, next to Manoel sits Hein van der Voort. At the beginning the interview is interrupted by a loud engine sound of the generator that pumps the water to the houses in the village. In this video recording, Manoel explains, with the help of an ethno-historical map that Hein van der Voort created together with the villagers, the territorial history of the Aikanã, where they came from and used to live, and why and how in the end the TI (indigenous territory) was founded on an allotted INCRA land, near Chupinguaia in the southeast of Rondônia. Traditionally the Aikanã and Kwazá lived in an area of rich forest with fertile soils west of the Pimenta Bueno River. As a consequence of their re-allocation in the 40s by the Indian Protection Service, the construction of the BR-364 in the 60s and the encroachment onto their lands by loggers, miners and settlers from outside, the majority of the remaining population, mostly Aikanã (about 200 individuals), since 1973 live in the Indigenous Reserve Tubarão-Latundê east of the Pimento Bueno River, near the Cuiaba-Porto-Velho highway, which was officially demarcated in 1983. In Manoel’s explanations it becomes clear that important former villages, such as the Aldeia do Tanaru, have been transformed into unrecognisable cattle grazing fields of large fazendas. The Aikanã traditionally lived along and at the headwaters of the river Pimenta Bueno, also called Apediá/Apeya in the southeastern state of Rondônia. Neighbouring peoples were the Kwazá (or Koaiá, isolated language), Kanoê (isolated language), Salamãi (Tupi) and Kepkiriwat (extinct Tupi language), and at a distance slightly larger, the Latundê (Nambikwara language) and the Sakurabiat (Tupi language). The land that was in the end demarcated for the Aikanã does not reflect their traditional territory, which was much larger, with better soil and along large waterways. The actual reserve is predominently on unproductive, sandy soil and far from the nearest River Apeya (Pimenta Bueno), which is unfavourable to their subsistence farming, hunting and gathering activities. See the Word and Elan transcription file for more information on the context of the history of the TI Tubarão-Latundê. Manoel is one of our key informants and our host when we are in Gleba. He is a former leader or cacique of the community. He is very interested in the history, culture and language of his people and knows a lot, also through his father, Capitão Pedro, an “antigo” with a wealth of traditional knowledge and old-time-stories, who unfortunately recently passed away. Capitão Pedro met Dr Vitor Dequech on his expedition through this part of Rondônia, who photographed him standing in his traditional wear, with spear, outside a thatched round-house. Unfortunately, in the past years he grew increasingly deaf and his memory got weaker. However, Manoel is helping us to reconstruct some of his life history.
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On a visit to the Museu Goeldi in Belém, Luis Aikanã is interviewed about the “language” of the flutes. The music played with the different kind of Aikanã flutes tells the mythology about the origin of flutes and people., Em uma visita ao Museu Goeldi, em Belém, Luís Aikanã é entrevistado sobre a "linguagem" das flautas. A música tocada com os diferentes tipos de flautas Aikanã fala sobre a mitologia da origem das flautas e pessoas.
Mário and Manoel converse in Aikanã. This recording is an example of a spontaneous conversation. Contains good examples of Aikanã/Portuguese codeswitching
Marião explains the work of the shaman, haditae. curing rituals, the sniffing of rapé or parico, a snuff, called ayumenũ in Aikanã and the communication with spirits by travelling between different worlds. The ayumenũ, made from angico seeds and the burned bark of a tree, dape:ru in Aikanã, mirindiba in Portuguese, is usually blown into the nose by another shaman via a fine bamboo/grass/bone pipe, made for this purpose (see also Becker-Donner 1955: 283). According to Becker-Donner (1955: 283), ayumenũ is also the name of the “malevolent spirit” of disease. Iwerüa, a non-human being usually referred to as the cause of death and evil was, according to myth, the one who initially showed the powder to the humans. During his/her journeys, the shaman has to travel to a distant place to find out about sickness and cure. All this Marião knows from observing and accompanying her late husband, Cap. Arui Uhune’i, who was the last acting Aikanã shaman who could cure people in the TI Tubarão-Latundê. Cap. Arui Uhune’i himself was initiated by the late shaman Mundé Txiridö “Kenepi”, stepfather of the late Cap. Pedro. While most of the Aikanã shamans are men, according to Marião, Cap. Bum-Bum’s wife, also women can become shamans. This can also be noted from the neighbouring Kanoê, where the strong female shaman, Tinamaty (“cobweb”), performs shamanic rituals. Here, her daughter Rita is helping with the Portuguese translation.
Marião explains the work of the shaman, haditae, curing rituals, the sniffing of rapé or parico, a snuff, called ayumenũ in Aikanã and the communication with spirits by travelling between different worlds. The ayumenũ, made from anjico seeds and the burned bark of a tree, dape:ru in Aikanã, mirindiba in Portuguese, is usually blown into the nose by another shaman via a fine bamboo/grass/bone pipe, made for this purpose (see also Becker-Donner 1955: 283). According to Becker-Donner (1955: 283), ayumenũ is also the name of the “malevolent spirit” of disease. Iwerüa, a non-human being usually referred to as the cause of death and evil was, according to myth, the one who initially showed the powder to the humans. During his/her journeys, the shaman has to travel to a distant place to find out about sickness and cure. All this Marião knows from observing and accompanying her late husband, Cap. Arui Uhune’i, who was the last acting Aikanã shaman who could cure people in the TI Tubarão-Latundê. Cap. Arui Uhune’i himself was initiated by the late shaman Mundé Txiridö “Kenepi”, stepfather of the late Cap. Pedro. While most of the Aikanã shamans are men, according to Marião, Cap. Bum-Bum’s wife, also women can become shamans. This can also be noted from the neighbouring Kanoê, where the strong female shaman, Tinamaty (“cobweb”), performs shamanic rituals. Here, her son Paulo is helping with the Portuguese translation.
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.
No Dia Nacional do Índio, 'Dia do índio ', Maria Tadeu conta para a geração mais jovem da escola sobre sua vida., On the national day of the indian, ‘Dia do índio’, Maria Tadeu tells the young generation at school about her life.
Maria Tadeu tells parts of her life history, about when she grew up, her marriages and family history. Personal trajectories, narratives and anecdotes about family members and other community members are particularly helpful in the attempt to reconstruct a broader idea of village life in the past, the social and settlement history.
Maria Tadeu talks about what life in the ‘maloca’ (the roundhouse/village) used to be like when she was young.
Pe’i, his wife Maria José and Maria Tadeu sit outside of Maria Tadeu’s house and talk about the use and symbol of the waeaka’i, or waeapaka’i, a small fan made of bacuri palm (Platonia insignis) leaves, used for various purposes around the house, such as fanning fire.
At his home, Pe’i is interviewed by Cândida and her mother Maria Tadeu about his knowledge of magic plants that Aikanã men used to apply to increase luck, accuracy and strength when going hunting.
Marião conta sobre como que é a primeira menstruaçaõ de uma moça. Os pais da moça reunem o povo da comunidade pra os homens caçar e pescar. A madrinha da moça rapa a cabeça dela e amarra a cabeça dela com o arquim vermelho barbante depois põe ela dentro da maloquinha pra retirar depois so para fazer a festa cultural do povo.