Posts tonen met het label ethnopoetics. Alle posts tonen
Posts tonen met het label ethnopoetics. Alle posts tonen

vrijdag 6 juni 2014

Tebu's message [Batek story]



Below is a story from 'Changing Pathways: Forest Degradation and the Batek of Pahang, Malaysia' (2004) by Tuck-Po Lye. It is Tebu's message to the world to stop destroying his home forest.  The book gives it in the original language, a literal transcript and a free translation. This is the transcription but with some additional markings omitted.

World-finish - world-finish. Already-no-tree.

When-they-dynamite, Gubar-long time-rain. we remember.
 

Do-only untill-that. We-find-food-same. Can-not-fond of-appropriately-that-we-find-food.
 

River Temoh-no-tree. Oil palm-only.

Soul-to live-upon-tree.


Island hold-up-earth.


That is past-we Peace-no-lose-world.


Person-superhuman-to-say: hearth-earth to make.


They remember they miss.
 

To feel sorry for-song.
 

They love.
 

We listen - - what - - we hold voice.
 

Tree-finish, no-place-we to be shaded.
 

Can-we-meeting, meeting-can-we decide together-do-then. We refuse to give up-world. Don't-
we-lose out on-world. We-know-we-eat, we-know-we-keep.
 

Malays-they-think-of road-they-put down-oil palm. Consider-they-kill-world. Where-we-live. So-they-
kill-world-ours. Before-we-sit-healthy. Now-no-we want-healthy-already. So law-us same.
 

We-miss-time-peace. Remember, we miss. We-show how.
 

Already-broken-earth. Soul river-block. Important-danger. River-not-it wants-flow. It-spills. Land-soft. Land collapse. It make-channel-it-break-there.
 

Like-like, loof for-good - - for-food-we-rich, but-world-none. Know-we-keep. Not-we-rich-we kill-world. Short-we to-become-long. We-know-we-keep. We-look-for-food, we-value-soul-world. 

But-not-they-know-value-soul-world, don't know-then.
 

Value-soul-world. We-remember-before. As long as living-we-in-forest, we-give-instructions. Don't-we-fight, kill each other.
 

Not-easy - - suffering. End of-life-they-do.
 

Kill-world. Ridicule-we-live-wild. No-they-know-they-think. I want-them-know-way-reason.

vrijdag 14 februari 2014

Communist world literature

"The intellectual creations of individual nations become common property. National one-sidedness and narrow-mindedness become more and more impossible, and from the numerous national and local literatures, there arises a world literature." - The Communist Manifesto

Found in this article on world->global literature. 

- We now have international one-sidesness and narrow-mindedness.  

- How does EthnoPoetics relate to this stunning insight from1848? 

maandag 13 mei 2013

Alcheringa times 4


Thirteen issues of Alcheringa, the journal for ethnopoetics, appeared between 1971 and 1980. They are all online. But that is not enough for me: I want to have them! There are copies around but not almost within my budget and/or paypal-sphere. Last year I found one, last week I found three from two different sellers. Two separate issues I purchased on ebay as first/only bid. Like often with reputedly highly collectable material (less obvious William Burroughs for instance): they are not really that sought after at all. While searching for the other issues I can read these and be pleasurably annoyed.

vrijdag 1 maart 2013

Two editions of EhtnoPoetics' grand grimoire


My copy of "Technicians of the Sacred", the big book of ethnopoetics compiled by Jerome Rothenberg, is the revised and  expanded edition of 1985. I never liked the book: it's big as you expect, but overweight, the font slightly too large, the pages too white and too white-spaced. Not nice to read and the cover is not very appealing either (down right ugly more like!). Now I have purchased a cheap paperback edition in original edition (Anchor 1969). The cover is much better, the pages of better size but it is almost as big physically despite lacking an entire section. There are 522 pages in the first edition against 636 pages in the second. To my pleasant surprise the revised edition offers major changes which means that I am not just owning two editions of the same book but that I own 2 books that overlap for maybe... only ...80% or even 70%?? It means that a hypothetical aggregate editions of this book would be 1000 pages! And still no material from the Amazon would be included! Comparison shows another problem with this book: the selection for inclusion of material appears even more random than it already did. There is no other book that I like so much and yet find fault with in such large degree. I won't go over it again but the change in material between these two books I find impossible to explain in quality. It could be that the new edition draws in more exotica but only marginally. It's a poetry book and it's a manifesto of a poetic movement and in that light you can possible step over many problems but the apparent random selection of texts points to problem of literary merit: there is so much stuff compiled here from all ages and all places and Technician of the Sacred throws them all together without much digestion or understanding of the original purpose of the material or even the beauty of the language or the originality of the images. 

Complaining about ethnopoetics is one of the great joys of ethnopoetics.

woensdag 2 januari 2013

EthnoPoetics in the Amazon


One of the strangest oversights in "Technicians of the Sacred" (Jerome Rothenberg's big book of EthnoPoetics, first published in 1968) is the complete absence of material from the Amazon. However, now I have noticed that Rothenberg did pay attention to the region in the third issue of Alcheringa (winter 1971, all issues online here) with a 23-page mini-anthology. 

EthnoPoetics was a great, important and inspiring movement but it always suffered from two major problem. 1) It often failed to provide meaningful ethnographic context. 2) Texts from with different historical pedigrees are all translated (often with poetic freedom) into the idiom of avant-garde modernist poetry. Imagine Shakespeare, the King James bible, Coleridge and Tom Jones' Lalya translated into the hurried journalese of an Armenian self-publisher. EthnoPoetics assumes the right to take literature/poetry from every language of the world and reshape it in order to make it confirm to your own agenda. Some people find it colonialist, which I find too easy and too paternalistic. EthnoPoetics offers freedom but does not accepts its responsibilities. The result is often rote blandness where the uniqueness of languages and cultures should be. But let that not deter you from its achievements.

One of the songs in the anthology is a Jivaro shaman song recorded by Michael Harner which makes a nice addition to this earlier Jivaro Shamanic chant (recorded by Philippe Descola).    


FIRST SHAMAN SONG

I, I, I, I, I

I, I, I, I

I am ... like First Shaman
I am like First Shaman
When I drink natem
My whole body becomes cold
& I easily suck out that spirit-dart
I, I, I, I

I'm always above the clouds
& that's how corne I have power
Because I drank natem
I drank enough to have power
My whole body is cold
That's how I have power to suck out that spirit-dart
I, I, I, I

There's a very large body of water
So that I'm like a great body of water
I have a crown but it's gold
A crown & it looks so lovely
Lovely when I drink natem
That's why it's easy to suck out that spirit-dart
I, I, I, I

I'm always above the clouds
That's why I can cure so easily
I have the spirit-darts of natem
I'm seated but I do feel cold
There must be lots of breezes around me
I, I, I, I

My spirit-darts are like birds
& the wings & bodies are dreams
I'm. ready to start with them now
My spirit-darts are sitting all over me
& as I get to feel cold
I'll get to have power
I can easily suck out that spirit-dart
I, I. I, I

I'm. like som.e anaconda in the Napo River
That's why I have power to suck out that spirit-dart
I, I, I, I

Wait, wait a little
Now I'm. going to be dizzy
I'll be starting to see when I'm high
(pause, followed by sucking & dry vomiting)
Now I've sucked out that spirit-dart
Now the pain will soon go away

zondag 11 december 2011

A message from the Huaorani


The Huaorani are everybody's favourite Fight the Google-Jugend Indians. Initially they were legendary for their violence love of freedom and independence, (something that found expression in their violent determined resistance to US missionary activity (see Wade Davis' One River). Modern research has augmented the image of the Huaorani as people with an immensely fine-grained awareness to their environment (see earlier). Here I just want to point to a YouTube video in which an elder states their desire to continue in their life-ways in a world that seems intent on destroying the forest they depend on. There are other video's, some in Spanish, but here the man speaks his own language and at point does a formal elegy talk-singing a lesson from the ancestors: marvellous.    

zondag 14 augustus 2011

Fight the Google Jugend

Fight the Google Jugend
is my Guide to Kulchur, my ABC of Reading, my attempt to create a vision of the future as one where progress equals anything that lead to an increase of cultural diversity and reforested high urbanism. Elliot Weinberger writes: "many of the golden ages of a national literature have been, not at all coincidentally, periods of active and prolific translation." This is probably why literature is stone death. Modern day translation culture is a mirror palace that reinforces the values of a global free market culture in your own language: Ezra Pound arrived at Chinese culture as a vast and untapped resource of an independent high culture, we, on the other hand turn to China to find a despotic government hostile to freedom of speech: not a model but a bucket of vomit where even Idols is too dangerous to be left to the televote. Fuck Marx, Fuck Deleuze, Fuck Foucault, Fuck all those unreadable university bullshitters with their baby wrinkled hands, tell me about the man and woman who discovered the way to prepare manioc.

Fight the Google Jugend
is an endless montage of voices, there are more footnotes than text, this entire blog (especially these posts) is a series of footnotes to this text, this text is a footnote to this blog. For a note on previous publication.

vrijdag 3 juni 2011

How Colonel Fawcett was killed

 
A story can make space into place: despite the fact that Colonel Fawcett went missing and probably died a quite horribly death in 1927, his lingering presence humanizes one of the darkest corners of the Amazon. It may be rough and dangerous there in Xingu but explorers find solace in the idea that Fawcett went before them.
     
In 'The Heart of the Forest' (earlier) Adrian Cowell reports on what Indian tracker Orlando Villas-Boas learned about the murder of Colonel Fawcett from the Xingu-locals. Villas-Boas being after all the man who was told by the Kalapalo where the Fawcett skeleton (see above) could be found. The passage begins with Cowell encountering a young Kalapalo who on hearing that the visitor is English volunteers the story of three Englishman, one old / two young, walking into the village a long time ago and who now lay buried near the lake. Villas-Boas from his hammock recounts the story from Kalapalo perspective "in the language and style of the Indians." The story gives a good idea of social mores (the obligation to share food, little tolerance for unfriendliness towards children, etc) and the moral of the story is: Fawcett deserved to be killed but there is a twist.
The three Caraiba were one old and two young. They carried things on their backs, had guns and one was lame. They came from the West with Aloiqui, chief of the Nakukuas, and his son, who brought them from their own village on the Kuliseu river.

At that time, all the Kalapalos were in their fishing village to the east beyond the river Kuluene, except for Kavuquire and his son, who were in the main village. These two agreed to guide the Inglezes to the fishing settlement, so that they could pass beyond, into the country to the east. 

Next day that set out at dawn, two Nakukuas, two Kalapalos, and three Inglezes. After travelling for a day and a half the old man of the Inglezes spoke roughly to Kavuquire, blaming him for saying that the journey would only take from the rise of the sun to the sun't height. He was fifty-eight and the heat is great. 

Later the old man, whom the Indians took to be chief, shot a duck and Kavuquire ran to pick it up, fingering and looking until it was snatched from him as if he had been about to steal. Then, when they arrived at the small lagoon by the Kuluene, the chief of the Inglezes spoke harshly again, because the canoe Kavuquire had promised had been taken to the other side.

By this Kavuquire was angry. But he had heard the rattle of collar (beads) in the Inglezes packs and so kept silent, thinking in his head that he would get a reward: this is the Indian custom. When they reached the village he was given nothing, but kept silent again hoping that they would make presents at farewell on the following  day.

During the night the colonel cup up his duck with a knife, and when a boy played with the handle, he brushed his arm roughly aside. 
Next day the village gathered to say goodbye on the bank of the of the little lagoon. No presents were given.

Kavuquire demanded death . Caiabi ,the chief, agreed. He was a cautious man and he said it must be beyond the lagoon where the Nahukuas would not see.

While Kavuquire, Kuluele and one other ran round to lay ambush, the boy, Tuendi, paddled the Inglezes across. At the other side there was a cliff, small but sheer, and the chief of the Inglezes climbed to the top first, leaving the two others to bring up the baggage. 

As he got to his feet, he turned to look down on the young men below. Kavuquire came out from behind the tree with a club he had cut from a sapling. He struck his blow on the back of the neck. The old one cried, wheeled, clutched a tree and started to fall swivelling round it. Kavuquire hit again on the right shoulder, and the body collapsed, doubled up on the ground.

At the cry, the young Inglezes dropped their baggage and started to climb the cliff. Immediatly the two Kalapalos hidden in the bushes at the bottom leapt out and struck up at their necks and heads. The bodies toppled back into the water.

When Kavuquire, Kuluele and the others returned to the village Caiabi said they must burn the bodies. He was a cautious man and was frightened that the Nahukuas would tell Indians who were friends with the civilizados.
Caiabi talked to Kavuquire on the first day, and he did nothing; he talked to him the second day and he did nothing; he talked with him the third day and he went with some others. Putting leaves in their nostrils, they scraped a shallow hole by the old man. Then they lifted his feet, and then his head so that he lay nearly as he fell. They took everything from the body except for the machete clutched in his hand.

The young ones were still below, swollen in the water. So they were towed by canoe and left in the centre of the lake. Then from fear, their equipment and clothing were thrown into the Kuluene.
It is a good story! The caveat is that the bones are too short to be Fawcett's so what is going on? Villas-Boas suggests that the real location of the grave was kept a secret (the given one a decoy). A more reasonable suggestion to my mind is that so many people kept coming into the area looking for a trace of Fawcett that the locals invented a story, perhaps with some connection to reality, perhaps misidentifying Fawcett with another group (or groups) of Civilizados who came later. The Kalapalo volunteered his story to Cowell because everybody in the village knows that those silly white people love to hear it. Call it hospitality.

This story is not mentioned in David Grann's 'The Lost City of Z', the recent best selling book on the case. Ellen Basso is usually credited for learning the truth about Fawcett's fate when she published her Kalapalo testimonial in 'The Last Cannibal' (1995). This is a fantastic resource on Amazonian narrative and myth, not at all easy to read but totally inspirational. An earlier version of Basso's Fawcett chapter is online and you can see for yourself that the story has recognizable features with the story above but that the end is completely different. In Villas-Boas version the murder is explained as justified, in Basso's version Fawcett party passed trough the village before entering the lands of 'the fierce people' against the good advice of the Kalapalo and to their own detriment. Who to believe?       

vrijdag 20 mei 2011

Out pubic hair exhales delicate fragrances.

Final phase of initiation.
A chanted dialogue between shaman and novice; the shaman is guiding the hekura into the chest of the novice, the novice is accepting them, the process takes weeks and loads of psychedelic substances are consumed for the duration. Taken from Jacques Lizot's 'Tales of the Yanomami'. Earlier: Jivaro chant, Marubo chant.
Tiri, tiri, tiri! They are advancing towards you.
- The hekura are going to merge into me.
Here are the cannibal spirits: the Moon Spirit, the Night Spirit!
The sides of the mountain are peopled with macaws.
 - The sides of the mountain are peopled with macaws.
We are dancing for you, our earlobes wear jaguar eyelashes.
We are the wind: listen to it blowing against your chest.
- I hear the wind knocking against my chest.
The blue-tinted water of fall topples into emptiness and its roar is deafening.
Out pubic hair exhales delicate fragrances.
The Toucan Woman Spirit is dancing toward you with a rustling of palm leaves.
- The Toucan Woman Spirit advances towards me.
They are bringing for you all the magic objects.
Diadems of purple feathers are waving on their legs.
The bluebird takes its flight.
The rocks sparkle with unknown lights.
Garlands of crimson beads hang from our pierced lips.
I see the Jaguar Spirit readying itself for you.
The Macaw Spirit is near.
- But I am overcome with dizziness, my mind is failing.
- The hekura are carrying me, and I see on their backs the slender tongues of toucans that they have tied one to the other.
My son, do not stay prone on the ground, unmoving and silent before them!

zaterdag 14 mei 2011

3 Spells by the pseudo Marubo Shaman-Goth

Song 1

I am the first one
That part of me which is blue
Tells of blue snakes
It is speaking of certain truths
& of my dick
I speak
I am the first one
We descend from shamans
We are the children of jaguar-people
We are twigs of jaguar-tree
The place of blood
Creates the demon-child
The blood of bird-person
The place of blood
& to teach is to create
When the last word is spoken
This is what I think
This is what I say
I am dead
I am dead
But I will come back in better shape
Ahhhhhh! This is what I had to say! Ahhhhh!


Song 12.


My body has changed
My head is fly-demon
My teeth are jaguar-demons
My teeth are beyond my control
My body is crooked
And my sisters
Use the foam
Of demon-herbs
To paint my back
& I go dancing
Along sun-paths
Along downward paths
Downwards I walk

Song 15.

I am the first one
I will become the açaí-demon
Above us are clouds
Racing through the sky
This is as it has always been

The shape of demon-keeper
The leaves of tree-demons
Those leaves rustle
They remind me of a swarm of bird-demons
Countless of them are moving
They are the same
While I am singing
I suck from my lips
The juice of tobacco
Ahhhhhh! I say! Ahhhhhhh!
I am the first one
Whom with fresh leafs
Has his chest
Adorned with images
The geometry-demons
Geometry is the teacher
The images on my chest
They control the demons
I am the demon of demons

PS



The above three songs are approximate translations of Marubo shamanic songs. They are are taken from Pedro N. Cesarino's ethnopoetic study 'ONISKA: A poética da morte e do mundo entre os Marubo da Amazônia ocidental', (a brilliant overview of the oratory tradition of the Marubo. I haven't actually read it (I still use my finger when reading a book in my native language) but it certainly looks like a well executed study that came recommended by Brazilian indigestina friends. The songs, or maybe spells, are created with a the help of online dictionaries, a bit of fantasy and my personal need for shamanic-goth texts. Ahhhhhhh!

I enjoyed making them and felt only a little bit redundant when looking at them again after two years. They were initially published at the excellent ZSWound blog for dysfunctional text.

dinsdag 29 maart 2011

The genesis of Eskimo poetry


1. After noting the abundance of Eskimo songs and tales, Franz Boas goes on to give this image of Eskimo song making:

The eskimo sits for hours by the breathing-hole of the seal. During such times his fancy is free to wander and many of his songs take shape during these moments.

2. Knud Rasmussen recorded the following from an old woman living in a dark cave:

For our forefather believed that the songs were born in stilness while all endeavored to think of nothing but beautiful things. Then they take shape in the minds of men and rise up like bubbles from the depths of the sea, bubbles seeking the air in order to burst. This is how sacred songs are made.

3. From an Eskimo man called Orpingalik Rasmussen learned the following:

Songs are thoughts, sung with the breath when people are moved by great forces and ordinary speech no longer suffices. How many songs I have I cannot tell you. I keep no count of such things. There are so many occasions in one's life when a joy or sorrow is felt in such a way that desire comes to sing; and so I only know I have many songs. All my being is song. I sing as I draw my breath. 

[source

vrijdag 25 februari 2011

Jivaro shamanic chant

Drawn by a Jivaro shaman in trance 
The main part of this post is a Jivaro shamanic anent or sung incantation recorded by Philippe Descola and given in The Spears of Twilight (earlier). There is quite a bit of neo-hippie rubbish about on Amazonian shamanic practise but surely even the most severely confused and mentally disturbed middle class American seeking for spiritual redemption does not believe that his of her illness is caused by invisible darts propelled into your body by an enemy shaman. Darts that can only be removed through various voice operations (singing, blowing, sucking) of a drugged out shaman with the appropriate spirits under his belt. There is nothing lovely or tender or wishy-washy about Amazonian shamanic practise, its dark and dramatic, gothic materialism, it deals with death directly, uncosmetic and without excuses. I can imagine that a small, properly delivered, compendium of anents like these could become a underground classic. Anyway here it comes....  

Me, Tsumai [river spirits], Tsumai ....
Me, me, me, me, me, me, me!
Tsumai, Tsumai...
Me, me, me, while I make my projectile penetrate
Me, me, me, me, me, me, me, I am in harmony
Making my Iwianch [spirits of the death] spirits rise up
I make them pas through the barrier of darts
I make them penetrate the wall of little arrows
Giving them an immediate way out
Leaving them a free passage
In this way I blow, me, me, me...
Launching my blown projectile
Submerging everything, saturating everything
I am blowing me, me, me...
Tarairira, tara, tariri-ri-ri-ri-ri
You the extraordinary one
Tarairira, tara, tariri-ri-ri-ri-ri
As remarkable as you are, I am blowing
Tsunki [river spirits], tsunki, my spirits I am summoning you
Violently leaving a path, I am blowing, I am blowing
Me, me, me, me, me, me, me!
Tsumai, Tsumai...
Me, me, me...
Like a river carrying away its bank, I cover everything with my flood, I overflow everywhere,
Unmoving on this very spot
Stretching into the depths, I am blowing
Me, me, me, me, me, me, me. . .
Even when they are embedded, out of reach, I unhook the tsentsak [magic dart] with a dry tap, blowing
Clearing a path for myself, I completely beguile the stranger who has invited himself into your body, by blowing, by blowing, me, me, me, me, me, me!
Tarairira, tara, tariri
Tsumai, Tsumai...
Making my breath penetrate, making it desirable, I work hard to make them let go
I work to get rid of them completely, absolutely, by opening the exit
Me, me, me, me, me, me, me!
Tsumai, Tsumai... me, me... rari ri ri, rari ri ri...
Supai, supai, supai, supai, supai, supai, me, me...
Like tsunki himself, I know how to speak, me,me, me...
In your head that is so painful, in your painful head
However embedded the pain is, I unhook it with a dry tap
Leaving you perfectly well, I sing and sing, I blow and blow
Tarairira, tara, tariri, me, me ... ri, ri, ri, ri
The pasuk from the entrails of the earth, him too I call, me, me, me
The death that I now ward off, I am brushing it away with my sheaf, proudly
Me, me, me, me, me, me, me!
Like the pasuk [shamanic helpers] of the great trees, like the pasuk all striped, I am in the grip of natem [Ayahuasca]
Unmoving, I wear the pasuk like a necklace and death itself I beguile, carrying it far away, me, me, me, me
Tarairira, tara...
Tsumai, Tsumai...
Relentlessly drawing the pasuk from the skies, all bleeding
Wearing it constantly around me like a necklace
Death itself I sweep away with me sheaf, that's what I do with the death that inhabits you, that's what I do to the death to which I reveal myself, me, me, me
Superpowerful me, me ... tsumai ... tarairira...
With the pasuk from the entrails of the earth, with the multicoloured pasuk I make myself a necklace
Unmoving, I pass you the necklace and, repairing your lack of appetite, me, me, me, I leave you well recomposed, me, me, me ... tsumai ... tsumai ...
Pasuk from the entrails of the earth, it is you that I summon
Multicoloured one, it is you that I call
It is to you that I speak and I carry off with me all the creatures of natem
That is what I do, me, me,me,me,me,me,me!
The one that is almost unreachable, that is the one I nevertheless wear as a necklace
Unmoving, I am here on the very spot where Tsunki is preparing to do his work, there where he will unleash the floods
My Iwianch spirits, I make them turn blue in my very soul, I make them turn blue
I make them come out quivering 'puririri!', me, me, me!
Tsumai, Tsumai... 
The one called Tsunki, I make him come in that flood that roars 'shakaa!'
Relentlessly I go, unleashing my flood in his very heart, the flood of my own river, ceaselessly summoning the flood, making the waters roar, I go padding on 
I have the power of rivers in flood, ceaselessly I call for the waters to overflow
Formidable I am, like the waves rolling on the pebbles, without respite ensuring my victory, all fragrant, all perfumed, I make Tsunki roll, me, me, me
Tsumai, Tsumai... 
I become like a porcupine, wearing spines like a necklace, clothing myself in quills, I am covered with them
Your very death, I shall chain it up faraway, confident of my fearlessness
Me, me, me, me, me, me, me!
Having summoned the soul that is here, I seize it and hold on to it firmly
In the golden ink I have spread myself
Imbued with my valour, I am proud of myself
All adorned with the necklace, all arrayed by the porcupine, I sweep away death with my sheaf of leaves, intrepid and confident.  
Me, me, me, me, me, me, me!
The one called the porcupines of the heavens, that is the one I seize to make a crown of darts and definitely make death draw back from your head
By the shivers I am seized, tsumai, tsumai...
To my call Tsunki has responded
In this golden pot where your soul was enclosed, boldly I make death flee
Dressing myself in new cloths, dressed all brand new, brought by the natem, I adorn myself with them as with a necklace, me, me, me, me, me, me, me!
Tsumai, Tsumai... 
You are girded by the bow of Iwianch spirits
Twisting and turning without cease, I summon death and seize it
Me, me, me, me, me, me, me!
I summon the Iwianch spirits relentlessly and my voice makes them tremble
I make them come , brushing with my sheaf of leaves so that they leave you in peace...

At first sight this anent, as a translated text to be read in silence, may appear repetitive and unwelcoming to read. But once you get it into it you soon notice that it builds up incredible tension as the shaman, at the same time curing and telling about his cure, demands the spirits he commands to come out and help him, accumulating power(s), with each new sentence rephrasing and elaborating on a theme brought up in the sentence before it. But the shaman is not reading aloud from a imaginary book, he is performing a ritual at the edge of several colliding planes of reality, with death lingering at each intersection. He sings, pauses and whistles a melody again, emits strange sounds, deep sighs from his gut, ventriqualistic grunts as if a pack of animals hides inside his chest. It's a jam,  a DaDa performance without chicanery.

vrijdag 4 februari 2011

Periodic derangement of the senses [the twilight zone]

The anthropologist as a young man.


'Systematic derangement of the senses' is how Rimbaud's described his method to get himself psyched out into states of enlarged poetic awareness. "Long, intimidating, immense and rational derangement of all the senses. The sufferings are enormous, but one must be strong, be born a poet, and I have recognized myself as a poet". William Burroughs cited this as his aim when he wrote Naked Luch, only later with the cut-up can he be said to have fully achieved it. And in mechanized form as well.


The following quote is from Philippe Descola's study of the Achuar Jivaro 'The Spears of Twilight'. It maps wonderfully well onto Rimbaud's sensual derangement as a beneficial state. French anthropologists tend to be erudite intellectuals rather than data-obsessed fieldworkers and in this context the influence of a poète maudit on an ethnologist are actually well rehearsed. James Clifford's Ethnographic Surrealism goes a long way to explain how French anthropology is almost a fully surrealist study with Debord and Bataille hovering over it with all their intellectual dominance. The quote itself affirms the connection by linking the psychogeographic, synaesthetic effects of twilight with Baudelaire, but what aesthetics was Descola thinking of exactly?   
Submerged in its green monotones, nature here is not of the kind to inspire a painter. Only at twilight does it deploy its bad taste, in line with Baudelairean aesthetics, exceeding the artifice of the gaudiest of coloured images. The inhabitants of the forest become exceptionally agitated during this brief debauchery of colour. The animals of the daytime noisily prepare for sleep while the nocturnal species awaken for the hunt, their carnivorous appetites whetted. Smells are almost definable now, for the heat of the long late afternoon has given them a consistency that the sun can no longer dissipate. Dulled during the daytime by the uniformity of the of nature's stimulants, the sensual organs are suddenly assailed at dusk by a multiplicity of simultaneous perceptions that make it very difficult to discriminate between sight, sound, smell. Thanks to this brutal onslaught on the senses, the transition between day and night in the forest acquires a dimension of its own as if, for a brief moment just before the great void sleep takes over, the human body is no longer separate from its environment.
Further commenting on the monotonous jungle where time seems to be non-existent Descola manages to write about the virtues of the bugs and pains as a form of home-making:
Time seems to be standing still, with neither depth nor rhythm, waiting for something to happen. Biological routines are all that lend a small measure of animation to our uneventful existence. The changes that they bring sometimes introduce a note of originality. An asphyxiating spice, a pretty caterpillar that inflicts an acid burn, mosquitoes that prevent you from sleeping, jiggers that eat your legs and abdomen, infected insect bites that suppurate, lice that infests your head, athlete's foot that makes your feet stink, colic that wrenches your entrails - in short, all the minor infirmities customary to the tropics combine to draw attention to, as it were, the alien nature of our own bodies in which these successive aches and pains find a home.      

zondag 2 januari 2011

About the Watunna

John Updike reviews the Watunna song cycles, I have this on my shelves but never managed to read it (because of its, to me, unreadability) but will try again some time. The forward, which deals with the function and the language of the Watunna is awesome though and available online. Another positive review is here.


donderdag 16 december 2010

Forage superstition



Helena Valero was kidnapped by Yanomami at the age of twelve. She lived with them in the Venezuelan Amazon for 24 years before returning to an unwelcoming 'civilized' world: "I though that everything would be different among the white men". It wasn't. Italian anthropologist Ettore Biocca recorded Valero's story and turned it into a narrative autobiography that was first published in Italian in 1965. It is an extraordinary account from inside the shabono and it portrays Amazonian Indian communities with an intimate and alienating detail: can we really understand these people? Superstition seems to be the glue of daily life and the abundance of it does not portray the Yanomami in a friendly way to our Western priggish sensibilities that demand fact and reason. But of course superstition is just another aspect of forage psychogeography. When your means of subsistence, no matter the amount of skill, intelligence and knowledge that is involved, depends on luck (the presence of game) all societies develop intricate systems that try to urge chance to choose your side. Sports is a good example in our society: football players are not allowed to have sex the night for a big match and they all have lucky shirts they may never be washed etc. Reichel-Dolmatoff points out that the taboos are not in themselves important but that a large set of do and don't force you to pay close attention to everything you do, even when you are not doing something special, and this prepares you for the times that heightened awareness of your surrounding is of vital importance.

Yanoama is not just a classic of anthropology, it is also a classic of ethnopoetics; here is the defining mixture of an oral Amazonian language and its narrative conventions mixed with the language of an outsider who got as far as anybody can become an insider. Valero accuracy has been often praised, memory is the birthright of the illiterate. 
Rohariwe decided to prepare curare and began to speak aloud in the shapuno, just as the priest does in his sermon: "I shall prepare mamocori; anyone who has none may now learn how to make it; if anyone has some, let him go on the track to watch out against the enemy. Let everybody listen to me; no one must go and misbehave with a woman tonight. I shall then try mamocori on a monkey; if the monkey does not die, it will mean that you have been with women during the night; in that case, the next time I shall chase you all out and make my poison myself. 
The superstition here is clear, and there is more of it:
The next morning, all the men who had come to prepare the curare had painted themselves black with coal on the face, on the body, on the legs, because they said curare is useful for war. They didn't eat that day: they said that the woman who stayed to watch must not bathe, because the poison would no longer kill animals or men. Pregnant woman must not be present because, they said, the babies whom they carried in their stomachs make water on the poison and the poison becomes weak. They do not begin preparing the poison too soon, because at that time the deer is still walking about in the wood and urinating: the deer urinates a long way off, but for them he urinates on the poison and makes it weak. Towards six o'clock in the morning Rohariwe and the others went into the forest to gather other plants, especially the plant ashukamakei, which is used to make the poison more sticky; it is a plant with long leaves. 
Most of taboos mentioned for the making of curare sound nonsensical to us, though perhaps their might be some point to the dangers of deer piss, but at the end of this quote there is made an observation, the adding of a certain plant to change the properties of pure curare, that points to a chemical knowledge that can only have been acquired through experimentation (?). Ethnobotanists like Mark Plotkin, going beyond the superstition side-show, have written about the way curare is made and have reported a great sophistication in preparation and the use of several additives to control the strength and speed of the curare's effects. The knowledge is there but can we recognize it?

maandag 6 december 2010

Sobering view on Amazonian mythology



Alan Tormaid Campbell's 'Getting to Know Waiwai' (1995), about fieldwork with the numerically small Wayapi, is a wonderful account of an Amazonian tribe and the ordeal of living with them from a Western, no Scottish, point of view. It is refreshingly free of any attempt to generalize, sympathetic to the Indians as they are (and in no way in need of improvement), humanistic in its intellectual approach (many quotes from poetry), almost, sometimes,with anarcho-primitivist undertones. In the end the book runs out of steam with too much general stuff on the position of the Indian in Brazilian society where I would have preferred to read more actual ethnography. But there are lots of novel thoughts and observations here. When speaking on Amazonian narratives and mythology Tormaid Campbell answers a lot of questions:   
There was once an influential dogma in anthropology that stated that myths had their counterpart in rituals and rituals had their counterpart in myth. The images in this case would be taken as an example of that thesis. But putting it in that way makes it all far too systematic, as if in some way if we were all to dance the Jupará we’d be thinking about butterflies and propitiating the forces of nature in order that the sky didn't fall again. It’s just not like that. The connections aren’t systematic, in the sense of a logical rationale of connections presented as a kind of theology. They don’t form architectonic structures. The fragments are fragmentary, aleatory, gloriously random.
But that doesn't mean that they are fragile. The exuberance of the connections makes for an endless tangle of associations. Again, calling it a ‘network’ of associations would give it an inappropriate tinge of order. The details tumble around one another. The myth and ritual associations in this example is just one strand, one liana, in the convolvulus tangles.   
The narratives *are* confusing. They do seem like a jumble of bits and pieces. Fragments appear in one myth and crop up in another. One person would tell the myth in one way; another person in the same settlement would have a different story line. But, like imagism, or surrealism, or any of the isms that have been part of the century I live in, getting used to the idiom is the simplest remedy to our initial confusion. Just be open to it, relax into it, become familiar with the idiom and so many of the problems disappear. When you come to hear your fiftieth myth the frown of puzzlement has vanished from your brow.
The narratives may be fragmented and straggly, twisting around in forms unfamiliar to us, but the redeeming quality that allows us to connect up is the oldest trick in the narrative book: what happened next? Once we get used to the narrative lines, the bizarre becomes the expected; or rather, nothing is too bizarre. Anything can happen. Hearing the gasps of delight from the listeners confirms that the more bizarre the turn of plot the more it is enjoyed. These are their winter’s tales, which are not supposed to be credible, consistent or concise.
While getting to the stage where you can enjoy the bizarre narrative lines, you’ll have learned one important lesson on the way: that the initial bafflement is not due to the particular version you've confronted being corrupted or partial version of a more perfect, complete, rational, logically coherent narrative that lurks somewhere in a missionaries travelogue of two centuries ago. That’s the last hope of the baffled mythographer. There’s no easy salvation somewhere back there when Amerindians were more logical, rational, and architectonic in the way they constructed their storylines. You’ve got to accept the narratives as they are, in all their crazy, fragmented incoherence. It was ever thus.
There certainly are common themes that come up again and again all over Amazonia, although it is perhaps more appropriate to catalogue them as fragments rather than themes; fragments that are shuffled around into different patterns like a kaleidoscope. ‘Getting fire from the Jaguar’, for example, is a common story, but sometimes, even, fire is taken from another creature.
However extensive our catalogue, I think it is unlikely that we’d ever exhaust the possible variations constructed from those variations constructed from those fragments. The variations and transformations just go on and on. Those with a purist itch will keep looking for some kind of complete, definitive version, but that search is a blatant result of literacy, where the most complete text is the version that has the greatest authority. In the woods, there are no texts, just people’s memory.
The second difficulty is the most obvious one and is the one most often overlooked: not the inner difficulty but the outer difficulty of content. It’s simply that since the myths are a reckless cornucopia of images taken from those particular natural surroundings, how can we hope to slip into a shared familiarity with those who have lived their entire lives in the forest and whose intimacy with it is so complete? They can let their imaginations run along with the details. When the story mentions a particular bird of a specific liana they knows exactly what’s being referred to: how the bird behaves, how the liana hangs, what tree it hangs from, and what they used it for last time. We can’t share the immediacy of the plants and animals, the shapes and the sounds, the clues about what’s dangerous, what’s noisy, what’s stealthy, about what’s likely to happen in a specific situation; or rather, to approach such an immediacy requires an enormous effort on our part. Hence, besides being baffled by the bizarre story line, we are hindered by our patchy and superficial knowledge of the great woods.