Por que canta o Mahku – Movimento dos Artistas Huni Kuin?

Mattos, Amilton Pelegrino de; Kuin, Ibã Huni

doi:10.11606/issn.2525-3123.gis.2017.128974

Cited by 4 publications

(5 citation statements)

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“…As Amilton explains, the main purpose of this project was to deepen the understanding of the types of translations involved between different regimes of records and knowledge that the tradition of the Huni Kuin's huni meka set in motion (Mattos and Huni Kuin, 2015‐a). In 2011, Ibã, Bane, and Amilton organized a drawing workshop on huni meka songs in a Huni Kuin village in the Indigenous Land of Jordão River, in Acre.…”

Section: Mahku Nixi Pae and Anaconda Imagesmentioning

confidence: 99%

“…Figure 2 Professor Amilton Mattos was interested in research on the traditions of huni meka songs that Ibã had been deepening for two decades and Bane's new approach of transforming songs into predominantly figurative drawings. 20 Amilton decided to record Bane's drawings on video, along with Ibã's narratives about the drawings and songs related to them (Mattos and Huni Kuin, 2015). Later, this audiovisual record became a milestone of the artistic community created by Ibã, Bane, and other Huni Kuin.…”

Section: Mahku Ni XI Pae and Anaconda Imagesmentioning

confidence: 99%

“…In the movie, Ibã, as the main narrator, offers several explanations about the history of the nixi pae, of the boa constrictor-people; sings some huni meka; and gives details about their meanings and their relationships with cosmology and memory of the Huni Kuin. 23 Participating in this group exhibition in Paris led to the official creation, three months later, of the Huni Kuin Artists Movement, MAHKU (Mattos and Huni Kuin, 2015), a formal association of young Huni Kuin who dedicated themselves to learning huni meka drawings. Simultaneously, as reported by Amilton and Ibã (Mattos and Huni Kuin, 2015, 8), that is the time at which the categories of art and artist began to be triggered by these Huni Kuin, for the first time,who were deeply involved with the different forms of recording and translation involved in knowledge of the huni meka and nixi pae.…”

Section: Mahku Ni XI Pae and Anaconda Imagesmentioning

confidence: 99%

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The Expressive Forms of Amazonian Indigenous Peoples and Ayahuasca: the Huni Kuin and other Pano groups

Goulart

2023

Anthropol of Consciousness

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I approach a set of processes that involve transformations, transpositions, and intermediations between different expressive forms of Amazonian Indigenous Peoples associated with the use of ayahuasca. I focus on groups of the Pano linguistic stock, particularly the Huni Kuin (Kaxinawa) and the example of the MAHKU (Movimento dos Artistas Huni Kuin), a new artistic collective created by some of these Indigenous People. I point to the complex meanings of the various expressive forms of these peoples, from traditional (oral narratives, graphics, visionary images linked to shamanic practices) to more recently adopted (figurative drawing and graphic recording in book format). I emphasize the importance of ayahuasca for the elaboration of these different expressive forms. By highlighting the meanings that imply the use of ayahuasca in certain Indigenous contexts, I also intend to contribute to the expansion of understanding of and broader debate about psychedelic experiences.

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Section: Mahku Nixi Pae and Anaconda Imagesmentioning

confidence: 99%

Section: Mahku Ni XI Pae and Anaconda Imagesmentioning

confidence: 99%

Section: Mahku Ni XI Pae and Anaconda Imagesmentioning

confidence: 99%

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The Expressive Forms of Amazonian Indigenous Peoples and Ayahuasca: the Huni Kuin and other Pano groups

Goulart

2023

Anthropol of Consciousness

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“…Jokingly, Ibã often says he had to respond, 'Now that would be impossible! That was going too far into realms of incommensurability' (see also Mattos and Huni Kuin 2017).…”

Section: Ayahuasca Is Not a Psychedelicmentioning

confidence: 99%

Set, Setting, and Clinical Trials: Colonial Technologies and Psychedelics

Dumit

Sanabria²

2022

The Palgrave Handbook of the Anthropology of Technology

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This chapter critically engages with the model of evidence-based medicine (EBM) by analysing the tensions besieging randomised controlled trials (RCTs) as they encompass phenomena that challenge their capacity for universalisation, standardisation, and metrification. We bring together ethnographic work on technologies of healing and associated modes of knowing deployed in RCTs and psychedelic clinical trials, and ceremonial uses of the Amazonian herbal brew ayahuasca in urban Brazil. Building on a review of anthropological work on clinical trials, we argue that RCTs, even psychedelic ones, have been captured by the pharmaceutical industry in its quest to grow profits rather than reduce illness. Drawing on feminist and decolonial work, we question the use of technology as a category for thinking about health, recognising with la paperson (2017, p. 17) that as they mutate, they become 'technologies of alienation, separation, conversion of land into property and of people into targets of subjection'.We do not engage with anthropology of technology literature that distinguishes 'non-industrialised' indigenous practices from Euro-American ones as

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“…The visions are modulated by Huni meka , the Nixi Pae songs to control the “strength” of traditional medicine. There are songs to call for the “strength” ( pae txanima ), songs for visions ( dautibuya ), and songs to decrease the “strength” (Mattos & Huni Kuin, 2017). Furthermore, an anthropological study reports that there are two phases of the Nixi Pae experience: a first phase of viewing geometric drawings and listening simultaneously to sounds, and then a second phase of seeing figurative images also accompanied by sounds, leading to such experiences as conceiving of oneself as rain or an alligator (Keifenheim, 2004).…”

Section: Introductionmentioning

confidence: 99%

Overcoming epistemic injustices in the biomedical study of ayahuasca: Towards ethical and sustainable regulation

Schenberg¹,

Gerber

2022

Transcult Psychiatry

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After decades of biomedical research on ayahuasca's molecular compounds and their physiological effects, recent clinical trials show evidence of therapeutic potential for depression. However, indigenous peoples have been using ayahuasca therapeutically for a very long time, and thus we question the epistemic authority attributed to scientific studies, proposing that epistemic injustices were committed with practical, cultural, social, and legal consequences. We question epistemic authority based on the double-blind design, the molecularization discourse, and contextual issues about safety. We propose a new approach to foster epistemically fair research, outlining how to enforce indigenous rights, considering the Brazilian, Peruvian, and Colombian cases. Indigenous peoples have the right to maintain, control, protect, and develop their biocultural heritage, traditional knowledge, and cultural expressions, including traditional medicine practices. New regulations about ayahuasca must respect the free, prior, and informed consent of indigenous peoples according to the International Labor Organization Indigenous and Tribal Peoples Convention no. 169. The declaration of the ayahuasca complex as a national cultural heritage may prevent patenting from third parties, fostering the development of traditional medicine. When involving isolated compounds derived from traditional knowledge, benefit-sharing agreements are mandatory according to the United Nations’ Convention on Biological Diversity. Considering the extremely high demand to treat millions of depressed patients, the medicalization of ayahuasca without adequate regulation respectful of indigenous rights can be detrimental to indigenous peoples and their management of local environments, potentially harming the sustainability of the plants and of the Amazon itself, which is approaching its dieback tipping point.

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Por que canta o Mahku – Movimento dos Artistas Huni Kuin?

Cited by 4 publications

References 0 publications

The Expressive Forms of Amazonian Indigenous Peoples and Ayahuasca: the Huni Kuin and other Pano groups

The Expressive Forms of Amazonian Indigenous Peoples and Ayahuasca: the Huni Kuin and other Pano groups

Set, Setting, and Clinical Trials: Colonial Technologies and Psychedelics

Overcoming epistemic injustices in the biomedical study of ayahuasca: Towards ethical and sustainable regulation

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