Música propia : una etnografía sobre una forma del pensamiento misak en el resguardo indígena de Guambía, en el sudoeste de Colombia

• Ano de defesa: 2017
• Autor(a) principal: Martínez Peña, Oscar Giovanni
• Orientador(a): Lucas, Maria Elizabeth da Silva
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: spa
• Palavras-chave em Português: Antropologia social; Antropologia cultural; Antropologia da música; Etnomusicologia; Música indígena; Índios misak; Cosmopolítica; Colonialidade; Colômbia
• Palavras-chave em Inglês: Cosmopolitics; Coloniality of power; Cosmo-sonic; Indigenous music
• Link de acesso: http://hdl.handle.net/10183/159144

The purpose of this research is to understand the senses of the sound practice called “música propia” (own music) in the ontology of Misak amerindian collective, that inhabits the southwest of Colombia, through an ethnography. The central concerns were triggered during a dialogic relationship in a participant observation that was modulated by the visual and auditory perceptions. These are the main two points: what do the Misaks call “música propia”, and what do they mean with the frequent claim that “música propia” differs from the "chirimía". The latter consists of a type of musical ensemble that has been associated with festive and catholic practices which manifests itself in different variations, common near the Misak territory and in other regions of the country. The sonority of the “música propia” comes from the mixing of two flutes timbres and two or more drums, whose sounds refer to the presence of non-human alterities performed in public and ritualized events within what Misaks call the “Ciclo de Vida” (Life Cycle). Drawing from performance studies, and on the discussion of epistemologies of sound in ethnomusicology and anthropology of music (Seeger, Feld, Bastos), I propose that the idea of cosmo-sonic (Stein) is a possibility to understand the música propia. Sonoro-performatic categories, socio-cosmological conceptions and the ideal principles of being Misak are all articulated within the Misak’s cosmo-sonic. In this sense, the Misak cosmo-sonic is a sonic ontology that enters cosmopolitical scene when disputing with other worlds its existence. One of these worlds is in the process of patrimonialization of the type of ensemble of “chirimía caucana” that is underway and intendes to include in it the música propia. Here I interpret this attempt of patrimonialization as a state’s mechanism of simplification supported by global policies that tries to incorporate the música propia within a standardized logics. It is a hegemonic form of the ontology of modernity that is not detached from the coloniality of power, and which is revealed in the effects of the interactions of subjects. Faced with this process, some Misak musicians have reacted and, based on the field of cosmopolitics, these reactions are taken in here as an indicator of an ontological conflict.