No description available.

No description available.

Humans have unique capacities to enhance and degrade landscapes. Many indigenous peoples embody conceptual systems that perceive, value and interact within landscapes differently than capitalist models of conservation and development. This thesis examines the spiritual ecology of the circum-Roraima landscape atop the Guiana Shield in South America. An extensive interdisciplinary literature review contextualizes primary data collected during 15 months of multi-sited ethnogeographic fieldwork among Pemon and Ka'pon members of the Carib linguistic family. Data in the form of narratives are interpreted within the theoretical framework of landscape that links subfields of historical, spiritual and political ecology. A detailed research program designed to collect qualitative emic data draws methods from ethnography, ethnoecology, historical ecology, grounded theory and decolonizing methodologies. An analysis of the adaptive capacities of situated spiritual ecological knowledge and practices is an important component of this research, since this dimension of landscape is often neglected in conservation and development studies. Ultimately, the project documents and analyzes endangered knowledge systems, reveals new historical details of the syncretic Areruya highland revitalization movement and articulates a shamanic land ethic.

Esta pesquisa propõe uma análise do processo de apropriação de ferramentas audiovisuais entre os Manoki, povo indígena de tronco isolado que vive ao noroeste de Mato Grosso, e suas correlações com os discursos nativos sobre a história. A partir de uma etnografia mediada pelo vídeo utilizado pelos indígenas de forma proeminentemente prospectiva em estratégias de registro e autorrepresentação , chega-se a diversos temas próprios da etnologia indígena, como relações intergeracionais, concepções sobre tempo, ritual e escatologia. Ao conjugar as abordagens antropológicas sobre audiovisual e povos ameríndios, a análise pretende levar em consideração a perspectiva nativa a propósito das transformações em seu mundo e o papel que o registro audiovisual pode ter para os Manoki. / This research proposes an analysis of the appropriation process of audio-visual tools among the Manoki, indigenous people who live in northwest of Mato Grosso, and their correlations with native discourses about history. Through an ethnography mediated by video used by indigenous people in a prominently prospectively way in strategies for registration and selfrepresentation we arrive at several ethnological themes such as intergenerational relationships, conceptions of time, ritual and eschatology. By combining anthropological approaches in audio-visual and Amerindian peoples, the analysis aims to take into account the native perspective on the subject of changes in their world and the role that audio-visual records may have to Manoki people.

The original face-to-face encounter of American Indians in portraits and pictorial field studies reiterates the encounter between the colonial state, settlers and Indigenous communities. Mechanical reproduction had extended visual technologies creating a revolution in communications which began with the early use of the woodcut (around 1461). A tradition of portraiture from the eighteenth century then re-imagined American Indian peoples for new social and political uses. This dissertation begins by introducing the frontier representations of artists Benjamin West, George Catlin, Paul Kane and William G. R. Hind. Attention then shifts to the collaborative relation between photographer and subject required by the photographic technology of the period. The pictorial contact moment was an interactive communication between photographer and subject. Hence the image-making contact moment is a dialogue, an interchange. Thus the image became a meeting ground where cultural processes were intersubjective and where the present interacted with the past. At the centre of these representations is a two-way looking within a dialogical imagination. As colonial powers expanded and increased control territorially, changes in the dialogic relations were marked in the subject’s presentation of self, the artists’ renditions and the photographer’s aesthetics. Earlier artists like Benjamin West in “The Death of General Wolfe” (1770) used the publishing industry to challenge monologic stereotypes. However, as colonial powers exerted greater repressions, lucrative popular culture industries like the Wild West Shows constituted an imagined frontier which called for several other perspectival approaches: Lakota Chief Red Cloud used the photographic medium for peace activism and community building, Harry Pollard’s photojournalism documented Indigenous communities in Alberta and Edward S. Curtis’s pictorialism became a genre of ethnography in the twenty volume, "The North American Indian". Using a historical framework and interdisciplinary methodologies, this dissertation examines early representations of the North American West in a dialogue as a frontier of difference iterated through technologies of illustration and photography.

The original face-to-face encounter of American Indians in portraits and pictorial field studies reiterates the encounter between the colonial state, settlers and Indigenous communities. Mechanical reproduction had extended visual technologies creating a revolution in communications which began with the early use of the woodcut (around 1461). A tradition of portraiture from the eighteenth century then re-imagined American Indian peoples for new social and political uses. This dissertation begins by introducing the frontier representations of artists Benjamin West, George Catlin, Paul Kane and William G. R. Hind. Attention then shifts to the collaborative relation between photographer and subject required by the photographic technology of the period. The pictorial contact moment was an interactive communication between photographer and subject. Hence the image-making contact moment is a dialogue, an interchange. Thus the image became a meeting ground where cultural processes were intersubjective and where the present interacted with the past. At the centre of these representations is a two-way looking within a dialogical imagination. As colonial powers expanded and increased control territorially, changes in the dialogic relations were marked in the subject’s presentation of self, the artists’ renditions and the photographer’s aesthetics. Earlier artists like Benjamin West in “The Death of General Wolfe” (1770) used the publishing industry to challenge monologic stereotypes. However, as colonial powers exerted greater repressions, lucrative popular culture industries like the Wild West Shows constituted an imagined frontier which called for several other perspectival approaches: Lakota Chief Red Cloud used the photographic medium for peace activism and community building, Harry Pollard’s photojournalism documented Indigenous communities in Alberta and Edward S. Curtis’s pictorialism became a genre of ethnography in the twenty volume, "The North American Indian". Using a historical framework and interdisciplinary methodologies, this dissertation examines early representations of the North American West in a dialogue as a frontier of difference iterated through technologies of illustration and photography.

This ethnographic account focuses on the conceptions and practices of movement, as narrated by the Makushi people who live along the triple frontier of southern Guyana. The journeys - individual experiences, in particular of women – depict visits to other Makushi communities, to their neighbours and cities in Guyana, Brazil and Venezuela. The travelogues disclose Makushi premises on knowledge and its acquisition: gender, age, temporality and alterity. Exploring these concepts in practice, the ethnography points out the value the Makushi attribute to their encounters with others, situations in which risk and unpredictability are creatively incorporated as part of their sociality.

Esta pesquisa propõe uma análise do processo de apropriação de ferramentas audiovisuais entre os Manoki, povo indígena de tronco isolado que vive ao noroeste de Mato Grosso, e suas correlações com os discursos nativos sobre a história. A partir de uma etnografia mediada pelo vídeo utilizado pelos indígenas de forma proeminentemente prospectiva em estratégias de registro e autorrepresentação , chega-se a diversos temas próprios da etnologia indígena, como relações intergeracionais, concepções sobre tempo, ritual e escatologia. Ao conjugar as abordagens antropológicas sobre audiovisual e povos ameríndios, a análise pretende levar em consideração a perspectiva nativa a propósito das transformações em seu mundo e o papel que o registro audiovisual pode ter para os Manoki. / This research proposes an analysis of the appropriation process of audio-visual tools among the Manoki, indigenous people who live in northwest of Mato Grosso, and their correlations with native discourses about history. Through an ethnography mediated by video used by indigenous people in a prominently prospectively way in strategies for registration and selfrepresentation we arrive at several ethnological themes such as intergenerational relationships, conceptions of time, ritual and eschatology. By combining anthropological approaches in audio-visual and Amerindian peoples, the analysis aims to take into account the native perspective on the subject of changes in their world and the role that audio-visual records may have to Manoki people.

Este trabalho pretende discutir como as relações com a alteridade operam politicamente entre os Guarani Mbya; de que maneira os seus movimentos, como a esquiva, conformam modos políticos de conduzir a incorporação do exterior, transformando posições e relações de poder. Tomado primeiramente a partir da dança do xondaro, personagem que remete a diferentes funções e a uma forma de relação, o movimento da esquiva irá além para ajudar a pensar as dinâmicas entre corpos, coletivos e mundos, contribuindo para suspender oposições exclusivas entre resistência e fuga. A esquiva (jeavy uka fazer errar) surge como um movimento nem exclusivamente positivo, nem negativo. Em termos políticos: não submete e tampouco deixa se submeter. A análise aborda também a prática da enganação conforme ela aparece em narrativas mitológicas guarani, cuja operação revela um mecanismo de crítica política na mitologia. Ao final, após revisitarmos oprocesso histórico da resistência guarani, chegamos ao contexto contemporâneoda luta indígena pelas demarcações, na qual desdobram-se atualizações de figuras-chaves da política ameríndia, como o xamã e o guerreiro. Assim, seja no passadoou no presente, busco demonstrar como a esquiva guarani é um movimentocapaz de produzir, de forma concomitante, possibilidades de resistência opostas einterdependentes. / This work intends to discuss how the relations with the alterity operate politically among the Guarani Mbya; in which manners their movements, such as the dodge, conform political ways to conduct the incorporation of the exterior, transforming power positions and relations. Taking into account, primarily, the dance of the xondaro, a figure that alludes to different functions and to a form of relation, the movement of the dodge goes beyond to help reflect about the dynamics of bodies, collectives and worlds, contributing to a suspension of exclusive oppositions between resistance and escape. The dodge (jeavy uka make mistake) appears as a movement, not exclusively positive, nor negative. In political terms: it does not submit nor submits oneself. The analysis addresses as well the practice of deceit, according to how it appears in the mythological guarani narratives, whose operation in the mythology reveals a mechanism of political critique. At the end, after revisiting the historical process of resistance of the guarani, one reaches to a contemporary context of indigenous struggle for land demarcation, in which are unfolded updates of key figures of the Amerindian politics, such as the xamã and the warrior. Thus, be it in the past or the present, the work here presented seeks to demonstrate how the guarani dodge is a movement capable of generate, in a concomitant manner, opposed and interdependent possibilities of resistance.

Este trabalho pretende discutir como as relações com a alteridade operam politicamente entre os Guarani Mbya; de que maneira os seus movimentos, como a esquiva, conformam modos políticos de conduzir a incorporação do exterior, transformando posições e relações de poder. Tomado primeiramente a partir da dança do xondaro, personagem que remete a diferentes funções e a uma forma de relação, o movimento da esquiva irá além para ajudar a pensar as dinâmicas entre corpos, coletivos e mundos, contribuindo para suspender oposições exclusivas entre resistência e fuga. A esquiva (jeavy uka fazer errar) surge como um movimento nem exclusivamente positivo, nem negativo. Em termos políticos: não submete e tampouco deixa se submeter. A análise aborda também a prática da enganação conforme ela aparece em narrativas mitológicas guarani, cuja operação revela um mecanismo de crítica política na mitologia. Ao final, após revisitarmos oprocesso histórico da resistência guarani, chegamos ao contexto contemporâneoda luta indígena pelas demarcações, na qual desdobram-se atualizações de figuras-chaves da política ameríndia, como o xamã e o guerreiro. Assim, seja no passadoou no presente, busco demonstrar como a esquiva guarani é um movimentocapaz de produzir, de forma concomitante, possibilidades de resistência opostas einterdependentes. / This work intends to discuss how the relations with the alterity operate politically among the Guarani Mbya; in which manners their movements, such as the dodge, conform political ways to conduct the incorporation of the exterior, transforming power positions and relations. Taking into account, primarily, the dance of the xondaro, a figure that alludes to different functions and to a form of relation, the movement of the dodge goes beyond to help reflect about the dynamics of bodies, collectives and worlds, contributing to a suspension of exclusive oppositions between resistance and escape. The dodge (jeavy uka make mistake) appears as a movement, not exclusively positive, nor negative. In political terms: it does not submit nor submits oneself. The analysis addresses as well the practice of deceit, according to how it appears in the mythological guarani narratives, whose operation in the mythology reveals a mechanism of political critique. At the end, after revisiting the historical process of resistance of the guarani, one reaches to a contemporary context of indigenous struggle for land demarcation, in which are unfolded updates of key figures of the Amerindian politics, such as the xamã and the warrior. Thus, be it in the past or the present, the work here presented seeks to demonstrate how the guarani dodge is a movement capable of generate, in a concomitant manner, opposed and interdependent possibilities of resistance.