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UID:f1c79180fda1c9379167765ee9c873e8
CATEGORIES:Séminaire du CREM, CREM
CREATED:20170706T120739
SUMMARY:How to Charge a Voice with Power, Bernd Brabec de Mori
LOCATION:Lesc – salle 308F (3e étage) - 21\, allée de l’Université\, Nanterre\, \, 9
 2000\, France
DESCRIPTION:<h4>Avec Bernd Brabec de Mori (<a href="http://www.uni-graz.at/en/muwi99ww/
 content.muwi99ww-forschung" target="_blank">Zentrum für Systematische Musik
 wissenschaft</a>, Université de Graz).</h4><p><img style="margin-right: 10p
 x; margin-bottom: 10px; float: left;" alt="CREM yobe images vstoichita thum
 b medium250 0" src="images/scalapi/seminairecrem/CREM_yobe_images_vstoichit
 a_thumb_medium250_0.gif" height="194" width="120" /></p>The performance of 
 magical songs for healing or sorcery is a common practice among the Shipibo
 -Konibo, an indigenous group dwelling on the shores of the Ucayali River in
  the Peruvian lowlands. Such songs are different from other genres of vocal
  music in the same community in a variety of ways (e.g. they may be perform
 ed in closed rituals, under the influence of hallucinogenic drugs; they are
  usually much longer than other genres, and can only be performed by traine
 d specialists), especially in the quality of the voice. Performers of magic
 al singing are thought to wield a powerful voice (<em>boman</em>) which is 
 obtained through arduous training called ‘dieting’ (<em>samá</em>) and is r
 esponsible for the songs’ effects and efficiency. Even during daily life, t
 hese specialists (<em>yobé</em> or <em>meráya</em>) have to be careful e.g.
  not to get angry lest they would unleash their voice’s power in uncontroll
 ed ways. In rituals for curing or sorcery they apply techniques for additio
 nally charging their voice with power. They undergo transformation into non
 -human entities or use their contacts to such entities in order to sing mor
 e efficiently during ritual. In this lecture, I will present background inf
 ormation, recorded examples and approaches how to theorize and explain this
  phenomenon.
X-ALT-DESC;FMTTYPE=text/html:<h4>Avec Bernd Brabec de Mori (<a href="http://www.uni-graz.at/en/muwi99ww/
 content.muwi99ww-forschung" target="_blank">Zentrum für Systematische Musik
 wissenschaft</a>, Université de Graz).</h4><p><img style="margin-right: 10p
 x; margin-bottom: 10px; float: left;" alt="CREM yobe images vstoichita thum
 b medium250 0" src="https://lesc-cnrs.fr/images/scalapi/seminairecrem/CREM_
 yobe_images_vstoichita_thumb_medium250_0.gif" height="194" width="120" /></
 p>The performance of magical songs for healing or sorcery is a common pract
 ice among the Shipibo-Konibo, an indigenous group dwelling on the shores of
  the Ucayali River in the Peruvian lowlands. Such songs are different from 
 other genres of vocal music in the same community in a variety of ways (e.g
 . they may be performed in closed rituals, under the influence of hallucino
 genic drugs; they are usually much longer than other genres, and can only b
 e performed by trained specialists), especially in the quality of the voice
 . Performers of magical singing are thought to wield a powerful voice (<em>
 boman</em>) which is obtained through arduous training called ‘dieting’ (<e
 m>samá</em>) and is responsible for the songs’ effects and efficiency. Even
  during daily life, these specialists (<em>yobé</em> or <em>meráya</em>) ha
 ve to be careful e.g. not to get angry lest they would unleash their voice’
 s power in uncontrolled ways. In rituals for curing or sorcery they apply t
 echniques for additionally charging their voice with power. They undergo tr
 ansformation into non-human entities or use their contacts to such entities
  in order to sing more efficiently during ritual. In this lecture, I will p
 resent background information, recorded examples and approaches how to theo
 rize and explain this phenomenon.
DTSTAMP:20260428T221354
DTSTART;TZID=Europe/Paris:20130114T140000
DTEND;TZID=Europe/Paris:20130114T160000
SEQUENCE:0
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