Notes on indigenous music and culture: from a colonizing approach to contemporary hybrid sound

Abstract

This article seeks to present some issues around indigenous music from the different approaches of Helza Cameu (1977) and Mara Vanessa Dutra (2012).  In the book Introduction to the Study of Brazilian Indigenous Music, Cameu's goal is to explain the indigenous musical manifestations, proving the existence of indigenous music in unequal, albeit close, stages, in a task that requires a review of the documents available since the arrival of the colonizers. Mara Vanessa Dutra's research – entitled Art And Identity In Territorial Paths: The Trajectory Of Kanatyo Pataxó – is interested in understanding the role of Art and Music by Kanatyo Pataxó as a vehicle of his life story and as an element promulgating an intercultural dialogue today. If, on the one hand, we will approach a research that reveals the colonialist character from which knowledge about the musicality of the Amerindian populations was built; on the other, we will highlight the demand of interculturality that has been presenting itself as a demand of many indigenous peoples today, also in the musical sphere.