Magical Death
“Magical Death” is just one of anthropologist Napoleon Chagnon and ethnographic filmmaker Timothy Asch’s collaborative projects that document the lives and culture of an indigenous Lowland South American society in Venezuela. Their more than forty films resulted in making the Yanomami of this particular village are one of the most visually well-represented aboriginal peoples in 20th century anthropological studies. According to Tiffany and Adams (1996), the films made by Chagnon and Asch throughout the 1970s: “. . . made over a quarter of a century ago, provide vivid - frequently startling - scenarios of an aggressively masculine world of club fights, chest-pounding duels, treacherous feasts, sorcery, drug-ingesting, misogynist origin myths, and derogations of women as drudges and trouble-makers. These visual representations are reinforced by the ‘Fierce People’ designation in Chagnon’s [1968] widely-read ethnography” (pp. 169). Many of the films made by Chagnon and Asch focus on the day-to-day life of the Yanomami and have titles such as Weeding the Garden, A Man and His Wife Make a Hammock, and Firewood. Magical Death, made in 1973, portrays Yanomami shamans causing a tran
The material that promotes the film in an academic and independent film catalog, BuyIndies.com, describes the process of the ritual by saying: “The shaman plays a vital role in Yanomamo society, for it is he who calls, commands, and often is possessed by spirits, or hekura. "Like myriad glowing butterflies dancing in the sky," the hekura come down invisible trails from the mountain tops when they are summoned. A powerful shaman such as Dedeheiwa, who is known even in distant villages, manipulates not only the spirits of the mountains but also those that live within his own body. The body is a vehicle for the hekura: lured by beautiful body paint, they enter the feet and eventually settle in the chest” (Internet source). Chagnon and Asch follow the reasons for and the processes involved in the ceremony. The village where they are filming, Mishimishi-mabowei-teri, is the home of the film’s primary “character,” Dedeheiwa. The village is visited by leaders of another village called Bisaasi-teri. For two decades the villages have been at odds with each other and the visitors want Dedeheiwa and the other villagers to form an alliance, forget past hostilities, and join them in feasting to commemorate the event. The official “promotional” copy of the film prepared by Documentary Educational Resources of Watertown, Massachusetts, reads: “One of the visitors stayed behind when the others had left, and Dedeheiwa asked him: ‘Brother-in-law, do you have any enemies you want us to kill with our hekura?’ The visitor replied that indeed the Mahekdodo-teri had killed his older brother, and he asked Dedeheiwa to send hekura to destroy the souls of this enemy’s children. For two days following this request
Some topics in this essay:
Magical Death,
Chagnon Asch,
Dedeheiwa Dedeheiwa,
Tiffany Adams,
Patrick Tierney,
Watertown Massachusetts,
Asch Chagnon,
South American,
Intent Filmmakers,
Timothy Asch’s,
20th century,
tiffany adams,
chagnon asch,
‘fierce people’,
internet source,
magical death,
according tiffany adams,
films chagnon,
almquist noted,
according tiffany,
pp 179,
films chagnon asch,
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Approximate Word count = 1163
Approximate Pages = 5 (250 words per page double spaced)
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