Dapodo, Xavante image - DOI 10.5216/vis.v12i2.34484
DOI:
https://doi.org/10.5216/vis.v12i2.34484Abstract
This article addresses the political and cultural implications of the contemporary Xavante audiovisual production at Wederã and Etenhiritipá villages. Taking as point of departure the authors’s participation in the filmed record of an important rite of initiation, Danhono, occurred during 2011, the aim of the article is to reflect on: how the production of technical image is integrated into the ritual, the status that the technical image acquires locally amid this process of apprehension and appropriation of foreign technologies, and the function and the role of the video in the mediation between the Xavante culture and the outside world and with their own future culture reproduction (intergenerational dialogue).
Keywords: Xavante/Auwe Uptabi, image, memory
Downloads
Downloads
Published
How to Cite
Issue
Section
License
This work is licensed under a Creative Commons Attribution 4.0 International License .
Authors who publish in this journal agree to the following terms:
a. Authors retain the copyright and grant the journal the right of first publication, with the work simultaneously licensed under the Creative Commons Attribution 4.0 License which allows the sharing of work with acknowledgment of authorship and initial publication in this journal.
b. Authors are authorized to take additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (eg publish in institutional repository or as a book chapter), with acknowledgment of authorship and initial publication in this journal.
c. Authors are allowed to publish and distribute their work online (eg in institutional repositories or on their personal page) after the initial publication in this journal, as this can generate productive changes, as well as increase the impact and citation of the published work ( See The Effect of Free Access).
Every effort has been made to identify and credit the rights holders of the published images. If you have rights to any of these images and have not been correctly identified, please contact the Visuals magazine and we will publish the correction in one of the next issues.
