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Magical Death

The film is a vivid portrayal of shamanic activity, as well as an exploration of the close connection between politics and shamanism in Yanomamo culture.

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  • "Language of the Seeds"

contributor

description

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  • "The film is a vivid portrayal of shamanic activity, as well as an exploration of the close connection between politics and shamanism in Yanomamo culture."@en
  • "The film is a vivid portrayal of shamanic activity, as well as an exploration of the close connection between politics and shamanism in Yanomamo culture."
  • "Relates the religious activities of a political leader and shaman from a village in Venezuela to the political and social organization in a Yanomano Indian group. Shows the use of hallucinogenic substances in religious ceremonies."@en
  • "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. In 1970, Dedeheiwa's village Mishimishi-mabowei-teri was visited by leaders of the village Bisaasi-teri. After twenty years of hostilities, the visitors wished to establish an alliance with Mishimishi-mabowei-teri, and they came to invite their former enemies to a feast. 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, a shamanic drama is enacted, led by Dedeheiwa. Dedeheiwa and other shamans prepare by taking hallucinogenic drugs which enable them to speak to and become the spirits. Dedeheiwa calls a "hot and meat-hungry" hekura to devour the children's souls with fire. Then the shamans become their victims, as they writhe like dying children in a pile of ashes. Becoming hekura spirits again, they devour the ashes representing the dead children. The first day's drama ends when Dedeheiwa himself falls unconscious, attacked by a magical hook sent from another enemy. The second day, the elaborate drama resumes, as Dedeheiwa becomes a young man from the enemy village who dodges the shamans' attacks but eventually is destroyed. Three weeks later, men from Dedeheiwa's village visited their new allies and participated with them in a raid on another village. The new alliance, strengthened by the shamans and their spirit manipulation, was reaffirmed, momentarily, by this act of war. The film is an exceptionally vivid portrayal of shamanic activity, as well as an exploration of the close connection between politics and shamanism in Yanomamo culture."
  • "In 1968 and again in 1971 filmmaker Timothy Asch and anthropologist Napoleon Chagnon collaborated on a project to film the Yanomamo Indians. Chagnon had conducted research among the Yanomamo beginning in 1964, and Asch had previously filmed in the field in Africa and Japan. The shaman plays a vital role in Yanomamo society, for it is he who calls, commands, and often is possessed by spirits, or hekura. In 1970, Dedeheiwa's village Mishimishi-mabowei-teri was visited by leaders of the village Bisaasi-teri. After twenty years of hostilities, the visitors wished to establish an alliance with Mishimishi-mabowei-teri, and they came to invite their former enemies to a feast. Afterwards, a shamanic drama is enacted, led by Dedeheiwa. The film is an exceptionally vivid portrayal of shamanic activity, as well as an exploration of the close connection between politics and shamanism in Yanomamo culture."@en
  • "Relates the religious activities of a political leader and shaman from a village in Venezuela to the political and social organization in a Yanomamo Indian group."@en
  • "Relates the religious activities of a political leader and shaman from a village in Venezuela to the political and social organization in a Yanomamo Indian group."
  • "Observation du rôle de Dedeheiwa, chef politique et chamane d'un village Yanomamo du Sud du Venezuela. Aperçu d'activités tenues sur une période de 2 jours pendant lesquelles le chef organisa les hommes en attaque magique conjointe contre les esprits des enfants d'un village voisin. Respiration à l'aide de long tubes, de prises d'hallucinogènes, par les chamanes."
  • "Relates the shamanic activity of a political leader and shaman from a village in Venezuela to the political and social organization in a Yanamano Indian group. Shows the use of hallucinogenic substances in ceremonies."
  • "This film is an exceptionally vivid portrayal of shamanic activity, as well as an exploration of the close connection between politics and shamanism in Yanomamo culture."
  • "This film is an exceptionally vivid portrayal of shamanic activity, as well as an exploration of the close connection between politics and shamanism in Yanomamo culture."@en
  • "The shaman plays a vital role in Yanomamo society, he calls, commands, and 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 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. In 1970, the village of Mishimishi-mabowei-teri was visited by leaders of the village of Bisaasi-teri. After twenty years of hostilities, these enemies wished to establish an alliance with Mishimishi-mabowei-teri. One of the visitors stayed behind when the others had left, and the village shaman 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 his enemy's children. For two days following this request, a shamanic drama was enacted, led by Dedeheiwa. Dedeheiwa and other shamans prepared themselves by taking hallucinogenic drugs which will enable them to speak to and become the spirits. Dedeheiwa calls a "hot and meat-hungry" hekura to devour the children's souls with fire. Then the shamans become their victims, as they writhe like dying children in a pile of ashes. Becoming hekura spirits again, they devour the ashes representing the dead children. The first day's drama ends when Dedeheiwa himself falls unconscious, attacked by a magical hook sent from another enemy. The second day, the elaborate drama resumes, as Dedeheiwa becomes a young man from the enemy village who dodges the shamans' attacks but eventually is destroyed."
  • "Relates the religious activities of a political leader and shaman from a village in Venezuela to the political and social organization in a Yanomano Indian group."@en
  • "Relates the religious activities of a political leader and shaman from a village in Venezuela to the political and social organization in a Yanomamo Indian group. Focuses on the role of an older Yanomamo Indian, Dedeheiwa, who is a prominent political leader and renowned shaman from a village in the Orinoco River area of southern Venezuela and northern Brazil. Documents the activities that take place in a two-day period during which Dedeheiwa organizes many of the co-villagers in a joint magical attack on the souls of children in a distant village. Shows the use of hallucinogenic snuff by shamans."@en
  • "Focuses on the role of an older Yanomamo Indian, Dedeheiwa, who is a prominent political leader and renowned shaman from a village in the Orinoco River area of southern Venezuela and northern Brazil. Documents the activities that take place in a two-day period during which Dedeheiwa organizes many of the co-villagers in a joint magical attack on the souls of children in a distant village. Shows the use of hallucinogenic snuff by shamans. Suited for courses relating religious activities to political and social organization."

director

genre

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  • "Short films"@en
  • "Short films"
  • "Ethnographic films"@en
  • "Streaming video"
  • "Nonfiction films"@en
  • "Encoded moving images"@en
  • "Video recordings for the hearing impaired"@en
  • "Educational films"@en
  • "Documentary films"
  • "Filmed interviews"
  • "Documentary films"@en
  • "non fiction"
  • "Independent films"

name

http://schema.org/name

  • "Magical Death"
  • "Magical Death"@en
  • "Magical death (Motion picture : 1973)"
  • "Magical death"
  • "Magical death"@en

producer

workExample