The time that I took from field research and the decision to produce this book and DVD attachment occurred between 1994 and
2010. The journey to Central Brazil was marked by strong feelings of emotion, a deep desire to do the job with the Karajá Indians and also do justice
to the honorable invitation of Dr. Antonio Alexandre Bispo, director of the Institut für Studien und hymnologische musikethnologische Ethnomusicology /
Maria Laach, to join a group of researchers and project staff dedicated to researching the music of the Indians of Brazil.
As a collaborative project dedicated to the Indians, I was an intern in the Department of Ethnography of the National Museum
of Rio de Janeiro. I had the task of continuing the work of Ethnomusicology Helza Cameu retired for over ten years. She had worked for many years organizing
the files of Indian musical instruments of the National Museum. When I received the invitation from Germany to conduct research in ethnomusicology in an
indigenous community, I comunicated the matter to the superiors of the Department of Ethnography. According to their understanding, an expedition of this
magnitude should be composed of official representatives of this Institution. So, some letters were exchanged between the sector of Ethnography and the chief
of the German program devoted to music research of the Indians of Brazil. Under the terms of the German Institute, as the initial invitation was made in my
name, I should be responsible for travel budget. I received the amount for the survey by the Bank of Brazil, and I made payments by nominative check for
all researchers, in an amount sufficient to support the cost of air transport and all needs during the fieldwork.
In August 1994, we came to São Felix do Araguaia, a small city near the largest Karajá village. The first contacts were
made in the village and the FUNAI. We spent a few days between quick visits to the village, and soon after the first dance of the evening ritual the
At the beginning of the second week, still in São Felix do Araguaia, I returned the contacts with the managers of the FUNAI,
and presented all documentation of the German Institute, relating my responsibility with the Indians researching. At the time I received not only permission,
but a sensitive support to do the work in the field. From that time I provided the necessary equipment and started my walk. When I felt, I was listening to
Indian driver in the boat pulling the steel cable that drives the engine. As we were leaving, I gave a slight look around. It was evening and there was no one at
the pier. A few minutes later, I could see ahead of us, a world of water, an endless sky and I felt a profound silence. At that moment I believed that the force
of fate led me to the Karajá village. I took a deep breath, and gave myself up to heaven.I have no doubt, that from that moment, all the angels followed
The years are passing, and by the way, I was also able to find professionals who see the importance and value of Indians research,
and encouraged me to pursue studies on the Karajá. In 2010 some circumstances point to the opportunity to gather all the material collected during
field research, and all the texts I had written over time, and therefore was able to achieve this goal in order to make it available for the Indians, but also
for experts in related studies.
I left many debts of gratitude: the Indians Karajá Karirama Waihore Ijesebere Karajá and teachers of the village of Hãwalò,
with the invaluable collaboration as well as all the Indians who helped and welcomed me, the Conductor Odemar Brigido, my brother and my teacher,
the Anthropologist Gleizer Berta Ribeiro, my supervisor of the master course, the Composer John Mendes, colleague and a great collaborator of the
work dedicated to the laments of the Indians, the Fhilosopher Fayga Ostrower, which with assertiveness, strengthened the thesis that this work should be
handed over to the Indians, the Fhilosopher Rosa Maria Dias, guiding my work in Pos - graduate course in Philosophy of Art; the Musician Cláudio Vargas,
my mentor in electronic music, the Engineer Mauro Brígido, DVD design developers, and Visual Art Viviane Jota and Maurício Pavão, the preliminary ideas for
the cover of my book, the Anthropologist Wang Chang for the invitation to participate of the project-PRODOCLIN - Indian Museum of Rio de Janeiro, Dr. Leo
Christiano Soares Alcina, about the informations for editorial finishing, the Magda Torres, dedicated friend, reviewing of all my texts, and the good
thoughts and many colleagues and friends.
I thank my family for the love, support and understanding, especially when I needed to use an exhaustive repetition of
recordings of songs Karajá.