Recebido e ofertado: a natureza dos hinos na religião do Santo Daime

Abstract

The purpose of this study is to investigate the music and its centrality in the Santo Daime rituals connected to the "Eclectic Center of the Fluent Universal Light Raimundo Sierra Irenaeus" (CEFLURIS), founded in the 1970s. The methodology is participant observation in "works of the hymnal," witnessed in the churches of the Sky Rio Mar Beach and Garden Beira-Mar and the whole ten in-depth interviews. In a chapter describing the field and another with the anthropological literature review of the Santo Daime, the thesis has three chapters of analysis. The first opens with a review of studies of ethnomusicology and then discusses the ritual of "hymn" and the relationship between time and music in the orientation of specific tasks during the ceremonies, which builds among other things, a new conception of "reality" due to the poetic-musical aspects allies psychotropic and ritual context as a whole. The following chapter discusses the native interpretation that describes the genesis of religious hymns as a "receipt" and its specificities, opposed to the idea of "musical composition". The statements of the group on the nature of thoughts, feelings and subjectivity, reflected in the notions of sacred and the hierarchical distinctions in the halls of the Daime churches, using the concept of "micro feelings of" the dialogue is built this time with the studies of anthropology of emotions. The third chapter of the analysis is focused on a discussion of the situations involving the supply of hymns in a complex circuit of gifts, when the Daime presents another member of the group through religious songs, connecting the world of spirits and men by the act the gift. This stage of work is also preceded by a review of anthropological literature, classical studies focused on the donation, especially the discussion of the exchange as a "grammar". All phases of the analysis are introduced by theoretical revisions, and the way work is organized, the topics covered in the initial chapters are continuously taken up during the discussions. The central argument of this dissertation is built on the following questions: What is the space occupied by music in the daily life of followers of the religion of Santo Daime and within the rituals? How do these songs are like bridges linking the sacred and profane spheres? As the songs guide the practice and the relationship between religious believers? How do Santo Daime hymns are able to elicit specific and express feelings? And finally: how music and feelings are articulated in the conformation of this type of religious experience?