A selection of tracks from various LPs and Comps I found in Perù, from Andes Sampoñas & Quenas sounds to Amazonic Nostalgic guitars… I dusted a good stack to share with you some of my countries treasures during the 60’s and 70’s… hope you enjoy this one too…
This selection is dedicated to maestro Arturo “Zambo” Cabero
mix recorded by June 22 from XisTheWeapon.com
Chalena Rosa Elena Rodriguez Vasquez is one of the most renowned musicologists in Peru. His text “Musical Practice of the Black Population in Peru” was published in 1982 and won the prestigious House of Musicology of the Americas Cuban organization reports, investigates, promotes, recognizes and publishes the work of scholars of literature and arts.
Chalena interest lies in the study of Afro-Peruvian holiday traditions found in El Carmen and other nearby areas in the provinces of Cañete and Chincha, areas where the black population has a significant percentage in our country. These traditions are studied from field surveys and documented with historical and sociological analysis that supports the first part of the book. In its first pages the author also reflects on the impact it has had on these artistic process of cultural commodification and corporate image.
The introduction of the book shows the clear line that she draws between the spontaneous and commercial:
“… We encounter many difficulties to see that we had left a false hypothesis. The intense activity of many folk music groups of so-called black, Negro or Afro, Black … as Peru had made us think that this music scenario was also presented in a spontaneous and intense practice at the grassroots level … From the first interviews we could see that at spontaneous, this practice rarely performed musical. Understanding spontaneity as an activity outside the framework of official parastatal or commercial. But the musical practice we found it was mostly within that framework: the commercial.
Then … we headed south, Cañete and Chincha, where the percentage of black population is higher … toured villages and farms, whose residents highlighted that “it hardly makes the music”, “that was old days” or “no money for holidays.” However, we note that extinction is not total, but the musical practice is so sporadic that it is necessary to stay and the place of many months at least … While in this search, we found in El Carmen, Chincha near town and in other towns in the same area … a demonstration that has great effect that is made for Christmas time: the Dance of Negritos (pack of Negritos) “(p. 9-10)
The first part of the book shows a brief history of African slavery with demographic data, we highlight that Peru is not ethnically African populations became established (different cultures) and therefore have brought musical expertise of various kinds. It shows how the Spanish banned the musical practices of African and regrettable that means having only purely literary data without a reference to the “sound phenomenon” of this music, it then would enter a stage of near disappearance.
The text that we detailed the nineteenth century, dance and music were often a tool to achieve social advancement and recognition, because sometimes people of African descent came to be masters of dance of the ruling class. However, the musical practice was separate parties: the ruling class dance in the “grand salon”, the waltz, mazurka, Jack, minuet, etc.., While dancing classes in villages and alleyways, musical forms such as zamacueca, INGA, the panalivios, the gannet, etc. (p. 24) concludes this section stating that black musical forms in Peru, are the product resulting from a social practice in which a battle being waged between social classes. Notes also emerges years later the so-called criollismo, new cultural product that would not be entirely black groups, but the lower classes of the Peruvian coast.
Chalena also discusses the current state of music, since 1956, when it appears the Company PANCHO FIERRO (first organized group to present a show of black music) and in which there was no difference between the “afro” and “native”, since in the social practice of the twentieth century there is no difference between black and Creole, and mentioned that the music called “Negro” was not only of blacks but of the lower classes of society. The author then shows how to use the term born “Afro” in the 1960s.
Chalena After we made notes as the professionalization of black folklore, where it notes that participants in the groups of “black art” learning to dance in them, in the trials, which shows little or no musical practice with spontaneously. “The same applies to people coming from south of Lima (Cañete, Chincha). Many of the groups that make up Lima, are people in those places … We emphasize this because we consider important to note the lack of spontaneous social practice of music-of the people, even those with high percentage of black population. ” (P. 43)
The author describes a general way of structuring music shows “black”:
– First is the need for the product is “folk”, present to some extent “the most authentic black folk” of those events that oral tradition and continuity did not reach total extinction as is the case of native stomping practiced in various communities of Chincha and Cañete, as well as others that were not intense practice at the grassroots level: alcatraz, Inga, bull kills, etc.
– On the other hand is the reconstruction of some dances that apparently were already obsolete and Land or Zamacueca. Another dance that was in disuse is the celebration, which originated in the part of the choreography is known today is credited to Don Porfirio Vasquez.
– A third aspect to consider would be innovation, aesthetic value is achieved by market needs. Chalena emphasizes “the performance of a pseudo rituals in which one notes the influence of the ballets of Senegal, Guinea and Cuba, that although he recognizes an undeniable aesthetic value, are quite questionable, because at present as folk are completely distorting reality and spreading a false image of the black in Peru “(p. 46)
– Finally, there is a type of recreation, innovating the instrumentalization or incorporating instruments fell into disuse. Such is the case of the reco-reco, according to Carlos Hayre instrument was brought to Brazil by Nicomedes Santa Cruz.
The second part of the book is devoted to a thorough musicological study of dance in their little black pack of butt shapes, such as spontaneous practice of that population.
Within the population cañetana interviewed for this book, we mention Angel Donayre (son), Guillermo Donayre, Carlos Donayre, RA Manzo, Francisco Timor, David Fernandez, Toribio Sánchez, Flora Ruiz, Adel Chumpitaz, Pancho Benavente, Benavente Augusta, Alberto Ruiz, Gregory Cubas, Jose Fernandez, Isabel Bravo, José Centeno and Cesareo Zegarra.
Eduardo Campos Yataco
lalitocy
This record has only 2 long tracks, divided in 4 songs each, a long jam on both sides. Soulful, latin and african rhythms.
here is side A
here is side B
Liner Notes of LP
“Tribo Massáhi, starring Embaixador
This is a sound made in Brazil. With all the members (being) brazilian.
But the purpose is to show the young African music, with all its nuances that characterize the roots of the music from the Black Continent.
In this record we release many curious things. Starting with the rhythmic design, that was based on the camel’s steps, that is in the 4/4 rhythmic division, in the same vein as the Yeah, Yeah, Yeah and Soul Music, to which was given the name
OGA, because in Lagos, Nigeria’s capital, OGA is a kind compliment among friends. There, a man feels good when is compared to an OGA (camel).
Purposefully and proudly, Rivers label releases this new and different record, made for export, that’s not only dedicated to the discophiles, as well as the lovers of parties, night clubs, and even to those who are in love, because on both sides, there are no intervals. It’s a crazy and infectious rhythm.”
It’s hard to describe the music played by Embaixador and Tribo Massáhi. It has a Funky groove with lots of percussion, and vocals by Embaixador and a female chorus. Sometimes it sounds like African music, but not necessarily Afrobeat or Afrofunk; it’s more like a Candomble (African-Brazilian religion) chant. Also, it has some influences of psychedelic music, that is characteristic of the music made in the early 70’s. To me it sounds like they took some drugs and went to the studio make music and have some fun.
Each side has only one long track, that is divided in songs, although there are no intervals between them.
These are the tracklist and credits:
Side 1 – Timolô, Timodê
1 – Walk by jungle
2 – Fareua
3 – Harmatan
4 – Dandara
Side 2 – Lido’s Square
1 – Pae João
2 – Menina da janela
3 – OAN
4 – Madrugada sem lugar
Tribo’s members are:
Aymmi, Koffi, Korede, Kolawole, Duro Timi, Omopupa, Iyalode, and Abeke.
Guest musicians:
Lápis (cow bells), Romildo (Bass), Rui Barbosa (Acoustic guitar), and Nathalie (vocals).
2006, Listen Recovery (Renz & Rich Spirit Revelli visit SAO PAULO, BR) our main object, records shopping and if money allow it, some cultural instruments. Our mission was to have fun and to experience the Sao Paulo living. We stayed at Dj Nuts’ apt. In Saude Sao Paulo, near Paulista Ave. (walking distance). As the days passed by Rich and I searched for the MPB as well as rarities. Our guide couldn’t be more knowledgeable about Brazilian Music and its History… So it was overwhelming the information giving to us in such short time… the connections from the early days of Bossa Nova to the psych Lps to Samba Rock… Disco 7 has been one of the main places where Nuts takes any visitor willing to pay well for records. Brazilian records aren’t cheap!… and the exchange currency is not the greatest… 2006 (2 reis per dollar) not much of a difference… but the food was cheap and amazing, so that helped out budget… During the visit, the best way to obtain address and spots for records shopping was to ask for a business card or phone number. So if you are going to Sao Paulo BRAZIL and your going for record shopping… This info might help you… still current to this date. SERTO!… Also I should mention, we where there for the purpose of BRAZILINTIME, B+’s 2nd film. Also, one of the scan tickets belongs to “Love Story”… a night club that caters the night-women in SP. We checked out since it was a funny buzz about it… anyhow… here are some scans from what I was able to fund during a shop clean-up. RECOVERY CRU!
Antiguedades: ALBUNS DE FIGURINHAS
DISCO 7 (ask for Carlinho) he’s the man!
outside of DISCO 7, dj Nuts
End-of-the-night point for prostitutes, rent boys and associated partygoers (but not strictly confined to this demographic), Love Story has developed quite an international reputation thanks to the celebrities who’ve staggered in and out of its doors. Nick Cave regularly frequented it while living in Sao Paulo and British tech-house producers Layo & Bushwacka! named a track after a visit. Deafeningly loud electronic house music keeps the audience buzzed and hot, and more inspired patrons climb onto raised podiums to shake loose body parts around strip poles. With two floors and numerous bars at which drinks will set you back R$15 each. At some point you’ll likely have to broach the precarious subject of asking whether the person you’re chatting up is, ahem, working or not. Weekends can get busy, so you’ll have to face every partygoer’s usual quandry: How to arrive fashionably late—the party peaks between 4 a.m. and 5 a.m.—without risking an interminable wait in line. by Total SP Guide (link)
TONY HITS, Gallerias SP
http://www.myspace.com/chapillacs
http://www.facebook.com/los.chapillacs
La banda de chicha psicodelica “Los Fabulosos Chapillacs” nace en el tradicional Barrio del Solar, en el cercado de la magica ciudad blanca de Arequipa por el año 2006. Lo conforman JeanPaul Quezada, Yawar Mestas, Renato Rodríguez, Maicol Medina , y los hermanos Gabriel, Marco y Jorge Infantas, quienes acuñaron el nombre del grupo amalgamando la rimbombancia del titulo de un lujoso modelo de autos y aludiendo a su vez la veneracion del pueblo characato por la virgen del chapi. En febrero del 2007, junto a Marcial ayala en la voz, graban su primera maqueta titulada ¡ Ahora si ¡ , la misma que movilizó a artistas como Christian Bendayan, entre otros, a ubicarlos en tocadas como la del 6 de junio en el ICPNA de esa ciudad, así como en el año 2008, en el Centro Cultural España de Lima, donde la convocatoria fue tal que mucha parte del publico quedó fuera del anfiteatro deseando ingresar. Entre los años 2007 y 2008, fueron mucho mas tocadas y ensayos, salidas en radio y television, muchos los temas compuestos, tal como el hit “Cumbia delincuecial” o “salsatanas”, temas plenos de energia y con ese sonido brutal de la chicha en su maxima expresión. La disquera norteamericana “Masstropica” lanzo un vinilo 45 con los temas “Cumbia delicuencial – Recordando a Marión”. 2009. Se prepara el lanzamiento del disco “Odisea cumbia 3000” que, se espera, sea todo un éxito dentro de la musica peruana así como un logro personal celebrado a lo grande. Con ustedes los Fabulosos Chapillacs. Te llevamos a la Cárcel o al Hospital!
http://www.discogs.com/Los-Chapillacs-Cumbia-Delincuencial/release/1930456
http://www.miguel23.com/blog/viva-los-chapillacs-psychedelic-delinquent-cumbia/
http://www.flickr.com/photos/suciedad/
1. El Cable Submarino (Tulio Enrique Leon)
2. Te La Tengo que dar (Tulio Enrique Leon)
http://geoffhawryluk.com/cassette-blog/2008/tulio-enrique-leon/
Link to ^ GeofHawryluk Cassette blog
Words by Juan Morillo (Peru Negro Management / US)
Eight years ago the three-decade young Perú Negro broke into US cultural territory. Each visiting year the tours extended in time and space and the ensemble’s visibility in the American Performing Arts scene settled into a fixture. After visiting hundreds of universities and schools across the North American continent, audiences are still surprised to find out that the African diaspora extends to Perú. We know this new musical effort will contribute to enhancing that knowledge. When the group prepared for this upcoming album and tour, the creative juices splashed in different directions. Nevertheless, Perú Negro continues to represent the stalwart of Afro Peruvian music and dance and despite the injection of youth and modernity, it’s maximum ambition revolves around the preservation of a musical legacy, a heritage that receives mediocre support at home. I could write extensive notes on the history and the stories of the group, however I am choosing to concentrate on the music that you now find yourself listening to in your car, in the living room, or thanks to technology, at almost any unimaginable place. The stories and the history navigate all over that wonderful globalizing tool known as the internet. Also, we can finally celebrate the publishing of the first academic work on the subject, “Black Rhythms of Peru,” so professionally researched and written by our friend Heidi Feldman. The recording of the album spanned over a period of a year and a few months, partially due to geopolitical circumstances. What you have in your hands now is a musical product like no other that comes out of Peru where the recording industry succumbed to piracy and artists must struggle to phonographically archive their creations appropriately.
Lead by the Cajón, Afro Peruvian music embarked on the path of universal recognition and Perú Negro’s contribution to such effort must not go unrecognized. The cajón, theheartbeat of this music, a simple wooden box originally conceived as a musical instrument on the coast of Perú is now played around the world in a plethora of musical circles, opening borders to cultural integration.
What is left now is for you to make yourself comfortable to enjoy the music on this album, forget about time signatures, academic discourse, or vernacular translations, liberate yourself and enjoy the music, let it boost the palpitation of your heart and uninhibitedly dance it away. Perú Negro expects nothing else from you than to celebrate the music with them.
The Music of Zamba Malató
The repertoire on this album portrays a combination of classics of the Perú Negro performance songbook and a couple of new pieces. Of course most of the songs are best enjoyed watching the group perform and dance them on stage. The opening number Una Negra y un Negro is a festejo, the more festive of Afro Peruvian genres. The song relates a story of newlyweds who after a few mishaps finally consummate their love. So for those curious about the details, the chorus responds “eso no se dice . . .” (that cannot be told). This piece concentrates pure group effort without lead voices. The vocals you hear come from all the members of the company singing in unison . . . The title track, Zamba Malató is a landó, the more sensually captivating of Peruvian genres. Here is where I must warn you that literal translations can morph the original meaning of the song. Blacks in Perú were not socialized in similar experiences as their North American counterparts and the term zamba employed to refer to women of mixed African ancestry does not carry the negative connotations used in the United States. This song is better appreciated with the dance that recreates the relationships developed by women who performed laundry chores together . . . Cañete represents a tribute to the town known as the “cradle of champions” for its fruitful production of Black luminaries including the founder of Peru Negro, Ronaldo Campos de la Colina. . . Que Tiene Miguel is a zamacueca, a sibling of the landó however more upbeat. This song narrates the abuses to which slaves were exposed while working in the farms and haciendas of the Peruvian South. Chronicles tell the story that the liberator Simon Bolivar was an avid dancer of the zamacueca . . . Festejo de Ritmo showcases the percussive chops of the group’s rhythm section. This piece is also a ritual dance that energizes the execution of both musicians and dancers. At the enigmatic Dance Africa in Brooklyn the group performed this piece with the BAM/Restoration DanceAfrica Ensemble, a group of young female dancers from the Stuyvesant neighborhood and together literally brought the house down . . .
I first heard Golpe e’ Tierra on an old recording by Susana Baca and immediately fell in love with it. The musical and historical value of this song relies on its capture of the legacy of Afro descendants in the northern coast of Peru, a subject otherwise poorly studied. Here, as you can also hear on other tracks, we introduced the West African djembe now featured as an integral part of the ensemble. Perú Negro was criticized in the 70s for the use of Cuban congas, we expect that thirty years later another effort to reconnect with the diaspora will not be frowned upon. After the late Celia Cruz recorded Toro Mata, the song turned into the most recognizable from the Afro Peruvian musical landscape. The Toro Mata is a landó and in its dance form becomes a mockery of the minuet and other stiff European dances observed by the slaves in thehomes of their masters. The lyrics also offer double-entendre since the toro or bull embodies a significant symbol of Spanish culture . . . The Afro on this album comes from a compilation of ritual dances performed by the group and as projected by its name,
it pays tribute to African ancestry. On this Afro, the group plays the first part usingwooden instruments exclusively and switch on the second section to skin drums . . . I first came into contact with the artistry of Allan Phillips when recording the trailblazing album of Alex Acuña, Acuarela de Tambores. I lost touch with him for a few years untilone of our last tours took us to UC San Diego and there he was, attacking the piano, at a reception for us at the Faculty Center. The group joined him on stage for an evening of musical magic. That night he told me he had a song for us to record. What you hear now is Allan’s gift to the group, Bailarás, The arrangement asked for the group to be a bit more adventurous and we crossed the line of tradition nevertheless staying true to the roots. The result is this dynamic song that also brought another friend, singer Ricardo Lemvo to lay down Kikongo chants, the dialect spoken by a significant number of the slaves who were eventually taken to Perú. . . Pancha Remolino is an Afro Peruvian classic, also a party favorite. This festejo tells the story of a jarana, Peruvian slang for an informal festivity where musical challenges take place among the participants, part of the lyrics tell: “I moved my hips without asking my bones for permission.” . . . Su Majestad el Cajón were lyrics that traveled in Rony’s mind for a while to honor the companion that provides him a living . . . The last track on this album appeared somewhat accidentally. This is a piece we attempted to record and never got around to do it. Strangely enough during a break on this recording we left the lines open and did notrealize this impromptu performance ocurred until we opened up the files to begin mixing. Cajones is one of the signature pieces of Perú Negro that places the mystique of the cajón center-stage. We promise to record it again, this time intentionally and with all the guys in the studio.
Juan Morillo
Los Angeles, CA
PERU Trip: Afro Latinos Tv documentary w/ PERU NEGRO
This story starts in the early 1700s when Peru’s slaves were banned from using drums. Their rhythmical songs were adapted to the cajón, a wooden box of agricultural origins and a mainstay in black Peru. A hybridization of African, Indian, Latin, and European music evolved over the next 200 years, but in the late 1950s the African elements of Peruvian music were reborn. On January 20, 2004, Perú Negro, the only Afro-Peruvian performance troupe to last 35 years, releases Jolgorio, their second CD in recent years, and launched a North American tour that hit a dozen cities.
For those familiar with the music of Perù Negro, many tracks on Jolgorio, which translates as “a state of celebratory frenzy,” will sound familiar. Songs like “Jolgorio” and “Taita Guaranguito” appear on their new CD to show the artistic evolution achieved by the group while maintaining strong ties to their roots.
Two groups set the standards of contemporary Black music in Peru. One was the seminal group Cumanana, founded by Nicomedes Santa Cruz and which disbanded in the ’70s, and the other is Perú Negro. In 1969, Ronaldo Campos was playing cajón in a Lima tourist restaurant. With encouragement from the restaurant proprietor, Campos adapted his repertoire to emphasize black music, and Perú Negro was born. Soon after, Perú Negro won the grand prize at the Hispanoamerican Festival of Song and Dance in Buenos Aires, Argentina and overnight became a national treasure in Peru.
Partial credit for the performance evolution of Black Peruvian music goes to a Cuban drummer named Jesus “El Niño” Nicasio, who performed in Peru in the early ’50s. El Niño and Campos played together in Cumanana, where they incorporated Cuban conga and bongo into black Peruvian music. El Niño invented the first drum patterns used for this genre.
El Niño’s son “Macario” later perfected these patterns as a member of Perú Negro and today el Niño’s grandson “Macarito” continues the tradition as a member of the group. Perú Negro’s adaptations took on their own form and are now accepted as a wholly Peruvian phenomenon.
Perú Negro’s ascent came at a time when a new revolutionary military government sought to gain popular support through the promotion of indigenous Peruvian folklore, writes Heidi Feldman in her forthcoming book, “Black Rhythms of Peru: Staging Cultural Memory Through Music and Dance” (Wesleyan University Press, 2005). “The collapse of the military revolution and its cultural policy in 1980,” continues Feldman, “compounded by evening blackouts and bombings during the Maoist guerrilla army Sendero Luminoso’s crusade of terror—put an end to much of Perú Negro’s local theatrical work in the 1980s. The company stopped performing in theaters and returned to its origins, entertaining tourists in restaurants and peñas (nightclubs).”
When Ronaldo Campos died in 2001, his son Rony took over Perú Negro’s direction. Under the younger Campos, the group is experiencing a revival. The latest repertoire features such innovations as the presence of a flute, now becoming integral to black Peruvian music, and Cuban drums made Peruvian, such as the wooden batajón which is a cross between a cajón and a batá (double-headed Afro-Cuban drum). The group reinterprets standards and composes new songs. They also feature some dances they had stopped presenting due to the economic crisis of the ’80s & ’90s; like “Son de Los Diablos,” which requires intricate and costly costumes.
While the paradox created tragedy, the hybrid of influences of Perú Negro has created music rich with profound rhythm, passion, and history.
Marco Campos (PERU NEGRO) / Renz (LISTEN RECOVERY) Los Angeles CA
Marco Campos, Surco, LIMA PERU
Songs:
1. Dejame gozar la vida
2. Maria de los Reyes
3. La Muerte de Eduardo Lora
4. Candelaria vida mia
ANDRES LANDERO Selection by Listen Recovery (4 track mp3 download) < link here
Bardo Martinez Thesis of CUMBIA & ANDRES LANDERO bio. 2008 (Link) ^
Click on photo to (enlarge)
Uncontacted Indians of the Envira who are in the Terra Indigena Kampa e Isolados do Envira, Acre state, Brazil. These Indians live in six different places, each community has six communal houses.
Brazil’s government agreed to release stunning photos of Amazon Indians firing arrows at an airplane so that the world can better understand the threats facing one of the few tribes still living in near-total isolation from civilization, officials said Friday.
Anthropologists have known about the group for some 20 years but released the images now to call attention to fast-encroaching development near the Indians’ home in the dense jungles near Peru.
“We put the photos out because if things continue the way they are going, these people are going to disappear,” said Jose Carlos Meirelles, who coordinates government efforts to protect four “uncontacted” tribes for Brazil’s National Indian Foundation.
Shot in late April and early May, the foundation’s photos show about a dozen Indians, mostly naked and painted red, wielding bows and arrows outside six grass-thatched huts.
Meirelles told The Associated Press in a phone interview that anthropologists know next to nothing about the group, but suspect it is related to the Tano and Aruak tribes.
Brazil’s National Indian Foundation believes there may be as many as 68 “uncontacted” groups around Brazil, although only 24 have been officially confirmed.
Anthropologists say almost all of these tribes know about western civilization and have sporadic contact with prospectors, rubber tappers and loggers, but choose to turn their backs on civilization, usually because they have been attacked.
“It’s a choice they made to remain isolated or maintain only occasional contacts, but these tribes usually obtain some modern goods through trading with other Indians,” said Bernardo Beronde, an anthropologist who works in the region
Brazilian officials once tried to contact such groups. Now they try to protectively isolate them.
The four tribes monitored by Meirelles include perhaps 500 people who roam over an area of about 1.6 million acres (630,000 hectares).
He said that over the 20 years he has been working in the area, the number of “malocas,” or grass-roofed huts, has doubled, suggesting that the policy of isolation is working and that populations are growing.
Remaining isolated, however, gets more complicated by the day.
Loggers are closing in on the Indians’ homeland — Brazil’s environmental protection agency said Friday it had shut down 28 illegal sawmills in Acre state, where these tribes are located. And logging on the Peruvian border has sent many Indians fleeing into Brazil, Meirelles said.
“On the Brazilian side we don’t have logging yet, but I’d like to emphasize the ‘yet,’” he said.
A new road being paved from Peru into Acre will likely bring in hordes of poor settlers. Other Amazon roads have led to 30 miles (50 kilometers) of rain forest being cut down on each side, scientists say.
While “uncontacted” Indians often respond violently to contact — Meirelles caught an arrow in the face from some of the same Indians in 2004 — the greater threat is to the Indians.
“First contact is often completely catastrophic for “uncontacted” tribes. It’s not unusual for 50 percent of the tribe to die in months after first contact,” said Miriam Ross, a campaigner with the Indian rights group Survival International. “They don’t generally have immunity to diseases common to outside society. Colds and flu that aren’t usually fatal to us can completely wipe them out.”
Survival International estimates about 100 tribes worldwide have chosen to avoid contact, but said the only truly uncontacted tribe is the Sentinelese, who live on North Sentinel island off the coast of India and shoot arrows at anyone who comes near.
Last year, the Metyktire tribe, with about 87 members, was discovered in a densely jungled portion of the 12.1-million-acre (4.9-million-hectare) Menkregnoti Indian reservation in the Brazilian Amazon, when two of its members showed up at another tribe’s village.
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