Wounaan Oral Traditions and Music, Lapovsky Kennedy Collection, 1964-1966

Tradición Oral y Música Wounaan, Colección de Lapovsky Kennedy, 1964-1966

Object Details

Collection Language	Wounmeu
Language PID	ailla:119523
Title [Indigenous]	Maach jooinhí warrgarwe jöoinau jaaujerr dʌ̈i maachdëu nem sirnaa haaujempa Wounaanau nem hĩgk’atarr hũan Lapovsky Kennedyiu grabaawia p’ë hautarr, 1964-1966
Language of Indigenous Title	noa
Title	Wounaan Oral Traditions and Music, Lapovsky Kennedy Collection, 1964-1966
Country(ies)	Colombia
Collector(s)	Kennedy, Elizabeth
Depositor(s)	Kennedy, Elizabeth El Congreso Nacional de Wounaan
Project/Collector Website
Description [Indigenous]
Language of Indigenous Description
Description	Description of the collection made by the depositor: "All the stories and music in this collection were recorded between 1964 and 1966 by myself, Elizabeth Lapovsky Kennedy (Liz), assisted by my husband of that time, Perry Kennedy. I was doing field work for my doctoral dissertation, a holistic ethnography of the Wounaan people entitled, "The Waunan of the Siguirisúa River: A Study of Individual Autonomy and Social Responsibility with Special Reference to Economic Aspects." For recordings done almost 50 years ago they are in excellent condition. However, sometimes my record keeping about the “who,” “when” and “where” of storytelling was less than perfect, leaving a few holes in the metadata. (The missing information is probably embedded in my field notes which I didn’t have time to access.) Although the majority of field work time was spent on the Siguirisúa River, the total population of which numbered 249 people, living in 22 houses dispersed along the length of the river, in January 1965, we also spent a couple of months on the Docampadó river. I am including a section entitled , “Conditions of field work,” from my dissertation Introduction that gives a description of field work written closer to the time. Wounaan told stories at the end of the day as people were preparing for sleep. Often they would start out gathered around the story teller, and would leave if sleep called before the story was finished. My recollection is that storytelling was a regular occurrence. When we discovered that, we encouraged it for our recordings. Wounaan were happy to oblige us as they themselves really enjoyed the storytelling. No recordings of stories were staged in advance. They were told by people present in a house, when their telling suited Wounaan schedules. They could have a small audience in a small house or a large audience in a large house with visitors. We collected 209 stories. Since we lived in every house on the Siguirisúa river for at least a short period of time, we had a variety of different story tellers from the Siguirisúa but also some from the Docampadó, 36 in all, for which we only have names for 27. (The reason we are missing 9 names is due to problems in my record keeping, not to narrators’ desire to remain anonymous.) We identified narrators from the index on the tape box , from my census, from a list of photographs and sometimes Perry announced the story teller before he/she began. For narrators whose names are missing, we identify them as narrator 1, 2, 3, so that those listening to the stories today can ascertain whether this is a different unknown narrator. For some people we only have their first name, because in general we were following good social science practice of the time of not fully identifying narrators. When preparing the collection I added last names from my memory, when I could. (We encourage anyone who knows the last name to contact AILLA. For a few people we only had a name and no identifying characteristics.) The majority of story tellers were men, only 3 women. They were of all ages, although unquestionably some of the elder men, such as Luis Angel Chamarra, were known for their story telling ability, while others were just learning. All of the story tellers seemed to me to be native speakers of Wounaan meu with some knowledge of Spanish. However, it is possible that Embera was spoken at home for some and I didn’t pick this up. For instance, I know that at least one native Embera speaking woman was married to a native Wounaan speaker and lived on the river with him. I did not follow up on the linguistic impact of this arrangement. Also at the time I did not know anything about distinct dialects among Wounaan. So information given under “subject community” is provided based on the knowledge of contemporary Wounaan language experts. This topic on the division between those from the creeks (Dösigpien) and the main and lower San Juan River (Döcharpien) is a bit controversial: everyone acknowledges it exists, but define it a bit differently depending on where they are from. Part of the difficulty is that to classify someone from the main San Juan River (Döcharpien) is essentially denying that the creeks are part of that river, which itself holds much cultural currency as the "true river" of Wounaan homelands. Regardless, the division does carry linguistic and cultural characteristics that PTOW (Proyecto Tradición Oral Wounaan) staff felt were important to recognize in the meta data. (See Julia Velasquez’ Runk’s dissertation , “And the Creator Began to Carve Us of Cocobolo’: Culture, History, Forest Ecology, and Conservation among Wounaan in Eastern Panama,” for further information.) In the mid-1960s, Wounaan looked forward to stories and were actively engaged in the process. It was expected that the audience would interact with the story teller by making comments that show their interest and involvement and help move the story along. Comments came from young people as well as adults, women as well as men. (We have almost no data on the names of the commentators in this collection.) The story teller never got distracted by the comments, but rather acknowledged them when appropriate and kept moving on. I did not learn until I was working with Proyecto Tradición Oral Wounaan, (Project of Wounaan Oral Tradition) PTOW, that is, the team of Wounaan linguists on the NSF DEL grant, “Documenting Wounaan meu,” for which I am co PI, that many comments on the Siguirisúa and Docampadó stories were bawdy, or what present day Wounaan language experts, living in Panama, referred to in Spanish as having “palabras rojas.” In truth I had no idea that this was the case during the actual recording of the stories, even though I had an elementary grasp of Wounaan meu. Even more interesting to me, is that two pairs of Wounaan, who had been particularly helpful as language teachers on the river, and who accompanied us to Cali to work with me to transcribe stories from the recordings, never mentioned the bawdiness of the comments. They focused on transcribing the story line as developed by the story teller, and not the comments. This is a wonderful example of what can be missed if a researcher is not completely fluent in the language. The bawdy stories presented several problems for transcribing, translating and archiving this collection. The contemporary Wounaan language experts, working with PTOW on the NSF DEL Grant, were offended by the bawdy comments, and also didn’t want their children listening to them. Their first reaction was to not transcribe the comments. This is likely related to the fact that they have all been evangelized. Yet they also were aware of the contradiction that they wanted to preserve the language and customs of their ancestors, and yet wanted to ignore what they didn’t like. After much discussion the solution was to produce two transcriptions and translations of each story, one with comments and one without. Children under 12 would not receive passwords for the stories with comments, and others would have the choice of listening to the stories with comments or not. The preparation of the collection for deposit was done as part of the NSF grant, although I paid for the digitizing of the tapes and some of the indexing help. The indexing required the help of a fluent Wounaan speaker to accurately record the beginning and end of each story, to write the title of the stories in Spanish and Wounaan meu, and to write a brief summary of each story in Woounaan meu and Spanish. This knowledge was combined with my knowledge about the story teller, the location of the recording, etc. Diego Watico did the titles and summaries for the original indexing of tapes 1-6, and then Chindío Peña Ismare as part of PTOW reviewed that indexing and did the titles and summaries for stories and music on tape 7, 20, 21, 22, A & B and 31-34, while Toñio Peña Conquista worked on tapes 35-39. Chindío’s indexing was particularly valuable, because he had grown up on a small river, Pepecorro whose headwaters were quite close to the Docampadó. (The Pepecorro is a tributary of the Pimía, that flowed into a larger River, the Bicordó, that flowed into the major San Juan River.) He remembered some of the people and could recognize their voices. If our memories are in disagreement I include both in the metadata. Ping Pong Media of Tucson did the digitizing of the original reel to reel tapes.(See section F of the Depositor’s packet for more detail on equipment.) Bryan James Gordon, graduate student in the joint Linguistics/Anthropology program at the U of A and part of the NSF Grant, provided the technical assistance to make these digitized recordings available to Wounaan through Tool Box. Julia Velasquez Runk as lead PI for the project and dedicated scholar about Wounaan history and culture was an invaluable resource. And finally Jacque Lamb was my assistant in creating the Excel Spread sheet of metadata for the 209 stories and 53 pieces of music. She was invaluable in her knowledge of Excel and her attention to detail." See the PDF file below entitled "Kennedy_conditions_of_fieldwork.pdf" for more information about this project.
References

Pages

: The agouti; The tiger wanted to wat the agouti; but since the agouti was so sharp it began to make a party to invite many animals and make him eat them without mkaing much effort. But they gave uncle tiger a liquor to drink, so much that he got very drunk and the others did whatever they wanted with him. Recorded 07/27/--between 1964 & 1966. Note: Urfiro Wático is the son-in-law of Arcindo Carpio., El tigre se quería comer al ñeque; pero como el ñeque es tan vivo se puso a hacer una gran fiesta para invitar a muchos animales y hacer que se comiera a ellos en vez de él sin hacer tanto esfuerzo. Pero al tío tigre le dieron a tomar tanto guarapo que se emborrachó demasiado y los otros hicieron con él todo lo que quisieron. Grabado 07/27/--entre 1964 & 1966. Nota: Urfiro Wático es yerno de Arcindo Carpio., Dösigpien, Colombia, T33S2, Cuento 4, K’umau hichk’um köm hig sĩejim haajem; hik’aug sĩerrawai hich k’öm huguá nag waubaadëjim haajem tagam k’ʌʌn t’ʌ̃rk’ʌʌi hauwia mak’ʌʌnta daumeraa hirig k’ömk’ĩir. Jöoi k’umag hatcha nag pöm döpipʌ̈iwia hãbjã pöd k’öba jũrr hichta warm k’ʌʌnau dau hap’ʌʌ waaujeejim haajem.

: The agouti and the aunt tiger; This is the story of an agouti who took care of the children of Aunt Tiger while she would go to work. The agouti killed one of the cubs pf the tiger and made a good "k’au" and gave it to the other cubs to eat and also to the aunt tiger herself when she got home from work. Recorded 02/20/--between 1966 & 1964. Narrated by Narrator #4., Este es el cuento del ñeque que cuidaba los hijos de la Tía Tigresa mientras ella iba a trabajar. El ñeque mataba a uno de los hijos de la Tigresa y hacía un buen “k’au” y se lo daba a comer a las demás crías y a ella misma cuando llegaba del trabajo. Grabado 02/20/--entre 1966 & 1964. Narrado por narrador No.4., Dösigpien, Colombia, T6S1, Cuento 6, Hëchk’umau Tía Tigresa chaain hoojeejim haajem, hi p’idk’aan nʌrrʌmich. Chi hëchk’umau chi TíaTigresaag hich chaainpai t’õonaa k’au wirwia k’öpiejeejim haajem.

: The agouti and the deer; An agouti and a deer went in search of oportunities in other lands. In their trip, they encountered some people who had large faces, and there they spent the night in order to leave early the next morning to continue on their trip. But one of them accidentally stepped on one of the owners of the house and killed him. So they spent time making each other eat the meat of their own parents until all of them died. Recorded 01/07/--between 1964 & 1966. Narrated by Narrator #4. (This is probably the same as narrator #2.], Un ñeque y un venado se fueron en busca de oportunidades a otras tierras. En su viaje se encontraron con personas que tenían caras grandes, allí pasaron la noche y para continuar el viaje en la mañana siguiente, uno de ellos accidentalmente pisó a uno de los dueños de la casa y lo mató. Así pasaron el tiempo haciendo comer la carne de sus propios padres unos a otros hasta que murieron todos. Grabado 01/07/--entre 1964 & 1966. Narrado por narrador No.4. (Este probablemente es el mismo que el narrador No.2.), Dösigpien, Colombia, T3S1, Cuento 8, Hechk’um sũrr dʌ̈i durr p’ʌraan wëtjim haajem. Mag wënʌrrʌʌ hawia wounaan k’ĩidad dapaaga sĩsidʌm hooimajierram haajem. Maig k’ãiwia hedaraawe dʌr wëtjim haajem, chik’am hʌ̃r burrwia, t’õowia. Mag jũrr chik’am dënnaan hamachigpai k’öpi nʌnʌʌu hawia, k’ëchjierram haajem.

: The agouti and the tiger; In the olden days the agouti was looking for a job, and so the tiger gave him a job taking care of his cubs. But then the agouti killed the cubs and made their own mother eat them, and after doing so many bad things, at last the agouti killed the tiger. Note: This story is repeated in resource NOA003R014I00., En el tiempo antigüo el ñeque andaba buscando trabajo, entonces un tigre le dio trabajo cuidando sus cachorritos. Pero resultó que el ñeque mató a los cachorritos y se la hizo comer a la propia mamá, y les hizo mucha maldad y al final el ñeque mató al tigre. Nota: Esta historia se repite en el recurso NOA003R014I00., Dösigpien, Colombia, T35S1, Cuento 2

: The agouti and the tiger aunt; This is the story of the agouti that cared for the children of Aunt Tiger while she went to work. The agouti killed one of her children, made a good “k’au” and fed it to the rest of the children and to Aunt Tiger herself when she came home from work. Speaker is listed as "Narrator 5"., Este es el cuento del ñeque que cuidaba los hijos de la Tía Tigresa mientras ella iba a trabajar. El ñeque mataba a uno de los hijos de la Tigresa y hacía un buen “k’au” y se lo daba a comer a las demás crías y a ella misma cuando llegaba del trabajo. El hablante fue el "Narrador 5"., Dösigpien, T6S1, Cuento 7, Negörr hich happai mar dök’ẽu hee joobaajeejim haajem. Biek hãb hedaar mepeer hi haig bëewia peraa hi k’öpʌijim haajem. Mag warag badag hõor hee bëejim haajem.

: Aguierrito Moña was possessed by a devil and wanted to eat his wife and daughter; A woman tells this story, of how a man called Aguierrito Moña, in the Paudó river, was possessed by a demonic spirit, making him feel the urge to devour his own wife and daughter. Listening to the story causes fear and also sadness., Es una mujer la que cuenta, cómo un señor llamado Aguierrito Moña, en el río Puadó, fue poseído por un espíritu demoníaco haciéndole sentir ganas de devorar a su propia esposa e hija. Escuchar su narración causa miedo y a la vez tristeza., Dösigpien, Colombia, T31S1, Cuento 10, Hʌʌirauta hĩgk’a sim jãga woun P’ʌad hee Aguierrito haajerr meperau pör meuwia sĩi bi pöm haadëmua sĩi wir haig hich hʌʌi hich chaai dʌ̈i k’öm k’õchag haadëjĩ. Hĩgk’ã mam hũurwai maach jãp’ierraanaa maach hök’ĩirjũu sim.

: AILLA Administrative Documents - Kennedy; Depositor's license agreement, deposit notes and overview., Acuerdo de la licencia del depositante, notas del depósito y descripción de la colección.

: Animal who snores; Music with the flute and other instruments. It seems that they were drinking when the recording was made. Possibly, the musicians are the same ones as those who played the dance songs with the p’ip’an. There are several performers but their identity is unknown., Música con flauta y otros instrumentos. Pareciera que estuvieran tomando cuando se hizo la grabación. Posiblemente los músicos sean los mismos que tocaron las danzas con el p’ip’an. Los que tocan son varíos pero no se sabe quiénes son., Dösigpien, Colombia, T34S2, Música 2

: The armadillo; There was a man dedicated to hunting armadillo although he never hunted one. One day he met a man and they went to a "bebata". The armadillo spend the whold time fighting because the others would not leave him alone. After so many fights, no one was able to defeat him., Había un hombre que se dedicaba a cazar armadillo pese a que nunca cazaba uno. Un día se encontró con otro hombre y se fueron a una bebata. El armadillo se pasó todo el tiempo peleando porque los demás no lo dejaban tranquilo. Lo cierto es que de tanta peleas nadie fue capaz de vencerlo., Dösigpien, Colombia, T7S2, Cuento 6, Woun hãb hẽpur jʌrmie hajim haajem, mag sim chan bʌ̃ʌrja baauba haajeejim haajem. K’ãai hãb dewam woun hoowia mag dʌ̈i dö nʌm haar barwia hãba dö naajim haajem. Maig chi Hẽpur jãau gaaiya sĩejeejim haajem, haiguim k’ʌʌnau hich hatcha k’ujʌr nʌʌ pabaadeewai. Mag sim chan ni hãbmuajã hi siba haajeejim haajem.

: The armadillo rolled down a ravine (The man went where the armadillo went); They say this happened in the hill in front of the town Bebedó in the San Juan River. Two animals wanted to practice homosexuality. The armadillo was quicker than the tiger and stuck its tail in the anus of the tiger. The armadillo escaped the musculous tiger, throughing itself down a great ravine; there in the bottom of the river it began digging the earth and came out to the Baudó River. Later, the Woun threw himself through there also and ended up in the same place. What was there? A tunnel., Dicen que esto ocurrió en la loma al frente del pueblo de Bebedó en el Rió San Juan. Dos animales querían practicar la homosexualidad. El armadillo fue más astuto que el tigre y le metió la cola por el ano del tigre. El armadillo se escapa del musculoso tigre tirándose en un gran remolino; allá en el fondo del río fue cavando la tierra y salió al Río Baudó. Después un woun se tiró por allí y también salió en el mismo lugar. ¿Qué hay? Un tunel., Dösigpien, Colombia, T22S2, Cuento 4, Maan Bebedó k’ĩirp’ee durrsĩ gaai hajim haajem, Döchaar hee. K’um garmuata chik’am k’udi noog hẽka sĩejim haajem. Mamʌ hẽpuriuta nacha k’um k’u noju haadëwia hich duriuta hi k’u hee jẽent’eubapʌ̈ijim hajim hanʌm. Maimua hich pʌr hawaag habaa döp’ʌrëumia pöm p’ʌrëu wëjöm hee baubaadëwia k’ör mamua Baud garta höberjim haajem. Hag k’ur wounjã hag hee dʌrbawia hagjö hich mamta höbërjim haajem.

: Authorities call out to our ancestors

: The Barranquillan woman; Part of the lyrics to this song: "The most beautiful thing about mi Colombian land is its blue sea bathing its beaches this landscape is only gifted in Barranquilla, Santa Marta, and Cartagena and how beautiful is the woman of the coast, how beautiful is the land of the coast." Recorded between 1964 & 1966., Parte de la letra de esta canción: "Lo más lindo de mi tierra Colombiana su mar azul bañando las arenas este paisaje solo se regala en Barranquilla, Santa Marta y Cartagena y que linda es las mujeres costeña, que bella es la tierra costeña que linda es la mujer costeña, que bella es la tierra costeña." Grabado entre 1964 & 1966., Dösigpien, Colombia, T36S1, Música 1

: Basaliso kills a hog; Ariano (Mariano?) saw a herd of hogs, but was unable to kill them becuase he didn't have a rifle. He went to tell Basalino, who went to kill one. Recorded 06/27/--between 1964 & 1966., Ariano (Mariano?) vió una manada de saíno, pero no pudo matarlo porque no cargaba escopeta. Vino y avisó a Basaliso, este fue y mató a uno. Grabado 06/27/--entre 1964 & 1966., Dösigpien, Colombia, T4S1, Cuento 8, Arianoou beerhʌ̃ch dö higaau nʌm hoojim pari pöd p’uabajim, t’ër chuk’u haawai. Magbaa jũrr Basaliso haar jaaut’urwia hichdëu hãb t’õo haujim haajem.

: The Bat (The fight with the Kunas); A man called P’ap’awí (Bat) went fishing with his wife and found two young men sitting on the river banks, and he killed one of the,. At that moment, they were surrounded by the rest of their people. After a long fight they grabbed him, took out his eyes, and threw him underwater in the same canoe in which he came. When the town found what had happened, they met and went to make battle until they exterminated all of the Kuna. Note: This story is repeated in resources NOA003R032I001; NOA003R035I001; and NOA003R121I001., Un hombre llamado P’ap’awí (Murciélago) se fue de pesca con su mujer y encontró dos jóvenes sentados en la orilla y mató a uno de ellos. En ese momento fueron rodeados por el resto de su gente. Después de un largo combate lo agarraron, le sacaron los ojos y lo echaron aguas abajo en la misma piragua que él andaba. Enterado el pueblo de lo sucedido, se reunió y fueron a hacerle la guerra hasta acabar a todos. Nota: Esta historia se repite en los recursos NOA003R032I001; NOA003R035I001; and NOA003R121I001., Dösigpien, Colombia, T7S2, Cuento 5, Woun P’ap’awí hanʌm hich hʌʌi dʌ̈i marag döhʌan mawia hõor numí hooimajim haajem, mag heem hãb hichdëu t’õopʌ̈ijim haajem. Magbarm hee tagam k’ʌʌnau ham p’ʌʌrt’uurbaichëjim hanʌm. Mag k’uk’a sĩi hawia, hi pʌrhauwia, hi dau jẽunaa jap hee dö badag jẽent’ẽu pʌ̈ijierram haajem. Hʌ̈u barwia jaaubaimaa maach jöoin hãbamʌg biirdʌwia mak’ʌʌn jurannaan warre t’um k’ëchpʌ̈yaan wëtjim haajem.

: The battle of our ancestors with the Kuna in the Guíniguìni mountain; Whenever the Wounaan would approach the Guiniguini mountain, the Kuna would throw arrows at them. One time, the Wounaan played dead and took the news back home. Immediately, the Wounaan prepared themselves and went in for battle and killed all the Kuna. Recorded 04/08/--between 1964 & 1966. Note: This story is repeated in resources NOA003R023I001; NOA003R138I001; and NOA003R205I001., Cuando los wounaan bajaban cerca del cerro de Guiniguini los kunas les tiraban flechas. Una vez se hicieron los muertos y llegaron con la noticia. Inmediatamente los Wounaan se prepararon y fueron a hacerle la guerra y acabaron con todos. Grabado 04/08/--entre 1964 & 1966. Nota: Esta historia se repite en los recursos Note: This story is repeated in resources NOA003R023I001; NOA003R138I001; y NOA003R205I001., Dösigpien, Colombia, T6S2, Cuento 4, Maach jöoin dö maragmua durrsĩ Guiniguini jerag dichmamta jurannaanau dʌʌrjeejim haajem, pari hʌ̈u chig haba badag chi t’õmjö bëewia hich k’apeenag jaauchëjim haajem. Mag, maach jöoin wëtwia jãaunʌʌ hawia t’um k’echpʌ̈ijierram haajem.

: The battle of P’ap’awí with the Kunas; A man who had a bat potion on his bellybutton went with his wife to look for life, and very high up he found Kunas, fought with them, they took him in, took out his eyes and sent him down river in his own canoe. When he arrived he told what had happened to his family and they invited other people to go finish off the Kuna. Note: This story also appears in resources NOA003R032I001, NOA003R035I001, and NOA003R099I001. Recorded between 1964 & 1966., Un hombre ombligado con murciélago se fue con su esposa a buscar vida, muy arriba se encontró con los kunas, peleó con ellos, lo agarraron, le sacaron los ojos y lo echaron aguas abajo en su misma piragua. Cuando llegó y contó lo sucedido a su gente éstos invitaron a los demás y fueron a acabarlos. Nota: Esta historia aparece también en los recursos NOA003R032I001, NOA003R035I001, y NOA003R099I001. Grabado entre 1964 & 1966., Dösigpien, Colombia, T20S2, Cuento 5, Woun p’ap’awíiu p’oo sĩerr hich hʌʌi dʌ̈i marag nem k’oonha mawia jurannaan dʌ̈i jãau sĩi hawia, hi pʌrhauwia, hi dau jẽunaa dö badag jap hee jẽent’ẽupʌ̈ijierram haajem. Hõor haar barwia jaaubaimaawai t’um hãbamʌg miep’ewia, wëtwia jurannaan dʌ̈i k’uk’aa nʌʌ hawia t’um k’ëchpʌ̈ijierram haajem.

: The battle of two brothers, our ancestors, against the Kunas; two brothers left their house with an insatiable thirst to fight with other tribes. In one of theuir journeys, they met with a Kuna tribe, and they returned home and give the news to the elders. They prepared themselves and went to fight off the kunas; the Wounaan only had two low points. Note: This story is repeated in resources NOA003R062I001 and NOA003R137I001., Dos hermanos salieron de su casa con una sed insaciable de luchar con otros pueblos. En sus andanzas encontraron con un pueblo kuna; regresaron y dieron el aviso a sus mayores. Éstos se prepararon y fueron a acabar con los kunas; los Wounaan solo tuvieron dos bajas. Nota: esta historia se repite en los recursos NOA003R062I001 y NOA003R137I001., Dösigpien, Colombia, T20S1, Cuento 2, Maach jöoin hãb hich heeum dʌ̈i deeum k’ʌʌn dʌ̈i jãwaag durr jʌr nʌʌ hawia, durrg wëtjierram haajem. Mag wënʌrrʌmua jurannaan hoowia, hamach jöoinag jaauchëwia, maach jöoinau t’um k’ëchpʌ̈ijim haajem, pari hagjö hamachdëu maach jöoin heem numí haaipapʌ̈ijierram haajem.

: A bearded man who seemed to be ethnically Black predicted that the sugarcane would dry out; They went with the intention of scuba diving, but they began to drink, and drunk, they went down a trail that crossed a forest, and found a Black bearded man sitting on a stick that was blocking to way. This man told them that the sugarcane was going to dry out because they were selling its liquor at too high a price. Narrated by Narrator #9., Se fueron con el objetivo de bucear pero se pusieron a tomar, así borrachos se fueron por un camino que cruzaba un bosque encontrándose con un negro barbado sentado sobre un palo que atravesaba el camino. Éste les dijo que los cañaverales se iban a secar porque estaban vendiendo el aguardiente muy caro. Narrador por Narrador No.9., Dösigpien, Colombia, T31S1, Cuento 9, Lentien ha wëtwia döp’öbaadëwia, k’ëch nʌmta k’ʌdau hee hërëubaadëwiata pap’ö jʌ̃ap’ë sim gaai negörrjö hiek’aar posso simta jup t’ʌnaajim hanʌm; magua jaauwaita “döbʌ̃ʌr parhẽpag për nʌm gaaimua chojõ p’uaju” hajim haajem.

: Because I'm from San Juan; Recorded 01/30/--between 1964 & 1966. Note: The singer is a woman., Grabado 01/30/--entre 1964 & 1966. Nota: La cantante es una dama., Dösigpien, Colombia, T5S2P1, Música 6

: Because Perry wants him to sing; Recorded 01/30/--between 1964 & 1966. Note: Diego says the narrator is a boy but Liz thinks it might be a woman., Grabado 01/30/--entre 1964 & 1966. Nota: Diego dice que el narrador es un niño pero Liz piensa que es una muchacha., Dösigpien, Colombia, T5S2P1, Música 2

: The Black person dedicated to killing hök’äk’ärmie; A Black man flees after committing murder. Anyway, after fleeing for so long, he dedicates himself to exterminating hök’äk’ärmien, until finally he becomes the prey of the beasts. Recorded 1/07/-- between 1964 & 1966., Un negro se da a la fuga luego de haber cometido un asesinato. Sin embargo, después de tanto huir se dedicaba a exterminar a hök’äk’ärmien, hasta que al final es presa de los animales. Grabado 1/07/-- entre 1964 & 1966., Dösigpien, Colombia, T3S1, Cuento 11, Negörr hichdëu hõor t’õowia dʌrk’itʌʌ hawia, jũrr hök’äk’ärmie k’ëechgaai sĩejeejim haajem. Mag k’itʌʌ hawia hichpa warag t’õopʌijierram haajem chi hök’äk’ärmieu.

: Cenicero, Pedro, Juancito and Juan Diego; Cenicero and his brothers went on a trip to another town, and found a horse and became good friends. Narrated by Narrator #5 [Note: this is probably Narrator#2]. Note: The same story is narrated in resources NOA003R008I001 and NOA003R201I001., Cenicero y sus hermanos viajaron a otro pueblo, encontró un caballo y se hicieron buenos amigos. Narrador por Narrador No.5 [Nota: probablemente Narrador No.2]. Nota: La misma historia se cuenta en recursos NOA003R008I001 y NOA003R201I001., Dösigpien, Colombia, T2S1, Cuento 9, Maach jöoin Bebedó hẽpur dʌrbatarr dönau hee dʌrbawia baud mos gar höberwia hich k’apeen t’um habamʌg t’ʌ̃rp’e hauwia, hʌʌin p’ëjierram haajem.

: The children of the calf; The story is the same as that of the children of the calf. But, it is told by someone else., Este cuento es el mismo cuento de los niños de la pantorrilla. Pero lo cuenta otra persona., Dösigpien, Colombia, T35S1, Cuento 6, Mʌg nemhĩgk’aa har nacha nemhĩgk’anarr päiu, maguata mʌjã hichãb bʌ̈p’urrsir hee t’aabatarr k’ʌʌnau. Pari maata deeum k’ʌʌnauta hĩgk’a nʌm. Magua mʌjã hichhagjöo sim

: The children of the calf: 1; This story happened this way, there was a man who liked to hunt. From going so often to junt, one day a frog came and got stuck to his leg and made love to his foot. After doing this, his calf got swollen and two babies were born. When these boys were older, they started sucking the blood of women. These boys grew up and when they were adults they wanted to bring down the moon that lights up the night. They also went to another world where other living beings live. Note: This story is repeated in resources NOA003R089I001; NOA003R094I001; NOA003R112I001; NOA003R249I001; NOA003R174I001; NOA003R189I001; and NOA003R194I001., Este cuento sucedió así, había un hombre le gustaba montear. De varias veces de ir a la casería un día vino una rana y se le pego en la pantorrilla y hizo sexo en el pie. Al hacer esto se le hinchó la pantorrilla, al hicharr la pantorrilla nacieron dos bebes. Estos muchachos cuando ya estaban grandes empezaron a chupar la sangre a las mujeres. Estos muchachos crecieron cuando ya estaban grandes mataron a todas las fieras que había en el monte. Estos muchachos quiesieron tumbar la luna que alumbra de noche. También fueron a otro mundo donde viven otros seres vivientes. Nota: Esta historia se repite en los recursos NOA003R089I001; NOA003R094I001; NOA003R112I001; NOA003R249I001; NOA003R174I001; NOA003R189I001; y NOA003R194I001., Dösigpien, Colombia, T35S1, Cuento 1, Mʌg nemhĩgk’aa mʌgta hajim haajem. Hãb woun pabʌ̈ hee maa sĩi haajeejim haajem. Mag ma sĩi hawia k’ãai hãb jʌ̈chëumieu bʌ̈ gaai dʌrjopchëwia hi bʌ̈ gaai k’upiipiir sĩejim haajem. Magwia bʌ̈p’urrsir höor baadëwia hag hee chaain dau numi t’aabajim haajem. Mak’ʌʌnauta hʌʌin bi mormachpaawäi hʌʌin bag doojeejim haajem. Mak’ʌʌn chaain bãauwia mak’ʌʌnauta pabʌ̈ hee nem k’aigbam t’ʌnaarr k’ʌʌn t’um k’echdugjim haajem. Mak’ʌʌnau hedaujã p’ierr päaig hẽk’ajierram haajem, mak’ʌʌn hãhãrmien garjã wëtjim haajem.

: Coloring (lipstick); A while back, there was music titled 'Coloring' (what is today lipstick) which was used to paint ones face, and people danced with that music. Recorded between 1964 & 1965. Sung by Singer #5., Tiempo atrás había una música con el título Colorete (lo que para hoy es pintalabios) que usaban para pintarse la cara, la gente bailaba con esa música. Grabado entre 1964 & 1965. Cantado por Cantante No.5., Dösigpien, Colombia, TBS2, Música 5, Warrgar música kolorete hanʌm sĩejim k’ĩir gaai peeg, (hĩsim hiek hak’iin pintalabios) mag gaai jemk’aajeejim.

: Competition of strength between God and Satan; Recorded 02/01/--between 1964 & 1966., Grabado 02/01/--entre 1964 & 1966., Dösigpien, Colombia, T5S2P2, Cuento 2, Hẽwandam Dösãt dʌ̈i juapá chach nʌʌ hawia, pöd Dösãtau Hêwandam dënjö nem wau hauba haajeejim haajem. Hich mag warag k’õinaa nʌisijim haajem.

: The corn which a waspien woman brought, and, the monkey who married an indian woman; Here are two stories in one. The man show was fishing and fished a woman, that woman took him to her land and they returned with corn. After time, the mother-in-law began to talk badly of her; so she left with the corn. The other story is "The monkey who eloped with a woun huui. Recorded 07/27/--between 1964 & 1966., En este cuento hay dos en uno. El hombre que estaba pescando y pescó una mujer, esa mujer lo llevó a su tierra y regresaron con maíz. Con el tiempo la suegra se puso a hablar mal de ella; entonces ella se fue llevándose el maíz con ella. El otro cuento es “El mono que cogió una woun huui. Grabado 07/27/--entre 1964 & 1966., Dös?gpien, Colombia, T33S2, Cuento 2, Hãbam gaai cuento numiita nʌm. Hemk’ooirau dönau heemua hʌʌita sip’in gaai hʌa hauwia, chi hʌʌirau hich durr harrwia pëdau haibëejim; maimua chi p’aauhũnau hich hoomap’a haadeewai hich mam dʌ̈i deeu hich pëdau harrjim. Hãbk’ai cuentoon “Porau woun hʌʌi hautarrau”.

: The cowardly man who let his wife be eaten by the tiger; A man goes upriver with his wife. While there at night, a very large tiger came and dragged the wife out of the house/ The woman fought for a long time until she became tired, and then the tiger ate her in front of the husband. The husband had been unable to defend his wife because of the fear he had towards the tiger. Note: The same story is repeated in resources NOA003R131I001 and NOA003R246I001. Recorded 02/20/--between 1966 & 1964., Un hombre se va río arriba con su mujer. Estando allá, en la noche vino un tigre muy grande y arrastró a la mujer de la casa. La mujer luchó por mucho tiempo hasta no poder del cansancio, hasta que el tigre se la comió en frente del marido. El hombre nunca pudo defender a su mujer por el miedo que tenía del tigre. Nota: La misma historia se repite en los recursos NOA003R131I001 y NOA003R246I001. Grabado 02/20/--entre 1966 & 1964., Dösigpien, Colombia, T6S1, Cuento 2, Woun hich hʌʌi dʌ̈i dök’ẽu maar majim haajem. Mam nʌmta hedaar k’um pöm sim bëewia hi hʌʌi hëudʌ hauchejim hanʌm. Mag chi hʌʌi k’um dʌ̈i jãau k’ërʌ̈ʌ hawia pödbapamamua k’umauhʌʌi k’öpʌijim haajem, chi jaai dak’ĩir. Mag sim chan bʌ̃ʌrjã chi hemk’ooyau hagʌg hoobajim haajem, jãp’ierr wajaugau.

: The curing ceremony; In the background the narration of another story can be heard. Recorded 06/28/--between 1964 & 1966., En el fondo se escucha narración de otro cuento. Grabado 06/28/--entre 1964 & 1966., Dösigpien, Colombia, T4S2, Música 2, Deeum nem hĩgk’a nʌmta hag hee hũr sim.

: The curing ceremony; The song dialogues in and out between a woman's voice and a man's vioce. Note: The tape box indicates that the singer is Jose Lincio, but Diego thinks that it is Luis Angel. Recorded 01/28/--between 1964 & 1966., La canción dialoga entre la voz de una mujer y la voz de un hombre. Nota: La caja de la cinta indica que el cantante es Jose Lincio, pero Diego piensa que es Luis Angel. Grabado 01/28/--entre 1964 & 1966., Dösigpien, Colombia, T5S1P2, Música 2

: The curing ceremony; In the background the narration of another story can be heard. Recorded 06/28/--entre 1964 & 1966., En el fondo se escucha la narración de otro cuento. Grabado 06/28/--entre 1964 & 1966., Dösigpien, Colombia, T4S2, Música 1, Deeum nem hĩgk’a nʌmta hag hee hũr sim.

: The curing ceremony; The song dialogues in and out between a woman's voice and a man's vioce. The woman's name is missing. She is identified only as "hija de Jose Lincio/Luis Angel" (daughter of Jose Lincio/Luis Angel). Recorded between 01/28/-- y 01/30/--between 1964 & 1966 ., La canción dialoga entre la voz de una mujer y la voz de un hombre. Falta el nombre de la mujer. Ella se identifica solo como "hija de Jose Lincio/Luis Angel". Grabado entre 01/28/-- y 01/30/--entre 1964 & 1966., Dösigpien, Colombia, T5S1P2, Música 2

: The curing ceremony; The song dialogues in and out between a woman's voice and a man's vioce. The woman's name is missing. She is identified only as "hija de Jose Lincio/Luis Angel" (daughter of Jose Lincio/Luis Angel). Recorded 01/30/--between 1964 & 1966., La canción dialoga entre la voz de una mujer y la voz de un hombre. Falta el nombre de la mujer. Ella se identifica solo como "hija de Jose Lincio/Luis Angel". Grabado 01/30/--entre 1964 & 1966., Dösigpien, Colombia, T5S1P2, Música 3

: The curing ceremony; Recorded 01/30/--between 1964 & 1966. The performer's name is missing. She is identified only as "hija de Jose Lincio/Luis Angel" (daughter of Jose Lincio/Luis Angel)., Grabado 01/30/--entre 1964 & 1966. Falta el nombre del intérprete. Ella se identifica solo como "hija de Jose Lincio/Luis Angel"., Dösigpien, Colombia, T5S1P2, Música 5

: The curing ceremony; Recorded 01/30/--between 1964 & 1966. The performer's name is missing. She is identified only as "hija de Jose Lincio/Luis Angel" (daughter of Jose Lincio/Luis Angel)., Grabado 01/30/--entre 1964 & 1966. Falta el nombre del intérprete. Ella se identifica solo como "hija de Jose Lincio/Luis Angel"., Dösigpien, Colombia, T5S1P2, Música 4

: The dance of the agouti; The five musical pieces are interpreted by Urfiro Wático, inhabitant of the San Juan river, settled in Docampadó. They are traditional Wounaan dances which alude to wild birds and animals of the region. Some names of animals, places, and people, etc, cannot be translated; but they can be described briefly. Recorded between 07/26/-- and 07/27/--between 1964 & 1966., Las cinco piezas musicales son interpretadas por Urfiro Wático, oriundo del San Juan, radicado en Docampadó. Son danzas de la Traducción:ición wounaan alusivas a las aves y animales silvestres de la región. Algunos nombres de animales, lugares, de personas, etc, no se pueden traducir; pero se pueden describir brevemente. Grabado entre 07/26/-- y 07/27/--entre 1964 & 1966., Dösigpien, Colombia, T33S2, Música 4, Mʌg jemk’aa tumwe Urfiro Wáticoouta sir sim, Döchaarpierr nawe bëewia Dök’ãpdö hee jooba simua. Maach jöoinau nemchaaink’ĩirpierr jẽmk’aajem chachnaata jemk’aajem.

: Dance of the butterfly; The five musical pieces are interpreted by Urfiro Wático, inhabitant of the San Juan river, settled in Docampadó. They are traditional Wounaan dances which alude to wild birds and animals of the region. Some names of animals, places, and people, etc, cannot be translated; but they can be described briefly. Recorded between 07/26/-- and 07/27/--between 1964 y 1966., Las cinco piezas musicales son interpretadas por Urfiro Wático, oriundo del San Juan, radicado en Docampadó. Son danzas de la Traducción:ición wounaan alusivas a las aves y animales silvestres de la región. Algunos nombres de animales, lugares, de personas, etc, no se pueden traducir; pero se pueden describir brevemente. Grabado entre 07/26/-- y 07/27/--entre 1964 and 1966., Dösigpien, Colombia, T33S2, Música 5, Mʌg jemk’aa tumwe Urfiro Wáticoouta sir sim, Döchaarpierr nawe bëewia Dök’ãpdö hee jooba simua. Maach jöoinau nemchaaink’ĩirpierr jẽmk’aajem chachnaata jemk’aajem.

: The dance of the buzzard; The five musical pieces are interpreted by Urfiro Wático, inhabitant of the San Juan river, settled in Docampadó. They are traditional Wounaan dances which alude to wild birds and animals of the region. Some names of animals, places, and people, etc, cannot be translated; but they can be described briefly. Recorded between 07/26/-- and 07/27/--between 1964 & 1968., Las cinco piezas musicales son interpretadas por Urfiro Wático, oriundo del San Juan, radicado en Docampadó. Son danzas de la tradición wounaan alusivas a las aves y animales silvestres de la región. Algunos nombres de animales, lugares, de personas, etc, no se pueden traducir; pero se pueden describir brevemente. Grabado entre 07/26/-- y 07/27/--entre 1964 & 1968., Dösigpien, Colombia, T33S2, Música 3, Mʌg jemk’aa tumwe Urfiro Wáticoouta sir sim, Döchaarpierr nawe bëewia Dök’ãpdö hee jooba simua. Maach jöoinau nemchaaink’ĩirpierr jẽmk’aajem chachnaata jemk’aajem.

: The dance of the Jẽrpöd; The five musical pieces are interpreted by Urfiro Wático, inhabitant of the San Juan river, settled in Docampadó. They are traditional Wounaan dances which alude to wild birds and animals of the region. Some names of animals, places, and people, etc, cannot be translated; but they can be described briefly. Recorded between 07/26/-- and 07/27/--between 1964 & 1968., Las cinco piezas musicales son interpretadas por Urfiro Wático, oriundo del San Juan, radicado en Docampadó. Son danzas de la tradición wounaan alusivas a las aves y animales silvestres de la región. Algunos nombres de animales, lugares, de personas, etc, no se pueden traducir; pero se pueden describir brevemente. Grabado entre 07/26/-- y 07/27/--entre 1964 & 1968., Dösigpien, Colombia, T33S2, Música 2, Mʌg jemk’aa tumwe Urfiro Wáticoouta sir sim, Döchaarpierr nawe bëewia Dök’ãpdö hee jooba simua. Maach jöoinau nemchaaink’ĩirpierr jẽmk’aajem chachnaata jemk’aajem.

: The dance of the kokorrdit; This is how the Wounaan sinc in group in the Chocó jungle. The five musical pieces are interpreted by Urfiro Wático, inhabitant of the San Juan river, settled in Docampadó. They are traditional Wounaan dances which alude to wild birds and animals of the region. Some names of animals, places, and people, etc, cannot be translated; but they can be described briefly. Recorded between 07/26/-- and 07/27/--between 1964 & 1968., Es así como ellos en grupo cantan en las selvas chocoanas. Las cinco piezas musicales son interpretadas por Urfiro Wático, oriundo del San Juan, radicado en Docampadó. Son danzas de la tradición wounaan alusivas a las aves y animales silvestres de la región. Algunos nombres de animales, lugares, de personas, etc, no se pueden traducir; pero se pueden describir brevemente. Grabado entre 07/26/-- y 07/27/--entre 1964 & 1968., Dösigpien, Colombia, T33S2, Música 1, Mʌg jemk’aa tumwe Urfiro Wáticoouta sir sim, Döchaarpierr nawe bëewia Dök’ãpdö hee jooba simua. Maach jöoinau nemchaaink’ĩirpierr jẽmk’aajem chachnaata jemk’aajem.

: A devil almost eats a man; There was an ancestor who alone, although downriver from him tehre did live some people. But he never knew that downriver lived other people, he lived alone. While he was alone, he heard a voice that came softly., Este era nuestro antepasado que vivía sólo donde no había gente, aunque más abajo si había gente. Pero él nunca supo que en ese río abajo había gente, ese hombre vivía solo. Estando él solo, en eso oyó apenitas una voz que venía guapurriendo, guapurriendo., Dösigpien, Colombia, T38S2, Cuento 5, Ma maach jöoin hajim haajem, ma pari hichhappäita chirajim haajem hõorjã chuk’u hajim haajem, badagan hõor naajim haajem. Pari mag badag hõor nʌm k’augba sĩerrajim haajem mag wounau, hich happäi chiraajeejim haajem mag woun. Mag hichhappäi chirʌʌ hawia, magnʌmta jʌ̃g warp’a woun wapu, wapu huraa hajim haajem.

: Diego, the Cripple, and the Giant; Diego and the Cripple went to the house of the Giant and passed time telling riddles., Diego y El Cojo fueron a la casa del Gigante y pasaban el tiempo haciendo adivinanzas., Dösigpien, Colombia, T2S1, Cuento 12, Diego (ciego) Cojo (ciego?) dʌ̈i gigante di haar barwia hi dʌ̈i adivinanza jaaup’öbaadëjierram haajem.

: Dionila the wife; Part of the lyrics to the song: "Father, this animal which is here, this one who is here I am from the lower river San Juan, and before, my dear wife was Ofelia but now my dear wife is Dionila and I am very happy with her. Recorded 07/02/--between 1964 & 1966., Parte de la letra de la canción: "Padre, este animalito que esta aquí, este que esta aquí soy del bajo San Juan anteriormente mi querida esposa fue Ofelia pero ahora mi querida esposa es Dionila y la tengo con mucho gusto." Grabado 07/02/--entre 1964 & 1966., Dösigpien, Colombia, T39S2, Música 2, Hatatadamitodam, hanimala chaairadamito chak’itʌmitodama rãa, hachak’itʌmitodama rãa döbadagama pierra chaai hachak’itʌmitodamarãa warragarinariiraaraa, warragarinariiraaraa, warragarinariiraaraa, hʌʌira, hʌʌiradamitodama raa Ofelia hajima rãarãa magarra hĩsĩta pabaadeewäi hʌʌira, hʌʌira, hʌʌiradamito Dionila con gustota k’itʌm, riirariraraariiraraa.

: The eagle who ate children / The Mother yams; There are two stories in one: the first is about a giant eagle who ate children and the adults did not realize this, this story ends at 03:24:06. The second story starts at 0:03:27:04 and ends at 0:10:41, it is about "Mother yams"who also killed children while their parents worked; but it leaves out one part at the beginning, it is incomplete., Hay dos cuentos en uno: el primero trata del gigantesco águila que se comía a los niños y los adultos no se daban cuenta, este termina en el minuto 03:24:06. El segundo comienza en el minuto 0:03:27:04 y termina en 0:10:41, se trata de “La Madre ñame” que también mataba a los niños mientras sus padres trabajaban; pero omite un pedazo en el comienzo, no está completo., Dösigpien, Colombia, T22S2, Cuento 1, Cuento hãbpaim hee numiita nʌm: Nacharam nem hĩgk’aa Jimiejãúa chaain hua simta jöoinau k’augba haajeejim haajem. Ma höbadeewai jũrr “P’ʌ̈g hãdta” hĩgk’a sim, mamʌ bʌchk’un t’ʌap sim chi k’aar haar, t’um k’aba sim. P’ʌg hãdaujã maach jöoin chaainta k’ëch sĩi haajeejim haajem.

: The elderly people who became vultures; One of our ancestors went uphill with his wife to look for life; since he didn't want to prepare meat and other things he had killed. The vultures came to where he was, and he kept asking if they would take him with them, but they never did, until one day they did take him with them and after some time passed, he became one of them. Note: Chindió thinks that the narrator's last name is Carpio., Uno de nuestros ancestros se fue para arriba con su mujer a buscar vida; como no quería preparar la carne y otras cosas la mató. Los buitres llegaban donde él estaba a quienes insistía que lo llevaran con ellos pero éstos no lo llevaban hasta que un día decidieron llevarlo y con el tiempo se convirtió en uno de ellos. Nota: Chindío piensa que su apellido es Carpio., Dösigpien, Colombia, T7S2, Cuento 1, Maach jöoin hich hʌʌi dʌ̈i marag nemk’oon mawia, hich hʌʌyag nem waupi sim wauba habaawai hich hʌʌi t’õopʌ̈ijim haajem. Mag warag hãkõs hich haig bëe nʌm k’ʌʌnag hich harrpiejeejim haajem, mamʌ magʌmjã hi harrba, hag k’urta hi harrwia warag hãkõsag pajim haajem.

: Elías sings: My wife Aurita; The narrator is a young man in love with Aurita, who he says is his future wife. Recorded between 1966 & 1968., El narrador es un joven enamorado de Aurita de quien dice será su futura esposa. Grabado entre 1966 & 1968., Dösigpien, Colombia, TBS2, Música 3, Hich k’ãidam wai sim Aurita ha t’ʌ̃r sim; maata hi hʌʌik’aju haajem.

: Eulogy by Luisa and another woman; Luisa and another woman eulogize. It is difficult to describe what they are singing. recorded in 02/15/-- between 1964 & 1966., Luisa y otra dama hacen eulogia. Es difícil de describir lo que están cantando. Grabado en 02/15/-- entre 1964 & 1966., Dösigpien, Colombia, T1S2P1, Música 1, Hamau haunʌm jaauju p’it’uurga sim.

: Évila the wife; His wife Évila was taken with much love. There are more hums than words, it doesn't say more. Recorded between 1964 & 1966. Sung by Singer#6., Su esposa Évila la cogió con mucho amor. Son más entonaciones que palabras, no dice más nada. Grabado entre 1964 & 1966. Cantado por cantante No.6., Dösigpien, Colombia, TBS2, Música 10, Hi hʌʌi Évilaan k’õsita haujim haajem. Hau sĩeb mamʌ hajappai hiek’aba sim.

: The extermination of hök’äk’ärmie by two brothers; It is said that two brothers who went hunting at the head of the river, and they met with the den of hök’äk’ärmie they killed them all. Out of fear that they would find another such den and be taken as its prey, they returned home without doing more hunting., Se cuenta que dos hermanos que fueron de cacería en la cabecera del río y se toparon con la madriguera de hök’äk’ärmie y las mataron toditas. Por temor a encontrarse con otra manada y ser presa de ellos se devolvieron sin hacer más cacería., Dösigpien, Colombia, T7S2, Cuento 2, Maach jöoin hich heeum dʌ̈i dök’ẽu marag nemk’oon majim haajem. Mam, hök’äk’ärmie dí hoowia, t’um k’ëchpʌ̈iwia warag tag nem k’öba hamach diig bëejierram haajem.

: Fathead, Bigbelly, Flatfoot...; Some names of the protagonists of the story are 100% vulgar. Each one of then tries to climb an avocado tree to pick them, but none of them are able to, because their physical qualities impede them. Note: The tape box indicates that Alvaro is the narrator, but Chindío does not agree and says: "This is not the voice of Alvaro"., Algunos nombres de los protagonistas del cuento son 100% vulgares. Cada uno de ellos trata de treparse para coger aguacates pero ninguno logra el objetivo porque, como lo definen los calificativos, su físico les impide hacerlo. Nota: La caja de la cinta indica que Alvaro es el narrador, pero Chindío no está de acuerdo y dice: “No es la voz de Alvaro"., Dösigpien, Colombia, T31S1, Cuento 4, Chi t’ʌ̃r hihachk’ata jaau sĩsidʌm. Dapaar k’oog hawia jũrram k’ʌʌnau chach hohoo haajeejieb mamʌ hãbmuajã bai hauwia k’öbajim.

: Father-in-law Rogelio; Part of the lyrics to the song: "This person who is here used to be from the point of Pairoseña, this person who is here, this person jere now my father-in-law is Rogelio, now my father-in-law is Rogelio. Mi mother-in-law, now my mother-in-law I used to be from the river Sigrisua." Recorded 07/02/--between 1964 & 1966., Parte de la letra de la canción: "Esta que está aquí anteriormente fui de la punta de pairoseña, esta que está aquí, esta que está aquí ahora mi suegro es Rogelio, ahora mi suegro es Rogelio. Mi suegrita, ahora mi suegrita yo anteriormente fui del río Sigrisua. " Grabado 07/02/--entre 1964 & 1966., Dösigpien, Colombia, T39S2, Música 3, Riiriirariirariiraariiraa, riiriirariirariiraariiraa, riiriirariirariiraariiraa, riiriirariirariiraariiraa, chak’erʌma reraraa, riraariraa, rirarirariiraraa, häaa rerarerareraraa, rerarerareraraa, rerarerareraraa, rerarerareraraa punto, punto, puntodamarãarãrãrãa warrigurina rãrãrãrãa puntodamarãrãa paairo, paairo, piehʌʌyaa hajima rirarirariraraa, häaa rirarirariraraa cha k’itʌma, cha k’itʌmito damarãa, cha k’itʌmito damarãa hĩsĩ pabaadeewäyiraa. Chaijöoyadama Rogeliojim, chaijöoi Rogelio, p’awãhũanadamarãa, p’awãhũanadamarãa p’awãhũanadamarãarãrãrãa, häa rera cha k’itʌmito warrigurinarãarãarãa punto, puntodamarãrãa Sigrisuya piehʌʌya dam.

: The fight of the Wounaan with the Kunas in the Guiniguini Mountain; Each time our ancestors passed by the Guiniguini Mountain, they were shot at by Kunas. This happened continuously until our ancestors prepared themselves and went to end the Kunas. Note: This story is repeated in resources NOA003R023I001; NOA003R093I001; and NOA003R205I001., Cada vez que nuestros ancestros pasaban por ahí eran disparados por los kunas. Tanto fue así que nuestros ancestros se prepararon y fueron acabarlos. Nota: Esta historia se repite en los recursos NOA003R023I001; NOA003R093I001; y NOA003R205I001., Dösigpien, Colombia, T22S2, Cuento 3, Maach jöoin Dök’ẽu heemua hamach jerag badag diichwai jurannaanau k’echpʌ̈ʌijeejim haajem. Mag nʌʌ paawaita jöoinau hamach garmua hãrãan wëtwia k’ĩeb k’ëchpʌ̈ijierram haajem.

: A fisherman finds a young Kuna and brings him home; There was a timid man whgo loved to fish. One day he found a young Kuna man and brought him home and they became good friends. After some time passing, the Kuna took his friend to his native land to pick pifá; but he didn't only go to pick pifá, he also went to destroy the town which had taken away his parents' lives. Recorded 03/16/66 or 03/17/66. Note: This story is repeated in resources NOA003R011I001; NOA003R015I001; NOA003R097I001; NOA003R130I001; and NOA003R182I001., Este era un hombre tímido muy pescador. Un día encontró un joven kuna y lo trajo a la casa y se hicieron buenos amigos. Después de transcurrir un tiempo el kuna llevó a su amigo a su tierra natal a coger pifá; pero no se ocupó solamente en coger pifá sino que destruyó al pueblo que le quitó la vida a sus padres y también a su pueblo. Grabado 03/16/66 o 03/17/66. Note: This story is repeated in resources NOA003R011I001; NOA003R015I001; NOA003R097I001; NOA003R130I001; and NOA003R182I001., Dösigpien, Colombia, T22S2, Cuento 7, Woun hãb k’ĩirmaa k’itajim haajem, dö hʌamie. Dö hʌa jörrömua juran hẽwan hoobaawai haibëewia k’apeer hajap’am k’ajierram, nʌʌ hawia hich durr hʌ̈rr bayaan wëtwia jũrr hich jöoin k’ëchtarr k’ʌʌn höpʌajim haajem.

: A fisherman finds a young Kuna and brings him home (continued from NOA003R142I001); For the second time they went to gather pifá, and this time they terminateother savage towns of the same people. He got married with a Woun Huui and lived his whole life with the Wounaan until he died old of the flu. Note: This story is repeated in resources NOA003R011I001; NOA003R015I001; NOA003R097I001; NOA003R142I001; and NOA003R182I001., Por segunda vez fueron a coger pifá y en esta vez acaba con otros pueblos salvajes de su misma gente. Se casó con una woun huui y vivió toda su vida con los wounaan hasta que murió enfermo de gripe. Nota: Esta historia se repite en los recursos NOA003R011I001; NOA003R015I001; NOA003R097I001; NOA003R142I001; y NOA003R182I001., Dösigpien, Colombia, T22S1, Cuento 1, Cuento 7 gaai höba harr haawai mʌg cuento 8 cinta T22S1 gaaita höchë sim. Deeu hʌ̈rr bayaan wëtwia chi juranau hich jöoin chi k’õrnaan pöm höpʌa sim. Hich mag maach jöoin dʌ̈i nʌrrʌmua hörröuta meejim haajem.

: For being a coward, he let his friends and wife be eaten; Three men and a woman wernt hunting, three of them were devoured by a tiger. The one who was saved took the news and returned to the scene of the crime; playingt he calabash, they called the tigers and killed them. Then the father-in-law ordered the son-in-law to stand close to the bank of the river and he shot an arrow at him, causing his death because of being cowardly and letting his daughter be devoured. Recorded between 1964 & 1966. Note: This story is similar to resources NOA003R081I001 and NOA003R131I001., Tres hombres y una mujer se fueron de cacería, tres de ellos fueron devorados por el tigre. El que se salvó llevó la noticia y regresaron al lugar de los hechos; tocando calabaza llamaron a los tigres y los acabaron. Luego el suegro ordenó al yerno pararse junto a la orilla del río y le disparó con la flecha causándole la muerte porque por cobarde había dejado devorar a su hija. Grabado entre 1964 & 1966. Nota: Esta historia se parece a los recursos NOA003R081I001 y NOA003R131I001., Dösigpien, Colombia, TBS1, Cuento 4, Hemk’ooin t’ãrjũp hʌʌi hãb harag jayap nemk’oon wëtwia k’umau k’ök’ʌʌipʌ̈iwia hãbpai peerdʌjim haajem. Magúa jaauchëwia hõor dʌ̈i haar hoon wëtwia chi k’um t’ʌ̃rk’a hauwia k’echpʌ̈iwia hich hãigög jër dʌnʌʌupinaa chook’ierrau dʌr t’õopʌ̈ijim haajem.

: The friend Ominaria; Lyrics to the song: "This little devil, my friend, my friend Ominaria my friend Ominaria, I came like this from the mouth of the river Lerma, from the Lerma the man came in a passenger truck he came to the mouth of Materé to drink." Recorded 07/02/--between 1964 & 1966., La letra de la canción: "Este diablito compañerita, compañerita Ominaria compañerita Ominaria, yo me vine asi yo me vine de la boca de la Lerma, de la Lerma el hombre se vino en la remolcadora de pasajero se vino a la boca de Materé a beber." Grabado 07/02/--between 1964 & 1966., Dösigpien, Colombia, T39S2, Música 1, Riiraariiraarirarira Riiraariiraarirarira Riiraariiraarirarira Riiraariiraarirarira araarararaa ararararaaraa nem hanimala chaaira k’aperadamitodam, k’aperadamito Ominaria jima, k’aperadamito Ominaria jima, mʌ maga k’augba k’irʌma Lerma, Lerma k’ierrata remorcaro gaaya chi hemek’ooinadama remorcaro gaaya pasajerotara punto mataré k’ierra doona, doona bëejima rarararaa.

: A fugitive Black person went to the Wounaan and dedicated himself to killing off the wánganos; This story is about a Black fugitive who came to an indigenous couple who lived alone together. After several days, he asped if they knew of a place where there were wánganos; the indigenous person took him to that place, and he exterminated them. For several days he did this until at last he didn't return because the wánganos devoured him. ' Note: This story is repeated in resource NOA003R119I001., Este cuento se trata de un negro fugitivo que vino a salir donde una pareja indígena que vivían únicamente él y su esposa. Después de varíos días preguntó si sabía algún lugar donde había wánganos; el indígena lo llevó al lugar y los exterminó. Por varias veces hizo esto hasta la última vez que no volvió más porque los wánganos lo devoraron. Nota: Esta historia se repite en el recurso NOA003R119I001., Dösigpien, Colombia, T31S1, Cuento 2, Jöoi hãb hich hʌʌi dʌ̈ipai sĩejerr haigta negörr dʌrm höbërchëwia hok’äk’ärmia jëeujeejim haajem, maimua hichig jaaubaawai haar hich harrpiwia k’echpʌ̈ʌijeejim haajem. Mag simua hãbmiecha paawai hök’äk’ärmieu k’öbapʌ̈ʌiwai tag bëeba hich mag sĩsijim haajem.

: The girl who reared a snake; Once there was an ancestor who had a young daughter, and she took a snake when it was little and started to rear it. She would feed it food such as little fish and wild animals such as agouti., Una vez un antepasado tenía una hija joven que cogió una serpiente cuando estaba muy chiquita. Después empezó a criarla, dándole de comer peces y animales de monte como ñeque., Dösigpien, Colombia, T38S1, Cuento 5, Maach jöoin hajim haajem, mag maach jöoin k’a daupeer waisĩejim haajem, k’a daupeer, magsĩewia mag hʌʌik’arau jëp’au pʌr hat’ajim haajem, jëp’audam bʌ̃rʌ̃ʌ k’itajim haajem. Jëp’audam bʌ̃rʌ̃ʌ k’itajim haajem. Jëp’audam bʌ̃rʌ̃ʌk’itʌm bãaumaa hawia, bãaumaa hawia nempöoma bãau hat’ajim hanaaba. Mag nempöm bãau hauwia k’eejeejim hanaabma hõwãrrjömua pabʌ̈ heem nem hichk’umjömua, magʌmua mag k’eemaajeejim haajem.

: The goat and Uncle Tiger; The goat didn't want to be where he was living anymore so he went to another place. He came to a spot and cleaned where he would be dwelling. The next day when he got there, he found poles already nailed; it was Uncle Tiger who was building. That way, the two lived together destroying each other's species until the day when the goat destroyed the tiger and all of his family. Recorded 03/02/--between 1964 & 1966., El chivo no quería estar más donde había vivido y salió a otro lugar. Llegó a un paraje y limpió el lugar donde sería su morada. El próximo día cuando llegó encontró los horcones ya clavados; era tío tigre el que estaba construyendo. Así vivieron juntos destruyendo las especies de cada uno hasta el día que el chivo acabó con el tigre y toda su familia. Grabado 03/02/--entre 1964 & 1966., Dösigpien, Colombia, T6S2, Cuento 2, Chĩbdam hich sĩejerr haig sĩemap’a haadee chawag durr jʌraan majim haajem. Mag mawia hich sĩeju jʌr hauwia p’ʌ pʌajim haajem. Magnʌmta hag noram hoocheewai haig dipá jʌjʌr t’ʌnʌm hoochëjim haajem. Maan k’umauta hi di hëwaan bëejeejima. Mag, haig warag nʌmua, hagdaujö chik’am pör k’oog hat’ee k’ëch nʌmua chi chĩbau k’um hich chaain dʌ̈i k’ëchpʌijim haajem.

: God created our ancestors in Baudó Beach; As was petitioned by Jesus the Son of God, God formed our ancestors in Baudó Beach. They went in search of water because there wasn't any and they encountered a congo ant that came down from a giant tree with a drop of water in its mouth. When the giant tree was demolished, they gathered water and a great river was formed, which is Döchaar or San Juan. Recorded 03/07/--between 1964 & 1966., Por petición de Dios Hijo, Dios Padre formó a nuestros ancestros en la Playa del Baudó. Salieron a buscar agua porque no había y se encontraron con la hormiga conga que venía bajando desde un gigantesco árbol con una gota de agua en su piquito. Al derribar el gigantesco árbol consiguieron agua y se formó un gran río, el Döchaar o San Juan. Grabado 03/07/--entre 1964 & 1966., Dösigpien, Colombia, T6S2, Cuento 3, Hẽwandam hiewaau maach wounaan hig sĩi paawai Baud mos gaai Jöoirau maach hompaajim haajem. Maach hompaatarr k’ur, dö döju chuk’u haawai dö jʌr nʌʌ hawia, jäarau hich k’ierr hee dödam k’aa wainʌʌrrʌm hoojim haajem pabʌ̈ pöm sim gaai. Mag pabʌ̈ pöm sim t’upʌ̈iwia dösĩg pöm hompajim haajem, Döchaar.

: God creates our ancestor in the Baudó Beach; The Son of God desired so much to have Wounaan until God formed our ancestors on the Beach of Baudó. He gave each of them a surname. God dressed up in his best clothes he had and went to see his wife who was drinking a little ways away in the next house down; to his surprise he found her seducing others. So he took her and putting his fingers from both hands in her mouth, he opened and tore her openand threw her to the floor saying: "Throughout your whole life, this way you will cry for me each time you see me." This is how he transformed the woman into the moon bird. Note: The tape box indicates that the narrator is Basaliso but Chindió does not agree. The depositors (Liz and Jacque) think that the narrator is definitely the same as that of the previous resource (NOA003R108I001)., Dios Hijo tenía tantos deseos de tener wounaan hasta que Dios Padre formó a nuestros ancestros en la playa del Baudó. Le dio apellido a cada uno. Dios se vistió de lo mejor que tenía y fue a ver a su mujer que estaba tomando más abajo en otra casa; para su sorpresa la encontró enamorando a otros. Entonces la tomó y metiendo sus dedos de ambas manos en la boca de la mujer la abrió rasgándola y la arrojó al suelo diciéndole: Durante toda tu vida así llorarás por mí cada vez que me veas. Así convirtió a la mujer en el pájaro luna. Nota: La caja de la cinta indica que el narrador es Basaliso pero Chindío no está de acuerdo. Los depositores (Liz y Jacque) piensan que el narrador es definitivamente el mismo de la historia en el recurso previo (NOA003R108I001)., Dösigpien, Colombia, T7S1, Cuento 4, Hẽwandam hiewaau maach wounaan hig sĩi paawai Chi Hayau Baud mos gaai maach jöoin hompaajim haajem. Maig hagjö maach t’ʌ̃rpierr hompaak’ajim haajem. Hẽwandam hich kamisjö sim hẽerwia wajap chihöowia hich hʌʌi dö sim hoon mawia hooimaawai, hi hʌʌita deeum hemk’ooin gaai k’uk’urkajim haajem. Magbaawai Hẽwandamau chi hʌʌi hi t’oyeunaa hũjãrr barpʌ̈inaa, “pʌ hich jãg mʌ k’ĩir hoonaa mʌ hat’ee bĩe hʌrrajugui” hajim. Magta chi Hẽwandam hʌʌi hatarr nemchaai jirak haajemʌg pajim haajem.

: God forms our ancestors on the Pilisá beach; Since he couldn't form them of wood he made dolls of clay and distributed them on the Pilisá beach until he got a result. Since they were nude, he brought pieces of dirty cloth and distributed it to the men and women. There also wasn't water, so they began to search intil they found it inside a mountain, an ant brought a drop in its beak. Recorded 04/12/--between 1964 & 1966. Note: This story is repeated in resources NOA003R092I001 and NOA003R109I001., Como no los pudo formar de balso hizo muñecos de barro y los distribuyó en la playa de Pilisá hasta obtener el resultado. Como estaban desnudos trajo cortes de manta sucia y los repartió a hombres y mujeres. Tampoco no había agua, entonces se pusieron a buscar hasta encontrarlo monte adentro, una hormiga conga traía una gota de agua en su piquito. Grabado 04/12/--entre 1964 & 1966. Nota: Esta historia se repite en los recursos NOA003R092I001 y NOA003R109I001., Dösigpien, Colombia, T32S2, Cuento 4, Potap dën pödba habaawai jẽbta päart’ʌtk’anaa Pilisá mos gaaita juppigk’awia maach jöoin hompaajim haajem. Dĩes t’ʌrrk’awia t’umaam k’ʌʌnag hagdaujöo jigpʌ̈ijim haajem mor k’arrta k’ët’ëe harr haawai. Dö jʌr nʌʌ hawia hamach nʌm durragpaita baaujierram haajem järau k’aa wai nʌrrʌm.

: God's debt; God was in debt and they almost killed him. The his son went looking for him until he found him. Recorded 02/01/--between 1964 & 1966. Note: according to the notes on the tape box, it appears the speaker is José Lincio., Dios contrajo una deuda y por poco lo matan. Luego su hijo fue en busca de él hasta que lo encuentra Grabado 02/01/--entre 1964 & 1966. Nota: Segun la caja de la cinta parece que el narrador es José Lincio., Dösigpien, Colombia, T5S2P2, Cuento 1, Hẽwandam hichdëu dëbpaar hautarr pöd p’ag hauba haawai, peer hi t’õopʌ̈ijierram haajem. Mag nʌm hee chi hiewaa hi haar barwia, hich haai deeu degag haibeejim haajem hich hãd haig.

: God sends the flood; An elderly latino person told people that God was going to send a flood. When the latino said this, the women began to cry. The latino also told the people to put a raft under each person's house. In the time of the flood, a man had sexual relations with a woman and after this relation the two became stuck together and turned into a hard rock. Recorded between 1964 & 1966., Un anciano latino le dijo a la gente que Dios iba a mandar un diluvio. Cuando el latino dijo asi, las mujeres se pusieron a llorar. También le dijo el latino a la gente que pusiera una especie de balzo debajo de la casa, en cada casa. En ese tiempo del diluvio un hombre tuvo relación sexual con una mujer al hacer la relación sexual los dos se quedaron pegado comviertiendose en una dura roca. Grabado entre 1964 & 1966., Dösigpien, Colombia, T36S1, Cuento 1, Negöoyauta jaaujim haajem mʌg jẽb höju maata Hẽwandamau maach höpäaig pam. Negöojöoyau mag jaaubaawäi hʌʌin bĩedörro hajim haajem. Chi negöojöoyau jaaujim haajem. Pãach di hegar t’aipk’ierr jẽrk’a sĩubat hajim haajem. Mag dö hãdan döchaar heeta bëejim haajem. Mag dö hãd jaarta hemk’ooi hʌʌi dʌ̈i mokog pajim haajem

: Half Bald / Half Chick; Since there was no more to eat, they ate hald of a chicked that they had, and the other half went around jumping. That way, with half of his body missing, he made his owner rich before they finally ended completely his life. Note: This story is repeated in resources NOA003R012I001; NOA003R037I001; NOA003R054I001; and NOA003R084I001., Como no había más qué comer se comieron la mitad del pollo que tenían y el otro medio andaba dando saltos. Así con su cuerpecito incompleto enriqueció a su dueño antes de que acabaran completamente con su vida. Nota: Esta historia se repite en los recursos NOA003R012I001; NOA003R037I001; NOA003R054I001; y NOA003R084I001., Dösigpien, Colombia, T34S2, Cuento 1, Jãsogau hãt’ãrr pelondam jãrrcha t’oop k’öpʌ̈iwia t’oop’ëm hãbpai jĩdʌ jĩdʌ k’itaajeejim haajem. Mag k’itʌmua hich pap hat’ee p’atk’on pöm jʌr pʌawia rikk’a sĩsijim haajem.

: Halpad dies tied to a Chunga Palm; Some Wounaan were watching corn, upriver. After being there, their friends were devoured by a "halpad", and one of them flees for his life and hides under a huge tree root. When the "halpad"wound out that he was hiding there, he tries to grab him by inserting his arm through the holes, but the Woun ties the hand of the'"halpad"with the root of the Chunga Palm and dies by drowning with the water current. Recorded 06/27/--between 1964 & 1966. Note: The narrator is identified by Perry. Note: This story is repeated in resources NOA003R082I001 and NOA003R191I001., Unos wounaan estaban pajareando maíz, río arriba. Estando allá sus amigos fueron devorados por un halpad, uno de ellos huye para salvar su vida y se esconde debajo de una enorme raíz de árbol. El halpad al darse cuenta que esta escondido allí, intenta cogerlo metiendo su mano por los agujeros, pero el woun amarra la mano del halpad en una raíz con fibra de chunga y muere ahogado con la creciente. Grabado 06/27/--entre 1964 & 1966. Nota: El narrador es reconocido por Perry. Nota: Esta historia se repite en los recursos NOA003R082I001 and NOA003R191I001., Dösigpien, Colombia, T4S1, Cuento 7, Maach jöoin di marag pë k’ĩe nʌʌ hawia, halpadau hi k’apeen k’öpʌ̈ijim haajem. Magbaa hijã hagjö k’öog habaawai, jũrr hichdëu hi jua wisiguiriu jʌ̃naa pak’aar gaai jʌ̃ sĩuwia dó pierrwai t’õjim haajem, chi halpad.

: Halpad dies tied to a fiber of chunga palm; Some Wounaan were taking care of a cornfield, upriver. Their friends were eaten by a "halpad", and one of them flees to save his life and hides under a huge tree root. The halpad, after realizing he was there, attempts to grab him with his arm, but the Woun ties his hand with the root with a chunga fiber and he dies by drowning in the river. Recorded 02/20/--entre 1966 & 1964. Note: The depositors believe that it is the same narrator as that in NOA003R080I001 and NOA003R081I001., Unos wounaan estaban cuidando el maizal, río arriba. Sus amigos fueron comidos por un halpad, y uno de ellos huye para salvar su vida y se esconde debajo de una enorme raíz de un árbol. El halpad al darse cuenta que estaba escondido allí, intenta cogerlo metiendo su mano, pero el woun amarra la mano del halpad junto a una raíz con fibra de chunga y muere ahogado con la crecida del río. Grabado 02/20/--entre 1966 & 1964. Nota: Los depositores creen que es el mismo narrador de los recursos NOA003R080I001 y NOA003R081I001., Dösigpien, Colombia, T6S1, Cuento 3, Maach jöoin marag pë k’ĩe nʌʌ hawia, halpadau hi k’apeen k’öpʌ̈ijim haajem. Magbaa hijã hagjö k’öog habaawai, jũrr hichdëu hi jua wisiguiriu jʌ̃naa pak’aar gaai jʌ̃ siujim haajem.

: Halpad ends off our ancestors; While everyone is drunk, the halpad (wild animal similar to a cow) came and killed people and took them away. One of the women flees the place and goes to where her father-in-law is to take the bad news, and he gathers people to prepare to fight and kill the halpad. Note: This story appears in resources NOA003R001I001 and NOA003R029I001., Mientras todos estaban borrachos el halpad (un animal salvaje parecido a una vaca) venía mataba a la gente y se los llevaba. Una de las mujeres huye del lugar, llega donde está su suegro con la mala noticia, éste convoca a la gente y se preparan para ir al lugar y matan el halpad. Nota: Esta historia aparece en los recursos NOA003R029I001 y NOA003R029I001., Dösigpien, Colombia, T7S2, Cuento 11, Hõor t’um nagau k’ëch t’ʌnʌmich halpadau t’õowia huaajeejim haajem. Chi hʌʌi dʌrwia hich chaijöoi di haar barwia, mag jaaubaimaawai, jũrr k’ĩirk’aug wëtjierram haajem. Magta maach jöoinau halpad t’õopʌ̈ijierram haajem.

: Halpad is tied with a "virijera"; They say the halpad followed a man so the man went to hide under the root of a tree. But the man tied the halpad, his hand to the "virijera" that he had on his waist, and tied him to the root there, and the man killed the halpad. Note: This story is repeated in resources NOA003R055I001 and NOA003R082I001. Recorded between 05/05/66 and 06/12/66., Dicen que un halpad persiguió a un hombre entonces el hombre se metió dentro de una raíz de un palo. Pero el hombre amarro al halpad en la mano con la virijera que tenía puesto en su cintura y lo amarro en una raíz allí el hombre mató al halpad. Nota: Esta historia se repite en los recursos NOA003R055I001 y NOA003R082I001. Grabado entre 05/05/66 y 06/12/66., Dösigpien, Colombia, T35S1, Cuento 3, Halpadëuta woun hẽudee hẽk’ajim haajem, mamʌ mag hich hẽudee hẽk’abaadee chi woun pak’aar hee dugjim haajem. Maig wounau chi halpad juagaai pap’õsĩeu jʌ̃ sĩujim haajem, maig wounau halpad t’õojim haajem.

: Halpad kills and eats the Wounaan; A Woun and his wife and his brother went to a "chupata" upriver. While everyone was drunk, Satan came and killed each of them one by one. Only the woman was saved, who gave warning to the rest of them at home and they came prepared and killed the Halpad. Recorded 02/14/-- between 1964 & 1966 Note: The same story told in resources NOA003R029I001; NOA003R051I001; and NOA003R193I001., Un woun y su mujer, y el hermano fueron a una chupata río arriba. Mientras todos estaban borrachos vino el Halpad y los mató uno por uno a todos. Sólo se salvó la mujer, quien dio aviso a los demás en casa y estos vinieron preparados y los mató. Grabado 02/14/-- entre 1964 & 1966 Nota: El mismo cuento se narra en NOA003R029I001; NOA003R051I001; y NOA003R193I001., Dösigpien, Colombia, T1S1P1, Cuento 1

: Halpad kills many people; The say that once in the olden days, the elders were drinking. While they were drinking, a halpad came and killed everyone, but since lower down there were more people, when they found out what was happening, they came and killed the halpad. Note: This story is repeated in resources NOA003R001I001; NOA003R029I001; and NOA003R051I001., Dicen que en el tiempo antigüo los viejos estaban tomando. Mientras estaban tomando vino un halpad y mató a todos, pero como mas abajo había mas gente cuando se dieron cuenta vinieron y mataron al halpad. Nota: Esta historia se repite en los recursos NOA003R001I001; NOA003R029I001; y NOA003R051I001., Dösigpien, Colombia, T35S1, Cuento 5, Jöoin gar Jöoin dönaajem haajem. Mag ham dönʌm haigta halpad bëewia wounaan k’echjim haajem, mamʌ hag badag hõor narr haawäi mam basim k’ʌʌnau k’aug hat’aawäi mag halpad k’ech päain bëejierram haajem.

: Halpad kills many people while they are drinking; In the olden days, people were drinking and meanwhile a halpad came and killed everyone who was drinking, but only one person was saved and he went to warn other people who lived closeby. So these people went to where they were drinking and killed the halpad. Note: This story is repeated in resource NOA003R155I001., En el tiempo antigüo estaban tomando, entonces mientras ellos estaban tomando vino un halpad y mato a todos los que estaban tomando, pero se pudo salvar uno este vino a avisar a la otra gentes que vivian mas abajo. Entoces estos se vinieron donde estaban tomando y mataron al halpad. Nota: Esta historia se repite en el recurso NOA003R155I001., Dösigpien, Colombia, T35S2, Cuento 1, Jöoin gar jöoin dönaajim haajem, mag ham dönʌm haig halpad bëejim haajem mag bëewia wounaan k’echjim haajem. Mamʌ hãbpäita peerdʌjim haajem, magk’ʌʌnau hõrãg jaaubaimaa hõor mieprëwia hag dönarr haig bëewia chi halpad t’õojierram haajem.

: Halpad took everyone while they were drinking; While everyone was drunk, including the women, the halpad came and took everyone, only one woman was saved and she gave the news to her father-in-law. The father-in-law began to play the gourd and to call the halpad, and when it came, he killed him with a spear. Recorded between 06/27/66 and 07/01/66. Note: This story is repeated in resource NOA003R195I001., Mientras todos estaban borrachos, incluyendo las mujeres, vino halpad y se llevó a todo el mundo, una sola mujer se salvó y llevó la noticia al suegro. El suegro fue al lugar y se puso a tocar totumo para llamar al halpad y cuando llegó lo mató con la lanza. Grabado entre 06/27/66 y 07/01/66. Nota: Esta historia se repite en el recurso NOA003R195I001., Dösigpien, Colombia, T31S2, Cuento 2, Chi t’eerjã chuk’u hʌʌinpata k’ëch t’ʌnʌmich halpadaëu hõor t’um huaapʌ̈iwia hʌʌi hãbpai peerdʌtarrau hich chaijöoi haar jaauwimajim. Magbaawai hãp’ich sirbaadeewai chi halpad t’ʌ̃r hauwia t’utk’ërëu su t’õopʌ̈ijim haajem.

: The halpad who ate the Wounaan; A Woun and his wife and her brother went to a "chupata" upriver. While everyone was drunk, the "halpad"came and killed them one by one, all of them. Only the woman was saved, and she warned the rest of the people at home, who came prepared and killed the "halpad". Recorded 06/24/--between 1964 & 1966. Note: This story is repeated in resources NOA003R001I001, NOA003R029I001, and NOA003R193I00., Un woun y su mujer, y el hermano fueron a una chupata río arriba. Mientras todos estaban borrachos vino el halpad y los mató uno por uno a todos. Sólo se salvó la mujer, quien dio aviso a los demás en casa y estos vinieron preparados y lo mataron. Grabado 06/24/--entre 1964 & 1966. Nota: Este cuento se repite en los recursos NOA003R001I001, NOA003R029I001, y NOA003R193I00., Dösigpien, Colombia, T4S1, Cuento 3, Woun hãb hich hʌʌi dʌ̈i, hich heeumpa marag doon wëtwia nagau k’ëchp’ö t’ʌnʌmich halpadau ham t’õowia huajeejim haajem. Chi hʌʌi dʌrwia hich chaijöoi di haar barwia mag jaaubaawai, jũrr k’ĩirk’augk’a wetjierram haajem. Magta halpad maach jöoinau t’õopʌ̈ijim haajem.

: The halpad who ended with our ancestors; Note: This is a continuation of the story in resource NOA003R105. While everyone was drunk, the halpad (a wild animal which looks like a cow) came and killed people and took them. One of the women flees the place and goes to where her father-in-law is, to take the bad news. He gathers people and prepare to go to the place to kill the halpad., Nota: Esta es la continuación de cuento en el recurso NOA003R105. Mientras todos estaban borrachos el halpad (un animal salvaje parecido a una vaca) venía mataba a la gente y se los llevaba. Una de las mujeres huye del lugar, llega donde está su suegro con la mala noticia, éste convoca a la gente y se preparan para ir al lugar y matan el halpad., Dösigpien, Colombia, T7S1, Cuento 1

: The halpad who killed our ancestors and ate them; A Wouncon, his wife, and his brother went to a "chupata" upriver. While eveyone was drunk, the Halpad came and killed everyone one by one. Only the woman was saved, who returned to the home of her in-laws and spread the news about the incident, so everyone went and killed him. Recorded between 1964 & 1966. Note: The same story appears in the resources NOA003R001I001; NOA003R051I001; and NOA003R193I001. [Note: The tape box says that the narrator is Audolino, but the voice doesn't appear to change from the previous recordings.], Un wouncon su mujer y su hermano fueron a una chupata río arriba. Mientras todos estaban borrachos vino el Halpad y los mató uno por uno a todos. Sólo se salvó la mujer, quien llegó a la casa de su suegro y dio aviso a los demás en casa, entonces fueron y lo mataron. Grabado entre 1964 & 1966. Nota: La misma historia se narra en los recursos NOA003R001I001; NOA003R051I001; y NOA003R193I001. [Nota: La caja de la cinta dice que el narrador es Audolino, pero la voz no parece que cambia], Dösigpien, Colombia, T2S2, Cuento 7, Woun hãb hich hʌ̈ʌi dʌ̈i hich heeumpa marag doon wëtwia nagau k’ëchp’ö t’ʌnʌmich halpadau ham t’õowia huajeejim haajem. Chi hʌʌi dʌrwia hich chaijöoi di haar barwia jaaubaimaawai, jũrr k’ĩirk’augwia wëtjierram haajem. Magta halpad maach jöoinau t’õopʌ̈ijim haajem.

: The hunters who were the prey of a great fish; Many Wounaan went hunting but were caught as prey of hök’äk’ärmien, only one young man and his girlfriend were able to save themselves because they climbed a tree in the middle of the lake. Recorded 01/07/--between 1964 & 1966., Muchos wounaan se fueron de cacería pero fueron presa de hök’äk’ärmien, solo un joven y la novia pudieron salvarse porque se treparon en un árbol en medio del lago. Grabado 01/07/--entre 1964 & 1966., Dösigpien, Colombia, T3S1, Cuento 12, Jöoin höidaar wëtwia hök’äk’ärmieu t’um k’öpʌ̈iwia, hãba chi hẽwanpaita hich k’ãi dʌi dʌrwia t’ʌrrdö jãrr pabʌ̈ nosegdí sim gaai waaidʌtk’awia peerdʌjierram haajem.

: A hunter upriver was captured by hök’äk’ärmie; A man and his wife and brother go hunting upriver, but the older brother is prey of "hök’äk’ärmien". The younger brother and his sister-in-law return home with the news. The older relatives go to terminate the beasts. Recorded between 1964 & 1966. Narrated by Narrator #2., Un hombre con su mujer y su hermano se van de cacería río arriba, pero el hermano mayor es presa de los “hök’äk’ärmien”. El hermano menor y su cuñada regresan a la casa con la noticia. Los viejos van y acaban con las fieras. Grabado entre 1964 & 1966. Narrado por Narrador No.2., Dösigpien, Colombia, T2S2, Cuento 10, Woun hãb hich hʌ̈ʌi dʌi, hich heeumpa dök’êu hee mawia chi naam hök’äk’ärmieu k’öpʌiwia, hagk’ur maach jöoin bëewia t’um k’ëch pʌijierram haajem.

: I am the daughter of Ismare; The song has no words. Recorded between 1964 & 1966. Sung by Singer #10., La canción no tiene palabras. Grabado entre 1964 & 1966. Cantado por cantante No.10., Dösigpien, Colombia, TBS2, Música 11, Hiek’amamua hauba sim.

: I'm going to Darién and I won't be back (I'm from Orrochocó); Recorded 01/30/--between 1964 & 1966., Grabado 01/30/--entre 1964 & 1966., Dösigpien, Colombia, T5S2P1, Música 5

: I'm the daughter of Stomach; Recorded 01/30/--between 1964 & 1966. The singer's name is missing. She is identified only as "Hija de Barriga Ismare", Grabado 01/30/--entre 1964 & 1966. Falta el nombre del cantante. Ella se identifica solo como "Hija de Barriga Ismare", Dösigpien, Colombia, T5S2P1, Música 4

: The inhabitant of the river headwaters; Being from the Sigrisúa , he says to be from Cabeceras (San Juan River). There are various interruptions, although it is only one song, and in the third or last part he says he is an inhabitant from Docordó (San Juan). Recorded between 1964 & 1968, Siendo de Sigrisúa dice ser de Cabeceras (río San Juan). Hay varias interrupciones, aunque la canción es una sola, y en la tercera o última parte dice ser oriundo de Docordó (San Juan). Grabado entre 1964 & 1968., Dösigpien, Colombia, TBS2, Música 2

: I sing as requested by Perry; I am singing as requested by Perry, his wife Liz is listening to me. I won't let the young ones beat me, I will say anything in my song. Recorded between 1964 & 1966. Sung by Singer #12., Estoy cantando a solicitud de Perry, su señora Liz me está escuchando. No voy a permitir que los muchachos me ganen, cualquiera cosa tengo que decir en mi canto. Grabado entre 1964 & 1966. Cantado por Cantante No.12., Dösigpien, Colombia, TBS2, Música 13, P’erriu haupi sĩewaita hau hoo chirʌm, maagwai hi hʌʌirau hũr hoo sim. Chaainag mʌch ganpimaaugau parhoob k’ãijã hau chirʌm.

: Jerpöd (agile in throwing arrows); Jerpöd would kidnap Wounaan children and take them to his house. The Wounaan went to where Jerpöd lived and they fought with him for a long time until they killed him. On the way back home they ran into other demons who killed the Wounaan. Not everyone returned, only one did, because the mother pelican came to leave him close to home. Recorded 02/12/--between 1964 & 1966. Note: This story is repeated in resources NOA003R024I001, NOA003R163I001, and NOA003R172I001. Nota: According to the box of the tape, the narrator is Luis Angel Chamarra, but Diego things that it is possibly Rutilio Chamarra., Jerpöd secuestraba a niños wounaan y se los llevaba a su casa. Los wounaan fueron donde vivía Jerpöd y lucharon con él por mucho tiempo hasta que lo mataron. De regreso a casa se iban encontrando con otros demonios que mataban a los wounaan. No todos llegaron sino solo uno porque la madre pelícano lo vino a dejar cerca de la casa. Grabado 02/12/--entre 1964 & 1966. Nota: Esta historia se repite en los recursos NOA003R024I001, NOA003R163I001, y NOA003R172I001. Nota: De acuerdo con la caja de la cinta, el narrador es Luis Angel Chamarra, pero Diego piensa que posiblemente es Rutilio Chamarra., Dösigpien, Colombia, T3S2, Cuento 3, Warrgar negöonau maach jöoin hãbamʌg jʌrp’ë hauwia hamachdëu hampierr haajeejim haajem. Maimua hãb dʌrwia jũrr Bogotá maach pörnaan haar barwia nemhĩgk’ayimajim haajem, negöonau hamach dʌ̈i nem k’aigba wau nʌm.

: Jẽrpöd, a mythological hero; Jerpöd (mytholopgical hero) lived in New Beach, behind the beach of Pomeño, in the mouth of the Docampadó river. From there, he would go to Jöoin p’öbör (Noanamá) to kidnap children while they ate guava in the riverbanks; he would bind their eyes and take them. They say he was killed by an orphan, by one of the Wounaan children he had kidnapped. Note: This story is repeated in resources NOA003R024I001; NOA003R048I001; and NOA003R172I001., J?rpöd (héroe mitológico) vivía en Playa Nueva, detrás de la playa de Pomeño, en la desembocadura del río Docampadó. Desde allí se iba a Jöoin p’öbör (Noanamá) a raptar niños mientras andaban comiendo guavitas en las orillas; les vendaba los ojos y se los llevaba. Dicen que fue muerto por un huérfano, por uno de los niños wounaan que él había raptado. Nota: esta historia aparece en los recursos NOA003R024I001; NOA003R048I001; y NOA003R172I001., Dösigpien, Colombia, T31S2, Cuento 4, Jẽrpöd, Dök’ãpdö k’ierr Pomeño mos hëugar Playa Nuevata sĩejeejim haajem. Jãmmuata Jöoin P’öböröm chaain jĩgk’aan maajeejim hanʌm; chaain dök’ichjõ jõ nʌm haig pʌr hauwia dau p’ãarjʌ̃naa harrjeejim haajem. Wauchöota hi t’õojim haajem. Página 27 gaai hich hag nemh»gk’aapai jöoi Arcindo Carpiou h»gk’a sim

: The Jẽrpöd, whose name cannot be translated; When this story is told by people of Sigrisua or Docampado, they say this hero did not live in the ourskirts of the mouth of the Baudo river but in the beach of Pomeño in the mouth of the Docampadó river. Listening to the version told by people of San Juan is a little different. Those of Sigrisúa y Docampado say that Jerpöd was killed by an orphan. Recorded 07/26/-- between 1964 & 1966. Note: This story is repeated in resources NOA003R024I001, NOA003R048I001, and NOA003R157I001., Cuando este cuento es narrado por los de Sigrisúa o por los de Docampadó dicen que este héroe no vivía en las afueras de la desembocadura del río Baudó sino en la playa de Pomeño en la desemboadura del río Docampadó. Escuchar la versión de los San Juaneños es un poco diferente. Los de Sigrisúa y Docampado dicen que Jerpöd fue muerto por un huérfano. Grabado 07/26/-- entre 1964 & 1966. Nota: Esta historia se repite en los recursos NOA003R024I001, NOA003R048I001, y NOA003R157I001., Dösigpien, Colombia, T33S2, Cuento 1, Sigsuapienau Dök’ãpdöpien dʌ̈imua hĩgk’aawai Jẽrpöd Baud k’ierr döjãag k’aba Pomeñota sĩejeejim haajem, Dök’ãpdö k’ierr. Döchaarpienau hĩgk’aajem dʌ̈i hũurwai bʌ̃ʌr k’ĩet’uu sim, ham hiek wauchoouta Jẽrpöpd t’õjim haajem. Hich møg nemh»gk’aapai página 14 gaai Vicente Carpiou h»gk’a sim

: Joso riel (real bear); A real bear captured a woman who was washing and had a son with her who he named Juan of the Little Bear. He was so strong that no one was able to resist him; even, they say that he killed a giant. Recorded between 07/19/-- and 07/25/--between 1964 & 1966. Note: Perry Kennedy announces the narrator., Un oso real raptó una mujer que estaba lavando y tuvo un hijo con ella al que llamó Juan del Osito. Era tan fuerte que nadie fue capaz de resistirle; incluso, dicen que llegó a matar a un gigante. Grabado entre 07/19/-- y 07/25/--entre 1964 & 1966. Nota: Perry Kennedy anuncia al narrador., Dösigpien, Colombia, T33S1, Cuento 2, Oso Realauta negör hʌʌi put jã sim dʌr harrwia hag dʌ̈i chaai hootarrta Juan de lo Josito haajeejim; maata nem jua t’eega hi jua jʌ̃mju k’ʌʌn chuk’u haajeejim haajem, hich garmua gigantepjã t’õopʌ̈ijim haajem.

: Juancito; Every time his brother wanted something, Juancito would bring him things from the giant. This came to occur so often that one day Juancito brought the giant himself locked in a box, and right away at home everyone began to fight with the giant until they killed him. Note: This story is repeated in resource NOA003R223I001., Cada vez que su hermano quería algo, Juancito le traía las cosas del gigante. Tanto fue así que un día Juancito trajo al mismo gigante encerrado en una caja, una vez en casa se pusieron a pelear con el gigante hasta matarlo. Nota: Esta historia se repite en el recurso NOA003R223I001., Dösigpien, Colombia, T7S1, Cuento 5, Juancitoou hich naamua nem higbarmpierr gigante nemta haibeejeejim haajem. Mag sĩi hawia, Juancitoou chi giganteecha cajón pöm sim hee wajap meerpnaa jap hee hamach di haar haibëewia, deg jãau nʌʌ hawia, hich garmua chi gigante t’õopʌ̈ijim haajem.

: Juancito fights with the giant; There was a Latino man who was married to a woman. This Latino lived in a very large city. After being there for a long time he took another wife and so he had two wives., Este fue un latino que tenía su mujer. Este latino vivía en una ciudad muy grande. Después de estar por mucho tiempo en ese lugar este cogió otra mujer ya tenía dos mujeres., Dösigpien, Colombia, T38S2, Cuento 4, Ma negörr hajim haajem, mag negörr hʌʌi waisĩejim haajem. Mag negörr p’öbör pöoma sim hee sĩejim haajem. Maimua maig sĩi hawia mag negörröu deeum hʌʌi haujim haajem, hʌʌi numi pabaadëjim haajem.

: Juancito with the wild boar hog; Of the four sons that a man had, one had acne, Juancito. This man had a cornfield that the pig had been eating, so in order to catch it, the man's sons had to sleep there; which was difficult until Juancito the acne boy was able to catch it. After that they went to another place, and Juancito tried to follow them but they kept making fun of him. After a very hard life, Juancito marries the daughter of the king and becomes rich. Note: There is a little but missing from the end of the story. Note: Tis story is repeated in resource NOA003R140I001., De los cuatro hijos que tenía un señor, uno era buboso, Juancito. Este señor tenía un maizal que se los estaba comiendo el puerco y sus hijos para poder cogerlo tenían que dormir allá; algo difícil para ellos hasta que Juancito el buboso logró atraparlo. De allí se fueron para otro lugar, Juancito trataba de seguirlos pero lo que le hacían era pura maldad. Después de una vida muy dura Juancito se casa con la hija del rey y se hace rico. Nota: Al cuento le faltó un pedacito para terminar. Nota: Esta historia se repite en el recurso NOA003R140I001., Dösigpien, Colombia, T7S2, Cuento 7, Maach jöoin nag wauwia dönau pöm sim hʌ̃r döhʌan wëtjim haajem. Mag dönau jãrr nosegdí bʌ̈ pöm sim hoodʌnarr gaaimua do hee dʌrbabak’aajeejim haajem. Maimua hõor wëttarr hee hãba dichpaita nemhökgau pöd maba mag pa gaai t’ʌba sĩsijim haajem. Mag nʌm heeta maach heegar k’aiman pöm sim pierrwai hag gaai dʌrbawia degag bëejim haajem. Hagk’ur chi nemmeurrk’anjã mag dönau heem t’õopʌ̈ijierram haajem.

: Juan the Dummy with the hog; Juan the Dummy went to take care of a cornfield that a hog who could talk was eating; the next day when the owner of the cornfield came, Juan the Dummy had the hog tied up. His mother told him to sell the children of the hog and he became rich. He brothers became his servants. Note: This story is repeated in resource NOA003R101I001., Juan Bobo se fue a cuidar un maizal que se lo estaba comiendo el jabalí que hablaba; al otro día cuando llegó el dueño del maíz Juan Bobo tenía el jabalí enlazado. La mamá lo puso a vender sus puercos y se convierte en rico. Sus hermanos se convirtieron en sus siervos. Nota: Esta historia se repite en el recurso NOA003R101I001., Dösigpien, Colombia, T22S2, Cuento 5, Jabalíiu pëdau k’ö harrumta Juan Boboou t’ʌa sĩejim haajem; hag noram chi papk’ʌ hoocheewai Juan Boboou chi jabalí jʌ̃gadau hök’õo wai sĩejim hanʌm. Chi hãdau hich k’ũs përpibaawai per simua rikag pajim haajem. Hi naam k’ʌʌn jũrr hi chognaanag paauk’ajim haajem.

: The Kunas keep a Woun as a pig and they eat him; Two young men went upriver to fish, and there they found other people who invited them to drink. They were Kunas and ate the older brother. So the woman who distributed the liquor warned the young man who was fenced in to not drink so much liquor; because she wanted to run away with him. Recorded 04/12/-- between 1964 & 1966., Dos jóvenes se fueron para arriba a pescar, allá encontraron a otras personas por quienes fueron invitados a tomar. Éstos eran kunas y se comieron al hermano mayor. Entonces la muchacha que repartía el guarapo aconsejó al joven que tenían encerrado diciendo que no tomara demasiado guarapo; es que ella quería fugarse con él. Grabado 04/12/-- entre 1964 & 1966., Dösigpien, Colombia, T32S2, Cuento 5, Chaain numí marag doon wëtwia, hõor hoowia hamach dʌ̈i hëeurrbaawai ham dʌ̈i wëtwia chi naam k’öpʌ̈ijim haajem. Mak’ʌʌn jurannaan hajim haajem. Magbaawai hʌʌi daupeer chi nagchö jig sĩerrau chi heeum mag chekedeg p’ãarwai narrag nag pöm döpiba jaaujim haajem hichdëu hag dʌ̈i dʌr maju k’ĩirju sĩerr haawai.

: The Kunas take a woman after killing her husband; They say that man went fishing with his wife and up there the Kunas killed the man and took his wife. After taking her, the Kuna took the woman for himself. So the brother of the man who had been killed went behind the woman looking for his ex-sister-in-law and finally he arrived there. Afterwards all of the elders left and after going they killed all the Kunas. Recorded between 04/02/-- and 04/07/--between 1964 & 1966., Dicen que ese hombre fue a pescar con la esposa y allá arriba los gunas mataron al hombre y se llevaron a la mujer. Habiendo llevado el guna lo cogio para él a esa mujer.entonces el hermano del que lo mataron se fue detrás de la mujer buscándolo a la excuñada y por fin llegó alla. Después se fueron los viejos y habiendo ido mataron a todos los gunas. Grabado entre 04/02/-- y 04/07/--entre 1964 & 1966., Dösigpien, Colombia, T37S1, Cuento 3, Mag woun hich hʌʌi dʌ̈i döhʌan mawia jurannaanau chi jaai t’õopʌ̈iwia chi jurannaanau chi hʌʌi harrjim haajem. Mag harrwia warag chi juranau chi hʌʌik’a haujim haajem, mag harrtarr hẽudee chi woun meetarr heeumua hag hẽudee hook’aan mawia hich wachhʌʌi harr haar barjim haajem. Maimua hẽudee chi jöoinau wëtwia t’um k’echpʌ̈ijim haajem, mag deeu chi hʌʌi hich di haig waibëejim haajem.

: The Kunas throw arrows at the Wounaan from the Guiniguini mountain; Previously, our ancestors always went upriver to sell their products, but before reaching the population of the Latinos there was a tall mountain. But our ancestors didn't know that in that mountain there were Kunas. But one day our ancestors went to the headwaters but as they were going up the Kunas threw arrows at our ancestors. Note: This story is repeated in resources NOA003R023I001; NOA003R093I001; NOA003R138I001; and NOA003R205I001. Recorded 04/07/-- between 1964 & 1965., Anteriormente nuestros viejos siempre iban para arriba a vender sus productos, pero antes de llegar a la población de los latinos había una montaña grande. Pero nuestros viejos no sabían que en esa montaña había los gunas. Pero un día nuestros viejos fueron para la cabecera pero mientras iban para arriba los gunas les tiraron a nuestros viejos con la flecha. NOA003R023I001; NOA003R093I001; NOA003R138I001; y NOA003R205I001. Grabado 04/07/-- entre 1964 & 1965., Dösigpien, Colombia, T37S1, Cuento 5, Warr maach jöoin dok’ẽwãgta nem përaan maajeejim haajem. Mamʌ mag negöon p’öbör haar barjunawe durrsĩ pöm sim sĩejjeejim haajem. Mag durrsĩ gaai jurannaan nʌm maach jöoinau k’auba naajeejim haajem. Maimua k’ãai hãb maach jöoin dok’ẽwãg wëtjim haajem, mag ham marag wëtumta jurannaanau ham chook’ierrau dʌrp’öbaadëjim haajem.

: The kuna who became the best friend of the wounaan; The parents and brothers of a young kuna were assassined by other savage kunas, then the young kuna becomes good friends with the wounaan. Note: This story is repeated in resources: NOA003R011I001; Cuento NOA003R015I001; NOA003R097I001; NOA003R142I001; NOA003R130I001; and NOA003R185I001., Los padres y hermanos del joven kuna fueron asesinados por otros kunas salvajes, luego se hacen buenos amigos con los wounaan. Nota: Esta historia se repite en los recursos NOA003R011I001; Cuento NOA003R015I001; NOA003R097I001; NOA003R142I001; NOA003R130I001; y NOA003R185I001., Dösigpien, Colombia, T2S1, Cuento 3, Juran chaai hi dënnaan chi k’õrp’imnaanau k’ëch pʌ̈iwia wounaan dʌ̈i k’apeerk’atarr.

: The Kuna youth who became a friend of the wounaan; The parents and brothers of the young Kuna were killed by savage Kunas, and then the young Kuna became good friends with the Wounaan. Narrated by Narrator #4 Note: The same story is repeated in resources NOA003R011I001; NOA003R097I001; NOA003R142I001; NOA003R130I001; and NOA003R185I001, Los padres y hermanos del joven kuna fueron asesinados por kunas salvajes, luego se hacen buenos amigos con los wounaan. Narrado por Narrador No.4 Nota: La misma historia se cuenta en recursos NOA003R011I001; NOA003R097I001; NOA003R142I001; NOA003R130I001; y NOA003R185I001, Dösigpien, Colombia, T2S1, Cuento 7, Juran chaai hi dënnaan chi k’õrp’imnaanau k’ëch pʌiwia wounaan dʌi k’apeerk’atarr.

: The k’ibjurmia (beings similar to the Wounaan) who killed the Wounaan children; There was a man who had four children, all boys. The three oldest ones went out for an adventure one by one; but all of these were killed. The youngest brother went to follow the foot tracks of his brothers and found those of the people who had killed them; finally, the others went and exterminated all of them. Recorded 02/20/--between 1966 & 1964. Note: It is Diego's idea that the narrator is Basaliso, but the depositors were unable to reach a definite conclusion about this. The box of the tape does not identify Basaliso as a narrator. Liz thinks that both sides are backwards and that Basaliso is actually Raúl., Había un hombre que tenía cuatro hijos, todos varones. Los tres mayores salieron de aventura uno por uno; pero todos fueron muertos. El último de los hermanos salió siguiendo los rastros de sus hermanos y dio con los que causaban la muerte de sus hermanos; finalmente, los demás fueron y acabaron con todos ellos. Grabado 02/20/--entre 1966 & 1964. Nota: Es la idea de Diego que el narrador es Basaliso, pero nosotros no pudimos llegar a una conclusión definitiva si esto es correcto. La caja de la cinta no identifica a Basaliso como el narrador. Liz piensa que los lados están al revés y que Basaliso es en realidad Raúl., Dösigpien, Colombia, T6S2, Cuento 1, Maach jöoin chaain jayap wai sĩejim haajem, chi hemk’ooin happai. Chi naamk’ʌʌn durr p’ʌraan hãhãbdö wëtjierram hanʌm, mak’ʌʌn t’umwe k’ëchpʌ̈ijerram haajem. Magbaawai jũrr chi hẽudeecharam hich naam k’ʌʌn bʌ̈ hee mawiahich naamk’ʌʌn k’ëchtarr k’aug haujim haajem. Mag maach jöoinau t’um k’ëchpʌ̈ijim haajem.

: The K’ibjurmia (beings similar to Wounaan) who killed Wounaan children; There was a man who had four sons, all boys. The three eldest left for an adventure, one by one; but all of them were killed. The last of the brothers left to follow the footprints of his brothers and encountered the prints of those who had killed his brothers; finally, the rest of the Wounaan went to kill all of the enemies. Note: The same story appears in resource NOA003R090I001., Había un hombre que tenía cuatro hijos, todos varones. Los tres mayores salieron de aventura uno por uno; pero todos fueron muertos. El último de los hermanos salió siguiendo los rastros de sus hermanos y dio con los que causaban la muerte de sus hermanos; finalmente, los demás fueron y acabaron con todos ellos. Nota: La misma historia aparece en el recurso NOA003R090I001., Dösigpien, Colombia, T20S2, Cuento 2, Maach jöoin chaain jayap wai sĩejim haajem, chi hemk’ooin happai. Chi naamk’ʌʌn durr p’ʌraan hãhãbdö wëtjierram hanʌm, mak’ʌʌn t’umwe k’ëchpʌ̈ijerram haajem. Magbaawai jũrr chi hẽudeecharam hich naam k’ʌʌn bʌ̈ hee mawia hich naamk’ʌʌn k’ëchtarr k’aug haujim haajem. Mag jũrr maach jöoinau mak’ʌʌn t’um k’ëchpʌ̈ijim haajem.

: The latino with his sons Pedro, Diego and Juancito; A latino had leprosy, and he had three sons; Pedro, Diego, and Juancito. He told his sons that he would pay a trunk of money to the person who could get him medicine. The sons went to look for medicine, but when they found the medicine the middle brother killed his brother Juancito. Recorded between 03/25/-- and 04/02/--between 1964 & 1966. Note: This story is repeated in resources NOA003R008I001 and NOA003R017I001., Un latino tenía mucha lepra, el tenía tres hijos, uno era Pedro, Diego y Juancito. Les dijo a sus hijos que le pagaría un baúl de dinero al que le consiguiera la medicina. En verdad los hijos se fueron a buscar la medicina, pero cuando consiguieron la medicina el hermano del medio mato a su hermano Juancito. Grabado entre 03/25/-- y 04/02/--entre 1964 & 1966. Nota: Esta historia se repite en los recursos NOA003R008I001 y NOA003R017I001., Dösigpien, Colombia, T37S1, Cuento 1, Negöojöoi p’ĩedau waisiejim haajem, hi chaain t’ãrjũp waisĩejim haajem: Hãb Pedro, Diego y Juancito. Hich chaainag jaaujim haajem hich hit’ee bënhë waipierrum k’ʌʌg p’atk’on baaudi hãb p’agju hajim haajem. Maimua chadcha chi bënhë jʌraan wëtjim haajem, mamʌ chi bënhë baau hat’am haig chi jãrramua hich heeum Juancito t’õojim haajem.

: Luisa eulogizes her husband with her song; The lyrics of the song are "I am the daughter of Conquista". Unsure if the song is the same as the previous recording. (NOA003R004I001). Recorded 02/15/-- between 1964 & 1966., La lírica de la canción es "Yo soy la hija de Conquista". No está claro si la canción es la misma de la grabación previa. (NOA003R004I001). Grabado 02/15/-- entre 1964 & 1966., Dösigpien, Colombia, T1S1P2, Música 2, Mʌʌn Conquista k’a damau

: A man and his wife fight against a halpad; A young man flees to the headwaters of the river with his girlfriend and they fight against the demon and kill him. Later, they return to the home of the father-in-law and lived happily as a family. Recorded between 1964 & 1966. Note: This story is respeated in resource NOA003R046I001., Un joven huye a la cabecera del río con su novia y luchan con el halpad y lo matan. Luego, regresa a casa de su suegro y vivieron muy felices como familia. Grabado entre 1964 & 1966. Nota: Esta historia se repite en el recurso NOA003R046I001., Dösigpien, Colombia, T3S1, Cuento 1, Woun hich hʌʌi dʌ̈i marag nem k’oon mawia mepeer (halpad) dʌ̈i jãau nʌʌ hawia maach jöoinauchi halpad t’õopʌ̈ijierram haajem.

: A man and his wife fight with the "halpad"; A young man flees to the headwaters of the river with his girlfriend and they fight with the halpad and kill him. Later, they return to the house of the father-in-law and they live happily as a family. Recorded 02/09/--between 1964 & 1966. Note: this story is repeated in resource NOA003R033I001., Un joven huye a la cabecera del río con su novia y luchan con el halpad y lo matan. Luego, regresa a casa de su suegro y vivieron muy felices como familia. Grabado 02/09/--entre 1964 & 1966. Nota: Este cuento se repite en el recurso NOA003R033I001., Dösigpien, Colombia, T3S2, Cuento 1, Woun hich hʌʌi t’õowia, dʌr mawia dök’ẽumaar sĩeimajim haajem. Maimua hãkõs durr hich chaainpa mawia, haar warag durrk’a naaimajim haajem, hãkõsag paauk’awia.

: The man and monkeys fought with arrows; The old man brought his son downriver, as he told him that they should go downriver. They came down and as they say there are many monkeys downriver, so as they were going along the river bank they say a herd of monkeys that jumped to the land and started shooting arrows and since the older man also had arrows, he also shot at the monkeys. Recorded 07/10/--between 1964 & 1966., Entonces el viejo lo trajo para abajo a su hijo, porque dijo hijo vámonos para abajo. Se vinieron para abajo como decían que había muchos monos, al venir para abajo por la orilla vieron una manada de monos enseguida se saltaron a tierra y empezaron tirar con la flecha y como el viejo también tenía su flecha también tiraban. Grabado 07/10/--entre 1964 & 1966., Dösigpien, Colombia, T39S1, Cuento 1, Magu, magua jöoirau jʌr haibëejim haajemka badag majũ hiewaa hajim haajem. Jöoyau wëduraa harrau, mag nem poor nem sĩerrarr hanʌmugua badag hurumugua deeu döhigaau k’ech hurum carajo, hẽu t’ʌnʌm carajo durrpaauk’awi jöoyaujã hichãb waisĩerr haa jöoyau carajo dʌ̈i p’ip’isk’am.

: The man cured in the bellybutton with bat (The Kunas take the wife of the Woun); P’ap’awí and his wife went fishing, they found two men (Kunas), who obliged them to go drinking. They had to fight each of them, taking out their eyes, throwing him downriver in his own boat, and they took his wife for themselves. The blind man reached home with the news, and the town went and ended those Kunas. Note: This story is related to the story in resources NOA003R099I001 and NOA003R032I001., P’ap’awí y su mujer se fueron de pesca, encuentran a dos hombres (kunas), estos lo obligan a ir con ellos a tomar. Tuvo que luchar con cada uno de ellos, le sacaron los ojos, lo echaron aguas abajo en su misma piragua y se llevaron a su mujer para ellos. El ciego llegó a la casa con la noticia, el pueblo fue y acabó con esos kunas. Nota: Esta historia está relacionada con la de los recursos NOA003R099I001 y NOA003R032I001., Dösigpien, Colombia, TAS1, Cuento 1, Woun p’ap’awíiu p’oo sĩerr hich dʌ̈i marag döhʌan mawia hõor numí döhi gaau narr k’ʌʌnau polajuas hamach haar doon harrjierram haajem. Mam, chi jurannaan dʌ̈i jãau nʌʌ hawia, pʌrnaa hi dau jẽuk’anaa hich jap heepai badag jẽent’ẽupʌ̈iwia hi hʌʌi hamach hat’ee harrjierram haajem. Mag k’itʌmua hich k’apeen haar barwia jaaubaimaawai wëtwia mak’ʌʌn jurannaan k’ëchpʌ̈it’urjim haajem. Mʌg nem hĩgk’aa ya hĩgk’ajim T7S2 gaai cuento #5 maimua T2S2 gaai cuento #11.

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Wounaan Oral Traditions and Music, Lapovsky Kennedy Collection, 1964-1966

Tradición Oral y Música Wounaan, Colección de Lapovsky Kennedy, 1964-1966

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