Sistema de Información Científica Redalyc
Red de Revistas Científicas de América Latina y el Caribe, España y Portugal
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The significance of the sonic, especially of vocal music, in the con - text of animism and perspectivism was hitherto underestimated in anthropological theory. Working on examples of Shipibo-Konibo magical songs from the author’s own ethnomusicological fieldwork recordings, in this paper it is proposed that the first-person experience of médicos (healers or sorcerers) has to be considered most valuable for interpreting structures of relationships between humans and non-humans. This experience surfaces most obviously in singing styles and lyrics of songs performed by médicos in the current state of interaction with non-humans during ritual curing, worshipping, or fighting. Results obtained from this analysis include: 1) The ascription of consciousness and human or humanoid physicality to non-humans is the result of the médico’s perceptions during musically induced or controlled altered states of perception and cognition (ASPC); 2) The transforma - tion into and identification with non-humans involve full conscious experience by the médico and therefore pertain to the highest level of evidentiality in Shipibo discourse which is ontologically determining; 3) Human physicality and compe - tence of perception and action is not universal among all beings but is a matter of grading dependent on magical and practical powers of the respective species; 4) A “sonic perspectivism” allowing for agency in the construction of perspectives, and an “ambient multinaturalism” extending the notion of transformation from body to environment, are introduced by analysing sonic phenomena. Finally, the author proposes to focus more on indigenous praxis than on analysis and comparison of narratives in order to understand indigenous ontologies.

Palabras clave: Shipibo-Konibo, vocal music, animism, perspectivism, Peru, 21 st century.
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Universidad Autónoma del Estado de México
Sistema de Información Científica Redalyc ®
Versión 3.0 | 2017