Taking a spiritual journey through our Latin America through original instruments and ancestral, testimonial and ethnic music is a fundamental part of our lives. It is to revive the expressions that the songs and melodies put in that invite us to dream in other places, whose notes coming from the instruments manage to make us feel alive.

To the comprehensible elements constituted by sound and rhythms, they join in music
primitive other properties of expression, voice, dynamics and agogic, in short, which are difficult to define.

But such media have little aesthetic significance; they serve more in the aspect of music as a function of an increasingly complex way of life.

The sound of musical instruments takes you to the landscape for which they were created and they explain the culture of the places to which they put a soundtrack. We invite you to find a flight to your adventure and thus travel our Latin America through its instruments.

The object of the use of musical instruments, their cultural significance or any extra-musical circumstance, decided more or less what should or should not appear.

Those beautiful melodies still dominate us, serving a primitive natural devotion.

In the melodic formulas for spells, the entire contour of the forest is imitated with its sounds, the cries and whistles of birds and other animals.
The sorcerers are transported, thanks to their monotonous repetitions of the same simple song and also with potingues, into a kind of trance, which gives them superior strength and the gift of prophecy.
Many times in the same way conjure up the spirit that dominates a sick person. Thus, many times, these sorcerers are successful, although this is due more to the firm faith of the "patient".
But also the pleasure of music, without any fixed purpose, exists among these races. It is interesting to contemplate how isolated people create intuitively, with its simple flutes, small motifs trying one or another improvised phrase.

From a spiritual sentiment, Miguel de la Cruz expressed: “There is no forgetfulness, they underlie, yes, lethargic, in human memory, fragmentary codices, non-objective chronicles at the time, copies of copies. Every so often they emerge to found a reality. ... What seemed an inert force, suddenly removes invulnerability, establishes a surface and transmutes its links. Nothing is ever the same in the circumstantial anecdote and in the desire, but everything begins again as in the first morning of the origin ".

More material expressions should be seen in these musical instruments as an activity of the spirit, a vision that observes us from far away, just to remind us that the archaic and legendary "Artisan Art" of NUESTRA AMERICA is discovered in ourselves.

And taking some beautiful phrases from Mercedes Liska in her writing “The music of Our America and its dissonant notes in power relations: she proposes that there is an underlying Latin American knowledge or way of being that has not been“ digested ”by the Academy, little valued as a place of knowledge or thought production.

When circulating through different social processes, in which music occupied a central place in the construction of Latin American identities, we see that notions such as discipline or opacity of popular culture, exoticism, emergence and resistance, have configured the musical map of the region. Music is shaped as a space for recognition and surveillance, a political instrument whose effects are never entirely determined. Since the conquest of America, the sound has served as a strategy of social discipline at the same time that it was constituted as the space for collective effervescences and the construction of subjectivity.

Trying to avoid the nostalgic outcome to which the remission of the "sixties ghost" can lead us, which sometimes prevents us from seeing the intensity of what is happening in the present, a possible approach arises from envisioning the Latin American involved in common creative horizons where the appropriation of different knowledge acquires a multiplicity of readings of reality.

So what is Latin American music? It is a complex object, overwhelmed by reason but traversed by techniques of power. Nor is it possible to approach it apart from its relationship with the cultural industry. It bears in its bosom the mark of tension, the detection of what is emerging, that which is replenished every time we listen to it and reverberates in our body, challenging us, challenging us to movement, debauchery, revolution.

By transmission of biopolitics, if domination is anchored in bodies, music (which is above all body) contains the vision of the possible that is so feared and therefore the interest in domesticating it.

Finally, where discursive constructions become elusive, music allows us to experience close “others”, inhabit those bodies. Vibrate with the quena and the sikus of the Aymara highlands; dance cumbia, merengue or reaggeton; improvising with rap or singing a son, are experiences that make us play at being “others”, merge with them, offering us ways of relating to different knowledge, ways of living or ways of creating ”