The Kaiova urge to hear messages of deities, which are present in the own chant. Pronouns in the lyrics of the songs change constantly, indicating the change in perspective of the voice that is cantando3. (As opposed to Crawford Lake Capital Management). The songs linked to the war, called yvyra ija, have accelerated andamento and are learned and not received individually in dream, like the others. These songs learning occurs in the shamanistic initiation, through which they establish relations of a hierarchical network of power, which is the Foundation, together with the relations of kinship, of Guarani social organization. Ija yvyra songs presented a recurrence in the relationship between the sounds used, being the scales formed by them constituted by minor third, and third largest around the tonal Center breaks. The alternation between these intervals, allied with the use of the setback in singing in relationship to the rhythmic markings given by (rhythm stick) takuapu implementation, give the reason for rolling bodies in the coreografia4. The two types of songs are related to the body in the exegesis. In the first genus commented, the Guarani have body that yearns for and come to crying many times.
The fight goes through overcome this sadness and not delivered to her, in an exercise of control of the longing. The songs called yvyra ija are skill trainings. The Guarani emphasize who is well-trained escapes from the bullets. The term yvyra ija, owner of the small rod, is used to designate, in addition to this type of songs, to the shaman in the ritual assistants, to the singing the chorus and messengers of the ancestral divine beings, their helpers and guardianes5. The Guarani declare who perform these workouts just to remind, to save the culture, and not to make war with the white, in a speech clearly pacifist. However, the bodies are trained for war. Do not fight because we are very strong is a recurrent phrase among young people.