Javier Heraud used to say that true masters generally are the best friends because they teach by accompanying us. The Amauta Mariategui, more than teaching me to walk through life, still shows me that life is made by infinite simultaneous pathways, thus immediately after one takes a step forward, one invents. Tribal is the most recent music delivery of Manongo Mujica, it teaches my memory to share in common fireplace…His music unveils a language that comes from far away and beyond. I feel that it is a multi-pentasyllabic language, at the same time elusive and transparent, due to the recurrent silences that, as singers of Amazon language do, configure its unpredictable plot. However, those pauses of quiet appearance start knitting phrases and sequences and welding emotions. The silences of Manongo represent another way to continue musicalizing us, mainly due to their fundamental role in fusioning, rather than unifying. They are really different words, not silent, nor absent. Depending on how we pronounce them, we get diverse symbolic meaning of the rest of the words (I mean the “other” resonances, visibly audible) and depending on the life of the man, in his reason of existence that resides within music and his passion of being within poetry. I do not know well how this happens in the natural spells of Manongo Mujica’s creations; I only feel that the tension and extension of his silences vary according to the nomad intention of his language as a whole and also according to the feelings that he highlights or ignores through the scales of knowing that he shares whenever he creates; and I know that within his affects and effects we are represented as ascended beings, as usual and temporary listeners, as co-creators and perpetual accomplices.