The Mbya Guarani make comparison of the sondaro or xondaro with the martial arts. Don Arthur Benite, reporting of Katia Dallanhol, says there is a dance to learn how to fight, a preparation for war, a training that the ancients were the same thing happens to the white, now are karate, capoeira, the same thing (2002: 83). The danzada war, in the case of the Guarani, is against the spirits of the diseases, as in a myth of the Choctaw, indigenous group in North America, collected around 1822. In the myth, the origin of ball games occurred in an era of diseases to make that men were able to fight, and dances were introduced to prepare the minds and character of the people of (Levine, 1997: 198-199). The nandeva claim that the Kaiova make jeroky as army, but they, the nandeva, no. The same thing I heard among the Kaiova. Strong otherness among them is always marked, and pacifist discourse appears there attributed characteristics linked to aggression as being aspects of the other.
The choreographies of the analyzed ritual and el uso de metaforas military to describe to the gods and their assistants and ritual performances refer to characteristics of hierarchy and power in the Guarani shamanism. Aligned kaiova choreographies are called onesyru, Word translated by Chamorro as a display in a row (1995: 164) ornaments. Informants gave me as examples of onesyru aligned rays and the image of authorities in a row at a ceremony. Choreographic formations composed of aligned participants presented a sort that reminds guerreras10 formations. There is also a hierarchical organization in the position of people, remained the driver of the ritual in the center of the line, followed by his main assistants, and so on. Dancers with less ability to remain in the tips. The repeated use of the term respect also refers to a notion of hierarchy, which is lived in rules of etiquette ritualizan and are of beauty to the activities.