{"id":5905,"date":"2024-10-18T13:03:09","date_gmt":"2024-10-18T11:03:09","guid":{"rendered":"https:\/\/www.shelltonewhaleproject.org\/?page_id=5905"},"modified":"2026-07-21T10:02:04","modified_gmt":"2026-07-21T08:02:04","slug":"la-conexion-perdida","status":"publish","type":"page","link":"https:\/\/www.shelltonewhaleproject.org\/es\/the-lost-connection\/","title":{"rendered":"La conexi\u00f3n perdida"},"content":{"rendered":"\n
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Durante miles de a\u00f1os, las ballenas jorobadas han mantenido v\u00ednculos duraderos con los seres humanos que viven cerca de la costa. En todo el mundo, buscan acercarse a las personas, compartir momentos, nadar juntas e intercambiar sus cantos, excepto en el Caribe\u2026<\/h3>\n
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Pero, \u00bfpor qu\u00e9?\u00a0<\/h1> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n
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\u00bfC\u00f3mo podemos explicar este fen\u00f3meno?\u00a0<\/h3> <\/div>\n<\/div>\n\n
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Para entenderlo, debemos situar la relaci\u00f3n entre las ballenas y los pueblos ind\u00edgenas en un contexto que se remonta a miles de a\u00f1os atr\u00e1s. Cuando los europeos exploraron el Norte en el siglo X, quedaron fascinados por los v\u00ednculos que exist\u00edan entre los nativos y las ballenas. La literatura medieval describ\u00eda el \u00c1rtico como una tierra habitada por \u00abpeces monstruosos\u00bb y por personas capaces de invocarlos por arte de magia.<\/p>\n

Incluso los relatos de exploradores y misioneros, en los que describ\u00edan la caza y el reparto de las ballenas, estaban te\u00f1idos de misticismo. En 1938, la antrop\u00f3loga Margaret Lantis habl\u00f3 de un \u00abculto circumpolar a la ballena\u00bb entre los i\u00f1upiat, los inuit y otros pueblos del norte, y demostr\u00f3 este v\u00ednculo a trav\u00e9s de tab\u00faes y rituales. A menudo se le daba agua fresca, comida e incluso bolsas de viaje a una ballena abatida para garantizar su regreso espiritual. Cada ballenero ten\u00eda canciones para atraerlas, y los chamanes celebraban ceremonias religiosas en c\u00edrculos formados con huesos de ballena. Los amuletos, transmitidos de padres a hijos, reforzaban esta misteriosa relaci\u00f3n, incomprensible para los observadores no nativos, especialmente para los cient\u00edficos, que se resist\u00edan a cualquier cosa antropom\u00f3rfica.<\/p> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n

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El misticismo de los pueblos del norte y su v\u00ednculo sagrado con las ballenas<\/h3> <\/div>\n<\/div>\n\n
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A lo largo de algunas costas de Alaska, las rocas est\u00e1n cubiertas de petroglifos que representan hombres y ballenas.
Fueron tallados por chamanes balleneros como parte de rituales que les permit\u00edan conocer los secretos del mar y dar las gracias por su generosidad.<\/p>\n<\/div>\n<\/div>\n

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\u201dEn arqueolog\u00eda, estas actitudes han limitado nuestra comprensi\u00f3n de la prehistoria del \u00c1rtico\u00ab, explica Erica Hill, zooarque\u00f3loga de la Universidad del Sureste de Alaska. Los amuletos relacionados con la caza de ballenas y los c\u00edrculos de huesos se han considerado objetos rituales o sobrenaturales, sin comprender apenas qu\u00e9 significaban para las personas que los crearon. En cambio, los arque\u00f3logos que han estudiado los artefactos de origen animal se han centrado a menudo en la informaci\u00f3n tangible que estos han revelado sobre lo que com\u00edan los pueblos antiguos, cu\u00e1ntas calor\u00edas consum\u00edan y c\u00f3mo sobreviv\u00edan.
Hill forma parte de una rama creciente de la arqueolog\u00eda que utiliza narrativas etnogr\u00e1ficas e historias orales para reexaminar los artefactos de origen animal con una mirada renovada e interpretar el pasado de formas nuevas y no occidentales. \u201dMe interesa como parte de nuestra prehistoria como seres humanos\u201c, afirma Hill, \u00abpero tambi\u00e9n por lo que nos revela sobre otras formas de ser\u00bb.<\/p>\n

La idea de que los pueblos ind\u00edgenas mantienen relaciones espirituales con los animales est\u00e1 tan arraigada en la cultura popular que se ha convertido en un t\u00f3pico. Sin embargo, limitados por la ciencia y la cultura occidentales, pocos arque\u00f3logos han analizado los registros de la historia de la humanidad desde la perspectiva de que los animales sienten emociones y pueden expresarlas a los seres humanos.<\/p>\n<\/div>\n<\/div> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n

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Los tinglits del noroeste de Am\u00e9rica, los abor\u00edgenes del sureste de Australia, los maor\u00edes de Kaikoura, el pueblo mayumba de \u00c1frica Occidental, los hawaianos, los polinesios y muchos otros han forjado fuertes lazos con estas ballenas a lo largo de miles de a\u00f1os, basados en el respeto y, a menudo, en el intercambio.<\/h3> <\/div>\n<\/div>\n <\/div>\n <\/div>\n
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El intercambio<\/h3>\n<\/div>\n<\/div>\n
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El canto de las ballenas est\u00e1 presente en los c\u00e1nticos cham\u00e1nicos de los pueblos que llevan miles de a\u00f1os escuch\u00e1ndolas, pero tambi\u00e9n se pueden encontrar melod\u00edas humanas en el canto de las ballenas\u2026

(v\u00e9ase \u00abEn busca de la m\u00fasica perdida de los kalinagos\u00bb)<\/p>\n<\/div>\n<\/div> <\/div>\n<\/div>\n <\/div>\n

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Respeto<\/h3>\n<\/div>\n<\/div>\n
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Los tinglits, en particular, los consideran como tales, y comer su carne se asimila al canibalismo. Los hawaianos los llaman \u00abKoholas\u00bb, las diosas del mar, que est\u00e1n rodeadas por una inmensa esfera de mana, energ\u00eda pura, guardiana de la espiritualidad.<\/p>\n<\/div>\n<\/div> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n

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El eslab\u00f3n perdido del Caribe<\/h3>\n


En el Caribe, los pueblos precolombinos ten\u00edan sin duda estos mismos v\u00ednculos con las ballenas jorobadas, que consideraban a esos pueblos como su familia, hasta 1492\u2026<\/p>\n

En 1492, la llegada de los europeos supuso la sentencia de muerte para estas civilizaciones: kalinagos, caribes, ta\u00ednos, arahuacos\u2026 Estos pueblos fueron exterminados o asimilados poco a poco, y su cultura y espiritualidad quedaron arrasadas. Las ballenas quedaron traumatizadas por el genocidio de su \u00abfamilia\u00bb. A partir de entonces, desarrollaron una desconfianza leg\u00edtima hacia los \u00abnuevos\u00bb humanos que ahora pueblan el Caribe.<\/p>\n

Pierre Lavagne de Castellan<\/p> <\/div>\n<\/div>\n <\/div>\n <\/div>\n

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Pintura rupestre ta\u00edna (Rep\u00fablica Dominicana, hace 4.000 a\u00f1os) que representa una ballena jorobada.

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La postura de esta ballena no se puede observar desde la superficie. Est\u00e1 arqueada, con las aletas pectorales en reposo, lo cual es caracter\u00edstico de una ballena que est\u00e1 socializando, y la persona que pint\u00f3 esta ballena, quiz\u00e1 hace 4.000 a\u00f1os, estaba acostumbrada a trabajar con ella bajo el agua\u2026<\/p> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n

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Nuestra misi\u00f3n es renovar este v\u00ednculo<\/h3>\n

La interacci\u00f3n musical con las ballenas jorobadas del Caribe es la clave para reanudar el di\u00e1logo con estos animales\u2026 y restablecer el v\u00ednculo.<\/p> <\/div>\n<\/div>\n <\/div>\n <\/div>\n

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Las tres \u00e1reas principales de trabajo:<\/h5>\n
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  • El equipo de Shelltone Whale Project se comunica a diario con las ballenas jorobadas de Guadalupe mediante Shelltone, estableciendo poco a poco un di\u00e1logo musical. Esta m\u00fasica contribuye a crear una relaci\u00f3n \u00edntima y a restablecer los v\u00ednculos con estos cet\u00e1ceos.<\/li>\n
  • Nos estamos preparando para formar una orquesta de j\u00f3venes m\u00fasicos que aprender\u00e1n la m\u00fasica de las ballenas y luego se har\u00e1n a la mar para tocar con ellas.<\/li>\n
  • Vamos a reunirnos con m\u00fasicos y cient\u00edficos de otras islas del Caribe donde viven las ballenas jorobadas, con el fin de poner en marcha intercambios multidisciplinares.<\/li>\n<\/ul> <\/div>\n<\/div>\n <\/div>\n
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    Aprender la m\u00fasica de las ballenas en la escuela de m\u00fasica y danza de Petit Bourg:\u00a0<\/h5>\n
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    • Este a\u00f1o, la escuela de m\u00fasica de Petit Bourg, en colaboraci\u00f3n con Shelltone Whale Project, ofrece a sus alumnos sesiones de canto de ballenas y m\u00fasica.<\/li>\n
    • Cada alumno de esta \u00abformaci\u00f3n\u00bb toca el instrumento con el que suele trabajar, y Pierre Lavagne de Castellan les ense\u00f1a las melod\u00edas de las ballenas.<\/li>\n
    • Los alumnos componen su propia canci\u00f3n inspir\u00e1ndose en el canto de las ballenas.<\/li>\n<\/ul> <\/div>\n<\/div>\n <\/div>\n <\/div>\n
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      La idea es que, con el tiempo, los j\u00f3venes m\u00fasicos puedan tocar junto a las ballenas jorobadas, en un catamar\u00e1n dise\u00f1ado especialmente para la comunicaci\u00f3n entre especies. Utilizando la m\u00fasica como medio de comunicaci\u00f3n, esperamos renovar el v\u00ednculo entre los seres humanos y las ballenas en Guadalupe y en todo el Caribe.

      Guadalupe va, por tanto, camino de convertirse en la primera isla del mundo en la que los ni\u00f1os tocan m\u00fasica junto a las ballenas que habitan en sus aguas, elevando la comunicaci\u00f3n entre especies a la categor\u00eda de forma de arte\u2026 Un intercambio y un reconocimiento mutuo destinados a perpetuarse de generaci\u00f3n en generaci\u00f3n\u2026<\/h5> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
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      La b\u00fasqueda de la m\u00fasica perdida de los kalinagos\u2026<\/h3>\n<\/div>\n<\/div>\n
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      Durante miles de a\u00f1os, las ballenas jorobadas se han inspirado en la m\u00fasica de los pueblos que habitan a lo largo de las costas de las zonas que frecuentan. Han ido ampliando su repertorio musical en colaboraci\u00f3n con estos pueblos. A continuaci\u00f3n, utilizan este repertorio para transmitir de generaci\u00f3n en generaci\u00f3n cantos prote\u00f3dicos, que emplean para las funciones que estamos desarrollando aqu\u00ed. Sin embargo, en el Caribe, las poblaciones precolombinas de los ta\u00ednos, los arahuacos, los caribes, los kalinagos\u2026 han sido pr\u00e1cticamente diezmadas en su totalidad. Solo en Dominica quedan descendientes de esta poblaci\u00f3n. El trauma de la invasi\u00f3n de su territorio, el genocidio que sufrieron y la colonizaci\u00f3n a la que se vieron sometidos posteriormente les llev\u00f3 a perder la mayor parte de su cultura, incluida su m\u00fasica.<\/p>\n

      Las ballenas jorobadas, sin embargo, han conservado esta m\u00fasica, que siguen transmitiendo, interpretando y utilizando para transmitir cantos prote\u00f3dicos de generaci\u00f3n en generaci\u00f3n.<\/p>\n

      Uno de los objetivos de Shelltone Whale Project es recuperar esta m\u00fasica a partir de los cantos de las ballenas del Caribe y transmitirla al pueblo kalinago que a\u00fan vive en Dominica.<\/p>\n<\/div>\n<\/div> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n

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      Pierre Lavagne de Castellan en Maui, Haw\u00e1i, junto a David Rothenberg y Dan Sythe.<\/h3> <\/div>\n<\/div>\n
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      EL ENLACE
      REDESCUBIERTO\u2026<\/h1> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n
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      Un encuentro atemporal con los cet\u00e1ceos en Guadalupe\u2026<\/h3> <\/div>\n<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

      For thousands of years, humpback whales have maintained lasting ties with humans living near the coast. All over the world, they seek to get closer to humans, to share moments, to swim together, to exchange their songs, except in the Caribbean… \u00a0 But why?\u00a0 How can we explain this phenomenon?\u00a0 To understand this, we need […]<\/p>\n","protected":false},"author":1,"featured_media":11323,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5905","page","type-page","status-publish","has-post-thumbnail","hentry","has-post-title","has-post-date","has-post-category","has-post-tag","has-post-comment","has-post-author",""],"builder_content":"

      For thousands of years, humpback whales have maintained lasting ties with humans living near the coast. All over the world, they seek to get closer to humans, to share moments, to swim together, to exchange their songs, except in the Caribbean...<\/h3> \u00a0

      But why?\u00a0<\/h1>\n\"\"\n

      How can we explain this phenomenon?\u00a0<\/h3>\n

      To understand this, we need to place the relationship between whales and indigenous peoples in a context dating back thousands of years. When Europeans explored the North in the 10th century, they were fascinated by the links between the natives and the whales. Medieval literature described the Arctic as a land inhabited by \u00abmonstrous fish\u00bb and people capable of magically summoning them.<\/p>

      Even the accounts of explorers and missionaries, describing the hunting and sharing of whales, were tinged with mysticism. In 1938, anthropologist Margaret Lantis spoke of a \u00abcircumpolar whale cult\u00bb among the I\u00f1upiat, Inuit and other northern peoples, proving this link through taboos and rituals. A killed whale was often given fresh water, a meal and even travel bags to ensure its spiritual return. Every whaler had songs to attract them, and shamans held religious ceremonies in whalebone circles. Amulets, handed down from father to son, reinforced this mysterious relationship, incomprehensible to non-native observers, especially scientists, who resisted anything anthropomorphic.<\/p>\n\"\"\n\"\"\n

      The mysticism of northern peoples and their sacred link with whales<\/h3>\n

      Along some Alaskan coasts, the rocks are covered with petroglyphs of men and whales.
      They were carved by whaling shamans as part of rituals that enabled them to acquire the secrets of the sea and offer thanks for its generosity.<\/p>\n

      In archaeology, such attitudes have limited our understanding of Arctic prehistory,\" explains Erica Hill, zooarchaeologist at the University of Alaska Southeast. Whaling amulets and bone circles have been seen as ritualistic or supernatural, with little understanding of what they meant to the people who created them. Instead, archaeologists who have studied animal artifacts have often focused on the tangible information they have revealed about what ancient peoples ate, how many calories they consumed and how they survived.
      Hill is part of a growing branch of archaeology that uses ethnographic narratives and oral histories to re-examine animal artifacts with fresh eyes and interpret the past in new, non-Western ways. \u00abIt interests me as part of our prehistory as humans,\" says Hill, \"but also in what it tells us about other ways of being.<\/p>

      The idea that indigenous peoples have spiritual relationships with animals is so well established in popular culture that it's a clich\u00e9. Yet, constrained by Western science and culture, few archaeologists have examined the record of human history from the perspective that animals feel emotions and can express these emotions to humans.<\/p>\n

      The Tinglits of North West America, the Aborigines of South East Australia, the Maoris of Kaikoura, the Mayumba people of West Africa, the Hawaiians, the Polynesians and many others have forged powerful ties with these whales over thousands of years, based on respect and often exchange.<\/h3>\n

      The exchange<\/h3>\n

      Whale song can be found in the shamanic chants of the peoples who have listened to them for thousands of years, but human melodies can also be found in whale song...

      (see The search for the lost music of the Kalinagos )<\/p>\n

      Respect<\/h3>\n

      The Tinglits in particular consider them as such, and eating their flesh is likened to cannibalism. The Hawaiians call them \u00abKoholas\u00bb, the goddesses of the sea, who are surrounded by an immense sphere of Mana, pure energy, the guardian of spirituality.<\/p>\n\"\"\n

      The lost Caribbean link<\/h3>


      In the Caribbean, the pre-Columbian peoples certainly had these same links with the humpback whales, who considered these peoples as their family, until 1492...<\/p>

      In 1492, the arrival of the Europeans sounded the death knell for these civilizations: Kalinagos, Caraibes, Ta\u00efnos, Arrawaks, these peoples were gradually exterminated or assimilated, their culture and spirituality wiped out. The whales were traumatized by the genocide of their \u00abfamily\u00bb. From then on, they developed a legitimate mistrust of the \u00abnew\u00bb humans who now populate the Caribbean.<\/p>

      Pierre Lavagne de Castellan<\/p>\n\"\"\n

      Taino rock painting (Dominican Republic 4000 years ago) depicting a humpback whale.

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      The position of this whale cannot be observed from the surface. It is arched, with pectorals at rest, characteristic of a socializing whale, and the person who painted this whale, perhaps 4000 years ago, was used to working with it underwater...<\/p>\n

      Our mission is to renew this link<\/h3>

      Musical interaction with the humpback whales of the Caribbean is the key to renewing the dialogue with these animals... recreating the link.<\/p>\n

      The three main areas of work :<\/h5>
      • The Shelltone Whale Project team communicates daily with Guadeloupe's humpback whales using Shelltone, gradually establishing a musical dialogue. This music helps to create an intimate relationship and re-establish ties with these cetaceans.<\/li>
      • We are preparing to form an orchestra of young musicians who will learn the music of the whales and then take them out to sea to play with them.<\/li>
      • We're going to meet musicians and scientists from other Caribbean islands where humpback whales live, to initiate multidisciplinary exchanges.<\/li> <\/ul>\n
        Learning whale music at the Petit Bourg music and dance school:\u00a0<\/h5>
        • This year, the Petit Bourg music school, in collaboration with Shelltone Whale Project, is offering its students whale singing and music sessions.<\/li>
        • Each student in this \u00abformation\u00bb plays the instrument he or she usually works on, and Pierre Lavagne de Castellan teaches the students the melodies of the whales.<\/li>
        • Students compose their own song inspired by whale song.<\/li> <\/ul>\n
          The idea is that, in time, young musicians will be able to play with humpback whales, on a catamaran specially designed for inter-species communication. Using music as a vector of communication, we hope to renew the link between humans and whales in Guadeloupe and throughout the Caribbean.

          Guadeloupe is thus on the way to becoming the first island in the world where children play music with the whales that inhabit its waters, inter-species communication elevated to an art form... A sharing and mutual recognition that is destined to be perpetuated from generation to generation...<\/h5>\n

          The search for the lost music of the Kalinagos...<\/h3>\n

          For thousands of years, humpback whales have been inspired by the music of the people who live along the coasts of the areas they frequent. They have built up their musical repertoire in collaboration with these people. They then use this repertoire to transmit proteodic songs from generation to generation, which they use for the functions we are developing here. However, in the Caribbean, the pre-Colombian populations of the Ta\u00efnos, Arrawacs, Car\u00efbes, Kalinagos... have practically all been decimated. Only in Dominica do descendants of this population remain. The trauma of the invasion of their territory, the genocide they suffered and the colonization they subsequently underwent caused them to lose most of their culture, including their music.<\/p>

          Humpback whales, however, have preserved this music, which they still pass on, play and use to convey proteodic songs from generation to generation.<\/p>

          One of the aims of Shelltone Whale Project is to recover this music from the songs of the whales of the Caribbean, and hand it down to the Kalinago people still living in Dominica.<\/p>\n

          Pierre Lavagne de Castellan in Maui Hawaii, with David Rothenberg and Dan Sythe.<\/h3>\n\"\"\n\"\"\n

          THE LINK
          REDISCOVERED...\u00a0<\/h1>\n\"\"\n\"\"\n\"\"\n

          A timeless encounter with cetaceans in Guadeloupe...<\/h3>","_links":{"self":[{"href":"https:\/\/www.shelltonewhaleproject.org\/es\/wp-json\/wp\/v2\/pages\/5905","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.shelltonewhaleproject.org\/es\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.shelltonewhaleproject.org\/es\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.shelltonewhaleproject.org\/es\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.shelltonewhaleproject.org\/es\/wp-json\/wp\/v2\/comments?post=5905"}],"version-history":[{"count":27,"href":"https:\/\/www.shelltonewhaleproject.org\/es\/wp-json\/wp\/v2\/pages\/5905\/revisions"}],"predecessor-version":[{"id":11932,"href":"https:\/\/www.shelltonewhaleproject.org\/es\/wp-json\/wp\/v2\/pages\/5905\/revisions\/11932"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.shelltonewhaleproject.org\/es\/wp-json\/wp\/v2\/media\/11323"}],"wp:attachment":[{"href":"https:\/\/www.shelltonewhaleproject.org\/es\/wp-json\/wp\/v2\/media?parent=5905"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}