The ideal is that the ritual extends until dawn. Creator hero, from whom the Sun is a manifestation, carries musical instruments that runs during the day, imputed responsibility the shamans while lasts the night. However, the duration of the jeroky varies according the Repertory dominated by the shaman and his prestige, the number of participants, the time of year and the context in which is realiza2. As the songs are being executed and danzadas, runs a path to the divinities. On this tour the shaman (or the shaman) hears the gods and sings what they sing, is narrating the way and encourages participants to accompany him. To the play their instruments, singing and dancing in this ritual, the Guarani are seeking strength (mbarete), standing up (opua), clean (ombopoti) body, make light (ivevuy), be happy (hory or ovya).

The Repertoire of music and dance of the guarani chamanistico ritual performed on a daily basis is composed of two genera, both linked to the metaphor of walking through a road and with a strong Dialogic character: invocatorio, lamentoso, one linked to the feeling of longing (saudade), and another in which the Warrior aspect is more evident to overcome obstacles with defensive struggles. Developed at Montardo (2002, 2009) analyses revealed that the difference between the two genera occur in various aspects: scales repertoire of sounds, in the scope of which are constituted his songs, in the form of composition, andamento, choreography, among others. Invocatorias songs, inviting you to hear what he is saying the creator hero Pa i Kuara or Kuaray, the owner of the Sun, have andamento slower and received individually, in dreams. The denomination they receive is the same one used generically for all the ritual, jeroky, purahei or ne engara, in the case of the Kaiova. Between the nandeva this genre is associated to the lament and cry, and the singers call for force to their tired bodies. .