Southern Peru is home to one of the richest sites with rock art in South America—Toro Muerto. A unique aspect of the iconography of the petroglyphs of the site is the figures of dancing humans, the so-called danzantes, which are additionally frequently associated with geometric motifs, mostly variants of zigzag lines. Drawing upon intriguing data recorded during Reichel-Dolmatoff's research in Colombia related to the meaning of analogous motifs in Tukano art, as well as broader exploration of the sonic sphere in South American cultures and the thesis that Amazonian animism was a more archaic ontology over a broader area of South America, this paper suggests that the geometric patterns at Toro Muerto, with which the figures of danzantes are juxtaposed, may have been representations of songs. An extension of this hypothesis is the suggestion that some of the more complex compositions consisting of danzantes and linear geometric motifs were graphic metaphors of transfer to the other world.

秘鲁南部拥有南美洲最丰富的岩石艺术遗址之一——托罗穆埃尔托 (Toro Muerto)。该遗址岩画图像的一个独特方面是跳舞的人类形象，即所谓的丹桑特斯，它们也经常与几何图案相关，大多是锯齿线的变体。利用赖歇尔-多尔马托夫在哥伦比亚进行的研究期间记录的有趣数据，这些数据涉及图卡诺艺术中类似主题的含义，以及对南美文化中的声音领域的更广泛探索，以及亚马逊万物有灵论是一种更古老的本体论的论点。南美洲地区，本文认为托罗穆埃尔托的几何图案（与丹桑特斯的形象并列）可能是歌曲的代表。这一假设的延伸是，一些由丹桑特斯和线性几何图案组成的更复杂的作品是转移到另一个世界的图形隐喻。