The introduction first gives insights into the state of the art of sound “repatriation” concerning the way historical and current recordings of verbal arts, music, and dance are brought back into circulation in originating communities. Sound restitution also seeks to level the epistemological divide resulting from conventional archiving. The groundbreaking, collaborative reactivations taking place in South America explored within the three articles in this journal issue are presented. External researchers and local co-researchers join forces to create shared soundscapes on an equitable basis; they develop innovative research designs for restitution and participate in webs of collaboration that take into account the recuperation of sound traditions that expert vocalists and instrumentalists, grassroots researchers, Indigenous leaders, and cultural entrepreneurs have independently initiated. Finally, the inclusion of co-researchers in the curatorship of museum exhibitions and the need to identify anyone who may claim rights to oratory, music, and dance is addressed.
