In this research I present my reflections on the traditional music of the Colombian South Pacific, specifically, the music performed with the instrumental format of the marimba de chonta. I involve my own body to understand how the process of transmission and learning of this cultural practice occurs from a personal experience in the context of the Colombian Pacific coast. For this, I adopt ethnography as a key methodology to obtain data, as well as to create a direct and sensitive contact with the communities. Through this experience with masters of the municipality of Guapi, in the southwest of Colombia, I investigate in relation to mimesis and body learning as the key mechanism that enables the preservation and transmission of intergenerational knowledge. Likewise, the fieldwork provided me with enough material to analyze holistically this traditional repertoire. Topics such as: the relationship between music and territory; the organological characteristics; the influence of the African communities that arrived in Colombia as slaves during colonization; the historical, social and geographical contexts; orality and performance; intangible heritage; and, the analysis of the musical structures for the traditional rhythm of Bambuco Viejo, are intertwined to account for the complexity of this musical practice. Each of these themes are studied from a bibliographical review that I directed on different perspectives: musicological and anthropological, mainly; likewise, I build a horizontal dialogue between the epistemologies of the Pacific communities, the investigated theories and my personal reflections. Among the main conclusions I highlight the importance of exposing our own body to sensitize ourselves with a musical practice that transcends the acoustic phenomenon and involves religious and spiritual beliefs, dance, celebrations, and often leads to trance and altered states of consciousness.