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El Mundo Magico 

Conversations with Sachamama …

 

Amazonian vegetalismo in the words of

Don Francisco Montes Shuña

Translation, editing, and notes by Francesco Sammarco and Dino Palazzolo

Don Francisco Montes Shuña is a maestro vegetalista of Capanahua extraction, specialised in working with shamanic perfume and the ayahuasca. He is a perfumero ayahuasquero, as he defines himself, and a brilliant visionary artist whose wonderful work focus mainly on representing the spirits of  teacher plants native of the Amazon rainforest. 

The account that follows - partially published by the Italian magazine Re Nudo (April 2001), by the English magazine Kindred Spirit (September 2001) and by the Italian review Altrove (June 2002) - is the fruit of several meetings with don Francisco between June 2000 and July 2001, and is presented here for the first time in its most updated and integral version. Most sections have been expanded and reviewed, and others have been added, including the amazing stories of Pablo Amaringo hit by a virote and of Trinidad Vilces Peso, the suniruna grandmother of don Francisco, who left this world at one hundred and eight years, to become doctora [e.g. shaman] of the dolphins.  

Critical notes and integration of this work has primarily been possible thanks to extensive ground research done by Corrado Palazzolo during his nine months in Peru, and his direct experience of dieting with the plants in Sachamama (with don Francisco) and in Huacaraico (with don Ruperto).

 Our deep gratitude and thanks to don Felipe Ayala, Moises Suarez Mera - Brazilian botanical researcher at the University of Iquitos (Peru), don Francisco Montes Shuña and don Ruperto Peña Shuña for their kind assistance and help in the identification of the Quechua plant names and their co-respective scientific names. 

Whenever our joint ethno botanical identification efforts did not prove enough, we have followed the classification system adopted by Luna (Luna, L. E. - Amaringo, P. Ayahuasca Visions. The Religious Iconography of a Peruvian Shaman, Berkeley 1999; Luna, L.E. Vegetalismo - Shamanism among the mestizo population of the Peruvian Amazon, Stockholm 1986).

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Summary

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Don Francisco Montes Shuña: the initiation of a perfumero

When I was five years old, I did not understand the smoking practices nor any other shamanic activities of my grandmother, Trinidad Vilces Peso. I did not understand that blowing tobacco smoke to the remedy would have added  strength and energy to it.

One day my grandmother told me that I would start dieting with ajo sacha [Mansoa alliacea]. In fact every member of my family had dieted before with ajo sacha. The first day I started the diet I smoked mapacho [Nicotiana rustica] and drunk a macerate [which was left to steep into water from five o’clock in the afternoon until five o’clock of the following morning] of the fresh, scraped root of the ajo sacha, which had a very unpleasant taste. Like all dieteros [people who are dieting the teacher plants], I had to live in isolation near the river. Two days before I started my diet, a tambo [a typical Amazonian hut, with thatched palm-roof] with basic facilities was built for me, together with a rudimental bed made of tree bark. I was a bit afraid, as at that time there were many jaguars in the forest. My grandmother reassured me that I would be safe, because she would blow pumasacha [1] [Roucheria Punctata Ducke] at me. I had to remain there dieting for eight days. The first night I was really afraid, not knowing what to expect. I was sleepless all night long and on the second day I was terribly tired. My uncle, Manuel Shuña, made me drink the ajo sacha, and told me not to smell it, and that it did not have a bitter taste. Afterwards I had a grilled plantain. That same day I had a vision, an occurrence not experienced by many at this stage. After midnight I felt the mareacion [the intoxication induced by the ingestion of entheogenic plants]. I was still very tired, and on that very moment I felt something blowing inside my head, yet I could not see anything. That night I dreamt of a queen with a golden crown, her hands made of tree branches, exhorting me not to be afraid. She fanned me and I became increasingly dizzier. I visualized a song entering through my crown like a spiral. The following morning I was awaked by my grandmother with a vibrating: “Francisco!”. I then felt more comfortable, although still exhausted. Every day I waited for my uncle to come and bring me food, and felt bored. The food was familiar, but prepared without sugar or salt. I hoped that my grandmother would take me back to the village but said nothing, as I did not want to give the impression that I was a coward. She told me to be patient and that eight days were a long time, and she gave me a pipe to fight my boredom. The third day the moon was full and while I tried to sleep I heard a noise as if somebody was washing clothes. I saw a figure moving in the water, but there was not enough light to see properly. When I went back to bed I was afraid: I wanted to go back home and was about to do it.  On that same night I dreamt again of the queen: she came dancing, holding in her hands two different types of tubers, one with an elongated shape and one with a heart shape. When she asked me to choose one I replied: “Why?” Then the lady gave me the heart-shaped tuber. When I took it she explained that it was papastrueno [2] [Dioscorea sp.], the almighty of all plants (el poderoso de las plantas) in shamanic terms. She told me to smell it and I found that the smell did not match the scent of any plant or flower known to me. “This is the perfume of the universe”, she replied. Then she started to whistle the melody of the icaro [3] of papastrueno so that I could learn it. I did not expect to have visions but apparently it was the right time for me and I was being initiated. Only the universe decides when to choose people. We must not be eager to understand too soon, otherwise we achieve the opposite effects. The lady was whistling and singing. For me it was a very intense moment, and I burst into tears. She asked me to blindfold myself, then she began to touch the inside of my head. I remembered the song she was singing, and asked myself how could I possibly have forgotten it. Blindfolded I could concentrate more. I was half asleep when I was operated on and felt as if a wave of electricity was going through my body. I felt as if water was poured over me from above my head, but I touched my body and could not feel any. The lady was blowing air onto my head crown and then a voice said to leave me alone. In that moment I regained consciousness and realized it was daytime. I was thinking about the dream and what had happened and as usual was waiting for the food to arrive. I heard the singing of the bird piracuru [unidentified] and I understood that it was nine o’clock [everybody knows that in the rainforest!]. Soon afterwards I realized that my uncle was about to arrive with the food …

There were only 200 metres from my uncle’s house to the tambo. Until that very moment I had hesitated about dieting but now I felt more confident. My uncle always carried a pouch with a pipe and tobacco, and told me that after the fourth day I could start smoking again. Even before my uncle arrived I smelt the presence of the tobacco, as it was being blown all around the place. Whilst I was lying on my bed pretending to be asleep, Manuel asked me to wake up. He put his hands over my head and ordered me to look at him, then exclaimed: “You will be a perfumero [i.e. a vegetalista specialized in working with the perfume], you have been visited by Papastrueno!” Manuel said that everything was all right and invited me not to be afraid as more things were yet to come. He gave me only a dried fish and a plantain to eat, although I would have liked more food after four days of dieting. The following morning I believed that my uncle was bringing some more food, but in reality his pouch was full of tobacco. There weren’t any plantains available and for this reason I was given tobacco, wrapped in its own leaf, together with a pipe made out of the stone of the anacaspi tree [Apuleta leiocarpa]. Manuel gave me the pouch and said: “This is your meal! Smoke it the whole day! You won’t feel any hunger and you will feel the mareacion! In that state you will begin to have visions!” I wasn’t hungry because I felt like being into another world. From the fifth day onwards many things were to happen: at one o’clock I heard a voice inviting me to wake up. It was as if somebody was banging on the roof and a voice (as if coming from a megaphone or a horn) called: “Francisco!” I sat down shaking and the voice went on:

 “I came here because your uncle sent for me! I am Papastrueno! I am the king of all sounds and trees and I am here to teach you! Tomorrow morning go to the stream, look for a half-red half-white stone under a root and take it with you!” I went to search for the stone. At first I could not find it, but then after a more careful scrutiny, I got it. And I understood the warnings of my uncle that many things were yet to happen. The day after I showed the stone to my uncle. He told me that that stone belonged to his grandfather and said: “ Now you have all the power to be a curandero [i.e. the non tribal shamanic healer of South America] and you have two days left to take care of that stone!”. I was then given a pouch so that I could carry it with me at all times. Manuel told me that after having drunk the ajo sacha he would give me a tobacco drink which was to be prepared with water and two handful of tobacco. At eight o’clock in the evening – following his instructions  – I drank the tobacco singing the icaro that the queen had taught me.

On the seventh day I received the power and wisdom of the ajo sacha. The effect was incredible! I felt a thunder-like noise inside my ears as if the jungle was being destroyed and I thought I was going to die. I realized thereafter that it was not for real, but merely an effect of the vision. In that moment I held the stone with both hands and asked for protection. The thunder felt like a huge explosion and I was not able to open my eyes. I called out for my mother (who had previously advised me to call her if I was to find myself in a difficult situation); the way to do it was to knock three times on the ground. Soon I felt a blowing on my head and the noises began to soften. I heard my mother’s voice recommending me to calm down and to keep the effects of the mareacion under control. In this extreme instance I understood that there were different paths in shamanism. I saw them and realized how each one was operating from different doorways. For a curandero things happen and these things tell him which path to choose. I was shown a hospital where all the operations were performed psychically. I was looking for the queen of the hospital and found her at the eighth door, which meant the eighth day of the vision. I had opened seven doors before and on the eighth I found a garden with the same scent that I had experienced in the vision. I saw people there working with flowers and scents and when the queen arrived everybody recognized her. She turned towards me inviting me to enter, then embraced me and took me before a long table on which lots of fragrance bottles were assembled. She explained the content of each of them and said of the last one: “This is yours, with this one you will become a great curandero!”. Afterwards she blew at me (in the fashion of the master spirits) and the vision disappeared. Then my uncle appeared with food: garlic, lemon and salt and told me to mix and suck them, as in that way I would finish the diet. Four days later I could drink the ayahuasca. My body felt dead with the ajo sacha and I thought that the plant had killed me. But Manuel explained that this effect was like the one of anaesthesia before an operation, so surgery and other things could be performed without pain. To be isolated is important for the operation to be successful and the icaros help the dietero to observe everything that is happening. If one hears voices whilst dieting, they must not be answered, especially if one is about to fall asleep, as they could wake you up. I was then told by Manuel that I was going to teach other people - but only those who were really interested and had deep respect for these things.  

Encantos

 

On encantos and encanteros

The discovery of the encantos

The curanderos of the past, expert on the different uses of plants, took in great account the trees, and especially the ones characterized by hard wood. Having discovered that the harder the wood of a tree, the more strength it can deliver, the curanderos thought that with stones they would have gained access to an even greater force. Thus they decided to drink the ajo sacha to enquire about the stones. The ajo sacha confirmed that by making contact with the energy of a stone one could gain a strong and powerful energy. The ajo sacha, however, also revealed that not all stones have power. Only some of them, and that from the shape that they have one could find out their use in healing. Their therapeutic value is also dependent from their colour. For instance, an encanto made of white marble (yura encanto) is very hard and pure because its colour is white, and with it one can be often re-charged and protected, thus becoming an arkana [spiritual protection]. The curanderos decided also to “drink” the stones, to know them better.

'Drinking' the stones

In the Amazon it is by “drinking” that one learns directly from the mother-spirit of a plant. In a similar fashion, by “drinking” this special stone (the encanto) the curandero has access to the spirit-world, which will reveal then its secrets. In order to “drink” the encantos one must leave them in water for a whole day, then must blow tobacco smoke at them, day and night, and finally needs to “diet” with them, drinking the water they were left into. The dieting process involves abstinence from salt, sugar, fats, stimulants and sex, whilst living in segregation. One should also ask the stone what he or she wants to know. At night, in dreaming, the spirit of the encanto comes and teaches you its secrets. 

By bathing with a black encanto, you shed off negativity. A white encanto is instead useful for cleansing and purifying the body. Red encantos are linked to blood and life (i.e. can work to nourish a patient with blood), and are used with everything that has an association with the red colour. A turquoise encanto teaches about medicine in general, whilst green encantos teach medicine through the plants. Crystals give vision and clarity, and teach about heavenly things. Emerald encantos attract all the spirits that dwell in space, in the universe. Brown encantos teach about the earth. An encanto de color agua o humo is useful to attract the energy of the air. And so on, every teaching is related to the colour of the stone you are using. Like with plants, however, these things are learnt by “dieting” directly the stones, and cannot be taught or transmitted by a maestro.

For everyone it’s a very personal experience. This means that what the encanto can teach you may not be taught to another person, it teaches you according to your own individual nature and character. I learnt and work with two special colours: white and black. Encantos are learnt through their colour. The curanderos that have learnt their art through these special stones, the encantos, are called encanteros.

 

   

On bancos and master plants...

how the banco works

The level of banco [4]  is the highest degree a shaman can obtain in the Amazon. A banco learns from and rules over the earthly, heavenly and aquatic realms. Bancos have different ways of working during a ceremony. In special occasions (known only to them) that demand a certain degree of care, the banco prepares three disciples: their sole function is to protect and assist him and to help him to maintain the intense level of concentration required. Whilst the banco concentrates, lying face down on the floor, his disciples take care of him in different manners. One disciple deals with the foot area [5] standing over the banco’s feet, blowing [mapacho] on him to maintain and further concentrate his energy level, imbuing the banco with energy and strength. Another disciple looks after his crown and blows on him in order to help him keep his energy level intact, while the banco is totally immersed in his trance, as if he was dead. The third disciple is in charge of protecting the banco’s body, on the side of his back. The disciples blow on the banco to nourish him with life force and take care in one-way or another that his energy won’t be dissipated. 

Then - for instance - if the banco is calling the spirits of the water, the disciples begin to sing all the icaros of the water (todo a quel que son los icaros de l’agua), to drive all the spirits of the water towards the body of the banco. The disciple who attend the banco’s crown and work on this side, begin to sing in order to attract energy from above and increase the banco’s vital energy. In this fashion, the banco can remain concentrated, not just for one, but for six or seven hours, permanently lying on the floor with his face down.

Likewise, when the banco is about to end his concentrated work in the ceremony, the disciples begin to imbue him with strength to facilitate his return to normality.  If it was that the spirits of the water were called, they will arrive from underneath the house of the banco. When the banco works he puts a mosquitero [mosquito-net] at the centre of the house, and enters inside it, lying face down, whilst all the disciples remain outside. Then the spirits come to the banco from below to talk to him and what they say is then answered by him. For instance, let’s suppose that a banco calls for the spirit of a family member who has died before: this process is channelled through the banco. The banco concentrates and calls for the spirit of the dead; this spirit comes for the banco and tells him how this person has died and he reports what he is told by the spirit to the family of the deceased, who wishes to know. The work is done in this way. If the spirit arrived from the air, from above, the disciples begin to blow in this direction, into the air. The spirit will come above the house, making noises like a wind. At this point the banco and only him, enters the mosquitero lying face down inside it, to talk with the spirit. The disciples remain outside. Therefore the banco is the foundation to make contact and to talk to the spirits in a ceremony. He may also consult the spirit of an ill person to diagnose and cure his illness and to establish whether this illness is a serious one. This is what the banco does, depending on the kind of work he is doing. He will always drink ayahuasca, to help maintain his concentration high.

To become a banco one has to diet for more than forty years. It is therefore necessary to begin dieting from the age of twenty, at the latest. Because of the extreme length of the dieting process, shamans who have reached the level of bancos are usually very old, often ninety years old and over. To become a banco one needs to be acquainted with a number of plants that grow both on earth and in water, as well as with the energy that dwells in the sky such as thunder, air, rain, wind and the rainbow. It is very difficult for bancos to leave their place in the jungle, as they don’t like cities.

Don Manuel Shuña, my uncle, is today a ninety-eight years old banco suni (or sunibanco) and lives by the Ucayali river. A banco suni works and can dwell for certain periods of time in the water realm, where he exists physically in a world similar to ours. In the water there are beings of power that can be consulted for healing, divination, or other matters, like the mermaids. Don Manuel has worked with the mermaids, and once told me that a mermaid was his woman and teacher who taught him many things.

Trinidad Vilces Peso, my grandmother, was a banco muraya [4] and a suni runa [4] [or sumiruna], a shaman who has control over and is acquainted with the spirits of the water. Shamans like her can enter physically into the aquatic and sub-aquatic realms to receive the information they need and are able to transform themselves into any fish.

MASTER-TREES AND VINES EMPLOYED IN THE DIET OF THE BANCO

There are several trees, resins and vines that make up the banco’s diet. From the catahua [Hura crepitans] tree, a resin is extracted that is then boiled – as its consumption would otherwise be extremely toxic. The bark of the lupuna blanca [Ceiba Pentadra] tree or white lupuna is also boiled. Another tree utilized is the lupuna rocha [Cavanillesia hylogeyton], or red lupuna, also called lupuna bruja or puca lupuna [puca is the Quechua for red]. The spirit of the lupuna blanca is ‘male’, and has healing properties. The spirit of the lupuna rocha is “female”, and is used for evil purposes. They all grow in water. 

The ayahúman [Couropita guianensis] tree is also employed in the banco’s diet. The parts used are the bark and the fruit cooked together. The spirit of this tree is seen as a headless man with eyes on his hand. In Spanish the tree is called caveza de muerto, which means “dead man’s head” [similarly, in Quechua, aya stands for “dead person”, whilst uma means head]. The fruit is shaped like a large coconut and is green, with a soft outside and an incredibly hard inner side. It has to be broken up and placed into water to be cooked. It purifies the body by the influences of black magic. It is also a very jealous tree. It is believed that if a pregnant woman looks at it the baby will be born with a very large head, although this pathology may be cured. The remedy consists of cutting the bark of the ayahúman, boiling it in water and allowing the baby to bathe in that water whilst the related icaro is sung (every tree has, in fact, its own icaro). Another tree used in the diet is the catahua [Hura crepitans] which is completely covered with spikes. Its spirit is a one-eyed man. Then there is the lupuna blanco [Ceiba pentadra?] or puco lupuna. Its spirit looks like a half-woman below and half-fire above. The chullachaki caspi [Brysonima christianeae] is another master tree that the banco uses to learn. Its bark is scraped and mixed with water and then boiled. The banco can mix all these plants, and will cook them together for about eleven-twelve hours. This concoction is not for beginners as it is too strong. Among the vines we have the ajo sacha - its root is scraped and then put into water - and the murcohuasca [Marcgravia williamsii] [6]  the resin of which is extracted and then boiled. It is drunk when one is about to become a banco and its master spirit teaches you an icaro that cures you from snakebites.

ROOTS AND VINES WITH WHICH A BANCO LEARNS AND HEALS

Giausahuasca [unidentified] is a master plant, a vine that produces a thick resin that is drunk directly from the cut area. The resin falls in portions from the vine and is gathered directly in the mouth. The right dosage of resin for ten people is about two handfuls. When drunk, this resin settle inside the body of the banco and gives him power and energy. When he performs healing he will smoke tobacco and will summon this energy which will come through his mouth to cure the illness. The banco will literally suck it away. It is a bit like the mariri, but it works differently. If a patient feels pain somewhere, the shaman (el medico) regurgitates the giausahuasca with a little water, touches the area of the pain, and suck it out. In 3-4 months the patient won't feel the pain anymore. The power resides in the plant the banco has dieted with. This practice is, however only applied when dealing with brujeria [sorcery-related illness]. The giausahuasca, in fact, teaches you how to cure an illness or a pain caused by a bad curandero or by a brujo. It is not specifically used for any other purpose than that.

The michiquipanga [Renealmia alpina] is used a great deal in the jungle by the indios Campa - it cleanses and purifies from negativity, can also cure many illnesses and even “black death”. It also brings luck to friendship and business. The fruit is a repellent for mosquitoes and its seeds are used against dental decay. From the ripe fruit a natural dye used in painting can be extracted. Its name means literally 'very tasty leaf' [michiqui means 'very rich' or 'very tasty' , whilst panga means 'leaf']. Of the michiquipanga are employed the vine and the flowers, but it is not to be used without having dieted with it first, to learn the plant. Once you diet with it, you learn the icaros : the icaro comes first. It is the idiom of each plant. You can be a curandero or a curandera, but if you have dieted with the plant and have not learnt its icaro than you know nothing, because the icaro is the idiom for you to communicate with the plant. That's way when one is performing a healing he has to call forth the name of the plant, because through the icaro the plant will reply to you. The icaro of the michiquipanga is used for purification, for spiritual cleansing but it does not remove pain.

These are teacher plants, which are different from medicinal plants, as from the first the banco can also learn. They are not to be used randomly: for instance the giausahuasca is not to be mixed with the michiqui panga. However a maestro - if he reputes that that is the case - can bring together all these plants to converge them into a single force.

the ORIGINS OF SACHAMAMA ETHNOBOTANICAL GARDEN  

Before the foundation of Sachamama, I have already had an ethnobotanical garden in the Pucallpa area. One day terrorists [of Sendero Luminoso] went there and demanded me US $ 1,000 as “protection money”. I gave them US $ 500 to start with as I did not have the whole sum. They said they would come back to collect the rest in a month’s time. I did not have the money when they returned, then they burnt the whole place down and threatened to kill me and my family. I fled to Iquitos where I did different works, including the "cargador de platanos" [labourer in the bananas transport business] and the ice-cream vendor. Later I found a job as gardener close to the actual location of Sachamama. Whilst I was working in that area I discovered a vast variety of plants. The land belonged to one of my aunts and I decided to pay for it in small monthly instalments. 

One day, during an ayahuasca ceremony, I had a vision of a man and a woman with snakes on their heads. They come towards me from the southern part of the land (on which is now built the ceremonial house) and told me that one day I should found a botanical garden to be named “Sachamama” [the mythical eared boa of the Amazon legends]. The setting up of a botanical garden was an idea that stemmed from my background of curandero when I learnt that plants are living beings and are precious to man. The best way to respect them was for me to acknowledge their value by studying and classifying them.

I started my activity as a curandero at the age of fourteen following the footsteps of my mother, grandmother, uncles and other members of my family who were bancos and curanderos, beginning to cure other children's ailments. When I was eighteen I became a curandero and at the age of twenty-two I was already curandero maestro.

   

       

oN ARKANAS, or spiritual protections  

the arkana and how it is used in ayahuasca ceremonies

The arkana - also called 'defence of defence' – is a protection placed on a curandero [there are different kind of arkanas, given by stones, plants, spirits, and other different protectors]. The great spirits protect us, and spirits protects other spirits, in a kind of connective chain. Spirits are the beings that carry energy through the plants.  

To better describe the arkana , let us imagine that we are all gathered into an ayahuasca ceremony and that I would lay a cord all around the space that we are sharing, around you all. That rope is like a protection for everybody, that rope is the arkana. The arkana is what protect the icaro : it is like the maestro, it protects the work of the icaro. In a ceremony, the first thing that I do is to lay an arkana on myself, so that my icaros will always be happy for everything that would happen! Then I lay an arkana on all the others participating, so that they will be protected, my icaros will raise, and everyone would be well guided. Therefore, the arkana comes first and the icaro after. I received my arkana through the diet, when I drunk the ajo sacha. There are different things that can be arkanas: angels from the universe, the arco iris [rainbow], crystals [incidentally we may notice how the mesa - i.e. the altar - in the ceremonial house in Sachamama was still surmounted by long crystals, at the time these interviews were made], eagles, condors, dragons, jaguars or other animals, depending from each culture. We use everything that the earth gives us. Each arkana is different and each ayahuasca ceremony has its own arkana.

trees and man, curanderos, icaros, mariris and virotes

If we compare the parts of a plant with the equivalent parts of a man, the tree is one hundred per cent equivalent to man. We can compare the trunk of the tree to the body of man; the roots spreading out from the tree are the counterpart of feet in man, whilst its branches are the equivalent of the human arms and hands.

Some trees have a great knot at the base of their trunk: this is the equivalent of knees in man. When we cut the trunk of a tree, we can see concentric circles that tell us how old the plant is, these are the equivalent of the blood vessels in man. All trees have lymph that is the counterpart of blood in the human body. The leaves correspond to human hairs. We can even recognize trees as males and females. Some have flowers and others not: the ones with flowers are female-trees, because they permit reproduction. Everything is connected and by virtue of this connection we are related to trees and spirits. To know about the spirit world we need the plants. By drinking the plants we can see and get to know the spirit world. Man can have access to every realm, and thus, in this fashion, curanderos have discovered the arkanas. Every curandero has his own way and his own idiom, the icaros, and every plant has its own icaro, too. Therefore the icaro is essential for talking to each plant. However, the icaros of the plants are different from the icaros used for spiritual protection. Objects – like stones, for instance – are used with these last icaros: the curandero imbues them with energy and strength, and every maestro builds up his own material in that fashion, to create personal protections. Without this material the curandero cannot be considered ready as yet.

The mariri is the magical phlegm of the curandero. Before the healing the curandero charges his magical phlegm with pure medicine (medicina), or sings the icaros related to the healing plants (plantas de la medicina), and begins the cure afterwards. If he has to build a protection (alerta) he creates his own virote : a magic dart, a sharp object, made from the bark of certain trees, or by animal or fish bones. These are not active virotes but rather preventive ones, to ward off brujeria [sorcery]. Certain virotes are made with tree-spikes. The tree itself is protected by these spikes – like the huiririma [Astrocaryum jauari], or the huicungo [Astrocarium vulgare], the chambira [Astrocaryum chambira] and the supay caspi [unidentified]. The brujo [sorcerer] uses animal bones for a virote. The mariri is the base to protect oneself from a virote, to cure someone and at the same time to attack an opponent. When the curandero feels that something is attacking him, he calls up immediately his mariri.

Virote and mariri : the case of pablo amaringo

One day, whilst I was still in the process of learning shamanism, I was at breakfast with Pablo Amaringo [a former vegetalista, and a renowned visionary artist, cousin of don Francisco], both of us having eggs with plantains. Whilst Pablo was eating, he felt something in his throat and inside his plantain he found a fishbone. He carried on eating but soon after he felt as if a needle was piercing his back. He immediately put his dish away and asked for his protective mantle and perfume. He drank the perfume and swiftly wrapped himself inside the mantle, and soon realized that his problem was the work of a Shipibo shaman. The pain was still intense and did not go away. No curandero can be cured by these attacks. He realized that his situation was serious and asked me to call his grandfather, Pascual Pichiri, a very powerful shaman that no brujo could touch. When I and Pascual came back, we found Pablo lying with his belly on the ground, screaming of pain and saying: “Caramba! [Damn!] I did not protect myself this morning!”

The curandero who has a mariri must always blow tobacco [either with the pipe or with cigarros] on his three sides – front, right and left – before engaging in a defence. He must perform this operation every four hours, even during the night.

Pascual said that somebody made Pablo forget to protect himself. He could not move because of an excruciating pain located at the centre of his spinal cord. When Pablo’s grandfather checked his head and wrist he realized that the problem was very serious. “What did you do to my son?” [the appellative of “son” is used here in an affective fashion] – Pascual voiced out – “You will see how I will send your own virote back to you! But don’t think that I am doing that because I am a brujo myself, but only because you deserve a lesson! Don’t you know that there is no brujo capable of doing any harm to me?” Pascual then summoned [in spirit] Carlos,  a brujo that he suspected sent the virote to Pablo Amaringo. But Carlos denied any responsibility. Then Antonio, another brujo, was summoned and he admitted responsibility for the happening. Antonio pledged for forgiveness but remarked that he did it to teach Pablo a lesson, allegedly because on that morning he forgot to do his own protection! Grandfather Pascual replied that he would have forgiven him.

Antonio, however, said that he did not intend to send the virote deliberately in that area, and could not remove it from Pablo – as he knew him – but that Pascual himself could do it. The virote – which consisted in a piranha tooth – had already entered half-way inside his spine. Grandfather Pascual warned Antonio not to play these games anymore to anybody of his family…and said that – in order to cure Pablo – they would need to wait until eight o’clock in the night. He reassured Pablo that he was not going to die, and asked him to remain calm, and to protect himself from everything he was going to do (including going to the toilet…everything !). In the meantime, Pascual blew tobacco at Pablo in order to stop his pain, and Pablo fell asleep. When grandfather was back the piranha tooth had already penetrated Pablo’s spine cord and was very difficult to extract. Pascual began to call the spirit of the chontay caspi [unidentified]. Then, around three o’clock in the afternoon, Pablo vomited and in his phlegm there were blood together with pieces of his flesh attached to the piranha tooth.

Pascual said that this phlegm needed to be gathered in a plantain leaf and then given to the ants (the ‘lices’ of the earth: ants are for the earth what lices are for our hair…).When I called him avuelo [grandfather], I got as reply: “Why do you call me ‘grandfather’? I am not a ‘grandfather’! [e.g. I am not that old!] Call me Pascual!”  The day after Pablo was all right. Pascual summoned again Antonio and warned him not to do these things again. Without his intervention Pablo Amaringo would have died.  

on what the mariri does and its bivalent nature

Therefore, it is always compulsory to use the mariri, as it is the strongest active defence available to a curandero to respond to an attack. For a curandero who owns a mariri it is essential to smoke mapacho every night before going to bed, and after four hours one should wake up and smoke again. Tobacco is like food for the mariri. If you don’t nourish the mariri with tobacco smoke, it will come out of your mouth and a brujo could take the chance to cut it off from you, and kill you. A good curandero doesn’t ever drink alcohol to avoid being caught unprepared. To be a curandero is not an easy task, as you are constantly under danger of being attacked by a brujo. For this reason many curanderos choose to live alone, to be stronger and protected. If one lives in the city, he cannot be a good curandero [7].

To receive a mariri takes usually three months, and this is a very strong compromise: if you don’t take care of it you can put your life at risk! But you can heal many people with it, and if you decide that you do not want it any longer, you can always pass it on to a disciple. The mariri may also be passed on from maestro to maestro. [8]  Usually, with age the mariri becomes increasingly stronger and more powerful. However, in order to be received by a disciple, the mariri has to be “reduced” to suit him. It is passed on in this fashion: the icaro of the mariri is sung during an ayahuasca ceremony, meanwhile, with his hand, the maestro passes it on from his mouth to the mouth of the disciple, who will then breath it. Some mariris have taste, others not. You can physically feel it when you have it.  However, the mariri is to be used only against brujeria: curanderos who have a temperamental nature are better off in not having it, as they could use it lightly [e.g. they may be tempted to cause unnecessary damage to an opponent, or an enemy]. Therefore not all curanderos have the mariris: if you don't know how to use it or don't give it the opportunity it looks for, it turns against you. It's very much a neutral power, in the sense that it could well do harm to yourself: it has no regards for anybody! 

The mariri is obtained by dieting with "teacher trees" which have a very hard wood. Like the chontaquiro [Coeur Pehors], ajosquiro [Junglanf neotropicans], palisangre [Brosimum rubescens], huacapú [Minquartia guianensis (Luna, 1999: 13), or Voucapoa americana (Luna, 1986:68)]. But not the lupuna [Ceiba pentandra]! Each maestro dieting with these trees knows how to cure an illness. Therefore, as I said, on the one hand the mariri is good - as it works more swiftly in removing the cause of an illness - on the other is bad. Supposing that the set-time a mariri was given to you by your maestro has elapsed and you have not learnt how to control it, it will disturb you! How? It will ask you to do harm to somebody! 

The mariri is not such a good thing for a shaman [to have]! In ancient times, however, maestros were used to challenge each other with the mariris, with deadly consequences. It was like a test! If a maestro was attacked with a mariri and did not have one himself, he was defence-less and often the ensuing result was his death! It was like that in ancient times, but now the situation has changed. Because of that there are today few maestros who have the mariri, but when you enter the path of shamanism [la ciencia, the science of curanderismo] they are offered to you! And evil things are very easy to be done [todo es facil lo malo]. This way you may get your mariri in only ten days, ten days of diet! Only in ten days! Por eso vien la cosa bien rapida! [things come very quickly this way!] But you need a lot of knowledge to be able to cure [somebody], having dieted for only ten days! That's way I maintain that sometimes the mariri is good, sometimes is bad. The form of the mariri depends on how one wishes to have it: it could be a viper, a spider, or simply a phlegm. It can take various formats and shapes. It can be visible, physically, if a maestro likes to show it to you. 

The mariri can be charged with either good things, to cure, to heal - such as medicinal remedies: e.g. with medicina extracted from the plants you have learnt from, through the icaros - or with bad things, to do harm, for brujeria. You charge the mariri with icaros for good things. I know the icaros for the mariri, but I don't particularly like them...because I don't like the mariri

Normally, in the majority of cases, the icaros used to charge the mariri for the medicina are sang in Indian dialect, because the mariri is a very delicate thing that a maestro deals with. This is the fashion established by the ciencia, in this fashion the tradition has been passed on.

oN trinidad vilces peso and how she disappeared with the dolphins

My grandmother was a suni runa [e.g. a shaman who works with the underwater spirits, at a deep level underwater]. She is now gone in the sub-aquatic realm. I remember that afternoon very clear as if it was now, until this very present moment, I was only five years old, when she told me: - “Francisco, it’s five o’clock, I will give you all my things, all my ceremonial objects, all this is for you!”– then I replied – “What are you saying avuelita [grandmother]? Is this a joke?” – “No! This is my last day on earth with you!”–She began to take her pipe, with the tobacco, and said: “This is my last blowing for you!” – she started to blow tobacco all over me and I truly could not believe what was happening. She then added: “This is my last day for you. Listen to me, listen! If you learn something, teach it to other people, so that this knowledge will never be lost!” I heard her saying that very clearly, and then I replied: “What are you saying avuelita?” – And she answered:  “This is my last day with you! Let’s go to the river!” We took a canoe, she was seating on the front, I was at the back, and we went off. We were about ten minutes away from were our community [the Capanahua People] was, by a big lake. We got near the Putumayo river when she began to blow. A powerful jet of water rose before us, about twenty meters away from where we were, like a big explosion! This happened three times. The last time it took place was nearer to us, I remember it very clearly, it was more or less three meters away from where we were. The water came again, a big jet of water exploding before us. I saw very clearly how she disappeared into a whirlpool, and the last thing I saw was her foot! I cried: ‘Ahh, grandmother! Please, please come back!’ - I was crying and crying. The people of the community responded to my cries. I yelled: “Please, please come!! Grandmother is in the water, and I don’t know what to do!!” They came with five canoes, my whole family. My auntie, my uncle and nephew, my mother, my father, they all came. “Where is avuelita ?”, they asked me – “She went into the water!!”, I replied. –  “Why?” – “I don’t know!” – And they began hurrying, searching for her, as night was approaching. When they reached the spot where she disappeared they saw many pink dolphins. Then my father said: “Ohh, do not worry, she is a suni runa! She is with the dolphins, let’s go back to our homes!” During that night my uncle made an ayahuasca ceremony in his house, with all our family, to see what had happened to avuelita. The following day I remember he saying “Please call all the members of our family! Come on! So that we can talk with grandmother to know what has happened, why she went away!”

He began singing for a long time, then he went to the river and began to blow tobacco. Whilst he was blowing mapacho smoke, a jet of water exploded before us and all around pink dolphins appeared. He said to us “Please don’t talk, remain silent, grandmother is coming!” It was completely silent by the river. “Let’s go!”, he said. “Let’s go back to the house!” There were many people, ours was a big family. We sat in a circle in the house. My uncle began to sing “Suni suni acparuna, Sinchi sinchi curandera”. He was singing, and when he finished my grandmother replied from inside the  house! Firstly my uncle called me, and said “Francisco, come in! Please ask her what has happened! I was crying and crying. She answered us and said: “Francisco, do not worry for me! I am very happy because my last days on earth are over! I am very happy here, I will be a doctora [ in the Amazon shamans and spirit mother of the plants are addressed with the title of doctor ], a doctora of the dolphins! You must learn more, and more! Please remember all the things that I have taught you!” Then she said to my uncle Maximiliano [9]: “Please teach Francisco!” She explained to me what I could do in my life, and told me: “Francisco, look at the medicine plants! Then learn about them and learn about the teacher plants, the master plants, and when you become forty years old you must begin to use the perfume! When you will use this, all the people will love you!”  

This ceremony was done by Manuel with ayahuasca, because Trinidad was also an ayahuasquera - on top of being a perfumera, a toesera [e.g. a vegetalista specialised in working with the toe' plant - Brungmasia suavolens] and a camalonghera [e.g. a vegetalista who works with the seeds of the camalonga plant - probably to be identified with the Thevieta peruviana]. And my uncle was the same.  She also taught him how to handle this knowledge. Everyone in my family drank the ayahuasca during this ceremony, except me. Manuel explained me that - as I was the support in life of my grandmother -  if I would get intoxicated by the brew my spirit could have probably followed her, and left this world as well. She was one hundred and eight years old: she knew - as she was a curandera since the age of eight and a suni runa - that her time on this earth would have arrived at this age. 

 

      

   notes

[1] Pumasacha: is a plant that the bancos (see Note [5], below) use to transform themselves into jaguars. From this plant   bancos also make pipes. It was from a pipe made of pumasacha that Francisco was blown mapacho by his grandmother, during his initiation. A banco who is able to transform himself into a jaguar (puma) is called bancopuma.

[2] An interesting illustration of this plant is in a painting by Pablo Amaringo (in Luna 1999: 101, vision 27).

[3] For don Francisco an icaro is: “a force or air charged with positive energy that all curanderos hold inside their body.” It can be used “by a curandero to pull out the negative energy from the body of another person.” He also specifies that “there are two kinds of icaros: the singing and the blowing.”

[4] Luna (in Luna, L.E. - Amaringo, P. 1999: 32) thus describes these shamanic hierarchies in the Amazon: 

“A banco is like a bench for the spirits, because he lies face down in his mosquito net, and the spirits descend and sit on him, giving him the correct diagnosis and the way to cure his patients […]. A banco masters the jungle realm, has contact with the spirits of the sky, and understands secrets related to the earth, but he is unable to enter the underwater realm. A muraya is first of all a master of the water and the jungle realms. He is knowledgeable about plants and animals, and is able to live for periods of time in the subaquatic realm, finding there his food […]. But he is unable to ascend to the sky. To become a muraya a practioner needs to contact the spirits of the water, such as mermaids, yacurunas, and dolphins […]. A sumiruna is the highest degree a vegetalista may reach, because he or she is able to master all three realms: jungle, water, and sky. This division is not generalized in the Peruvian Amazon, and many people use these three terms as more or less synonymous.”

Bancos are told of being capable of incredible feats, such as being in different places at the same time, and transforming themselves into animals: a banco puma, for instance, is a banco capable to shapeshift into a puma or a jaguar. During the ceremony they are believed to leave completely the body. Because of that they need at least a disciple in charge of their protection and to control their physical body, to prevent spirit or soul loss.

Francisco Silva, a Peruvian curandero that we contacted, former maestro at Sachamama, thus summarize a typical ceremony with a banco: “the banco becomes totally absorbed in his trance, whilst he is dealing with the spirits invoked, and requires the assistance of four disciples. One disciple is for the singing of the icaros; one is in charge of smoking; another one blows at the banco himself, every five minutes; the fourth disciple is in charge of the vision to control every participant to the ceremony, and to report directly to the banco the sight of eventual enemies”. Don Francisco Montes, however, remarks that the conduction of the ceremony as described above only takes place in special circumstances, known only to the banco, and that each and every banco has his own method, learnt through the ayahuasca, and by fasting and dieting with the plantas maestras for decades (a minimum of forty years, normally sixty, and even eighty to one hundred years can be required!). They are special beings with an enormous power and energy.

Don Francisco also added that a banco – in the same fashion of a normal vegetalista – can also be a banco ayahuasquero, a banco perfumero, a banco tabaquero, a banco camalonghero, a banco sanangero, and so on, according to his specialization in working with a certain plant or element. The ayahuasca prepared by a banco - given the amount of knowledge that he has – is also very special.

Luna (ibid., n. 39) also says that: “[…] Banco, muraya, and sumi together express the complete range of vegetalismo in the Peruvian Amazon. The Lamistas are aware that their own tradition is that of the bancos; to acquire the other traditions they have to travel and seek training from the murayas in the Ucayali and sumi in the North. One can also be a banco muraya. This is the highest category of Lamista shamans who can use ‘plants of the montaña’ and ‘plant of the water’. Some are actually the same plants, but their diet, preparation and use are different.”

Don Francisco describes a banco muraya as a shaman who learns through aquatic trees, plants and vines, masters the spirits of the tierra (earth) and can travel anywhere around the earth. He also works with the spirits of the water realm but does not ‘dwell’ there.

[5] According to don Francisco, on the area around the feet gather all the spirits of the air, on the area around the head gathers all the spirits of the earth, and around the belly the spirits of the water.

[6] Or Rourea amazonica; cf. Luna 1999, 92, n.140.

[7] There is a certain disagreement over this statement though. For instance Don Felipe Ayala, a maestro that we consulted, maintained that there are still excellent curanderos in the city.

[8] Don Ruperto Peña Shuña has, for instance, two mariris. An older one which was passed on to him from his grandfathers since a very long time, which he reputed to be weaker than the one he acquired after three months of "diet" and is contained in the flowers of a special tree, gathered after they naturally fell in the river water. Don Ruperto passed his mariri - or yachay -  to Dino whilst he was dieting with him. The mariri was transmitted by smoking the dry flowers of the plant, mixed with mapacho, into a pipe. This was the way don Ruperto himself got his (second) yachay, and passed it on to Dino. He specified that the yachay received directly from the mouth of the maestro is weaker and less effective than the one that is acquired by smoking the pipe. He also maintained that it was not dangerous to acquire the mariri in such fashion, although one would normally need at least three months of "plant diet" to be ready to receive it. At the time Dino received this protection, he had accumulated an overall of about nine weeks in following the "diet" (three weeks in Sachamama first, and six weeks solely with don Ruperto, after).

Don Ruperto, uncle of don Francisco, is a powerful seventy-five years old muraya. As alto muraya (the Spanish word alto means 'high') he works with the spirits of the sky (at an upper level), the planets and the constellations - and as acpa muraya he masters the spirits of the tierra (the Quechua acpa means tierra in Spanish, e.g. earth). Mastery over meteorological phenomena like thunder, air and rain – as don Francisco remarked - are the specialization of the huaira muraya (huaira in Quechua means air).

[9] Don Maximiliano Shuña was a banco muraya in charge of following don Francisco when he was a boy – after the disappearance of his grandmother – together with don Manuel Shuña.

 

 

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