Shamans of Peru, Ceremonial Chants, Icaros, & Music
The haunting, plaintive music of Peruvian shamans was recorded at ceremonies in the Peruvian Andes and the Amazon rainforest.
The chants and icaros have an organic relationship to the medicine plants, and are primarily intended as devotional music for a ceremony. It is equally possible to listen to the hypnotically beautiful sounds in their own right and simply enjoy them for their otherworldly beauty.
The CD contains chants and dramatic effects of six different ceremonies with shamans. . Two ceremonies with San Pedro maestros working in the atmospheric ruins of Puruchucu; two ayahuasca shamans, a man and a woman, in separate sessions working in a jungle temple on the River Momon, outside Iquitos; a Shipibo shaman working in Yarinacocha, outside Pucallpa; and lastly, a despacho in the ruins of Pisaq, Cusco. In addition there are three tracks of atmospheric music played on pre‐Colombian instruments.
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Shamans of Peru, Ceremonial Chants, Icaros, & Music
The haunting, plaintive music of Peruvian shamans was recorded at ceremonies in the Peruvian Andes and the Amazon rainforest.
The chants and icaros have an organic relationship to the medicine plants, and are primarily intended as devotional music for a ceremony. It is equally possible to listen to the hypnotically beautiful sounds in their own right and simply enjoy them for their otherworldly beauty.
The CD contains chants and dramatic effects of six different ceremonies with shamans. . Two ceremonies with San Pedro maestros working in the atmospheric ruins of Puruchucu; two ayahuasca shamans, a man and a woman, in separate sessions working in a jungle temple on the River Momon, outside Iquitos; a Shipibo shaman working in Yarinacocha, outside Pucullpa; and lastly, a despacho in the ruins of Pisaq, Cusco. In addition there are three tracks of atmospheric music played on pre‐Colombian instruments.
Howard G Charing & Peter Cloudsley interviewed Shipibo Ayahuasca Shaman Benjamin Ochavano in the Amazon Rainforest of Peru, who is in his mid seventies to discuss how Ayahuasca can help those Westerners who are seeking personal growth and who have embarked on the great journey of self discovery and exploration.
The uses of powerful hallucinogenic plants such as Ayahuasca have been developed by indigenous peoples and early civilizations over thousands of years, and their effects are highly dependent upon the context of the ceremony, the chants and the essential personality of the shaman, all of which can vary with surprising results.
Diverse urban uses have emerged recently and a few of these are spreading, while some traditional shamans travel the world, thus Ayahuasca is gaining recognition in Western civilization. But what really is the potential of these ancestral plants, and how can we get the most out of them?
I first started taking ayahuasca at the age of 10, with my father, who was also a shaman. When I was 15, he took me into the selva to do plant diets, nobody would see us for a whole year, we had no contact with women, nothing. We lived in a simple tambo sleeping on leaves with just a sheet over us. We dieted plants: ayauma, puchatekicaspi, pucarobona, huairacaspi, verenaquu.
I would take each plant for 2 months before moving on to the next, a whole year without women! The only fish allowed is boquichico – a vegetarian fish and mushed plantains made into a thick drink called pururuco in Shipibo, or chapo without sugar.
Then I had about a year’s rest before going again with my uncle, Jose Sánchez, for another year and 7 months of dieting on the little Rio Pisqui. He taught me alot and gave me chonta, cascabel, hergon, nacanaca, cayucayu. He was a chontero, a kind of shaman who works with darts (in the spiritual world) – so called because real darts and arrows for hunting are made from the black splintery bamboo called chonta. A chontero can send darts with positive effects like knowledge and power too, and he knows how to suck and remove poisoned darts which have caused illness or evil spells.
To finish off he gave me chullachaqui caspi. Then I began living with my wife and working as a curandero in Juancito on the Ucayali. Later I went to Pucallpa where I still live some of the time when I’m not in my community of Paoyhan, where my Ani Sheati project is.
The most important planta maestra is Ayauma chullachaqui. Then Pucalo puno (Quechua) the bark of a tree which grows to 40 or 50 meters. This is one of a number of plants that is consumed together with tobacco and is so strong, you only need to take it two times. It requires a diet of 6 month. You drink it in the morning, then lie down, you are in an altered state for a whole day afterwards.
Another plant is Catahua whose resin is cooked with tabacco. You must be sure that no one sees you while you take it. It puts you into a sleep of powerful dreams.
Ajosquiro is from a tree which grows to 20m, with a penetrating aroma like garlic. It gives you mental strength, it is very healing and makes you strong. It takes away lazy feelings, gives you courage and self esteem, but can be used to explore the negative side as well as the positive. You can be alone in the wilderness yet feel in the company of many. It puts you into the psycho-magical world which we have inherited from our ancestors, the great morayos (=shamans in Shipibo) so you can gain knowledge of how to heal with plants.
The word ‘shaman’ is recent in the Amazon, (coming from Asia via the Western world in the last 10-20 years). My father was known as a moraya or banco, or in Spanish curandero. A curandero could specialize in being a good chontero or a shitanero who does harm to people.
Virjilio Salvan, who is dead now, dead now introduced me to a plant which he said was better than any other plant – Palo Borrador, maestro de todos los palos (master of all plants). You smoke it in a pipe for 8 days, blowing the smoke over your body. On the eighth day a man appears, as real as we are, a Shipibo. He was a chaycuni – an enchanted being in traditional dress… cushma, or woven tunic, chaquira necklace, and so on, and he said to me ‘Benjamin, why have you smoked my tree?’
‘Because I want to learn’ I said. ‘Ever since I was little I wanted to be a Moraya’
‘You must diet and smoke my tree for 3 months, no more’ he said. ‘And you can eat whatever fish you like…it won’t matter’ … and he listed all the fish I could eat. ‘But you must not sleep with any woman other than your wife’ he said. And I’ve followed this advice until today.
Three nights later, sounds could be heard from under the ground and big holes opened up and the wind blew. Then everyone, all the family began to fly. And from that day I was a moraya.
Today I still fast on Sundays .
What do you think about Westerners coming to take plants in the Amazon?
It is a good thing for them to come and learn, for us to share and for there to be an interchange. This is what I would like to do in my community of Paoyhan. But the Ecuadorians stole our outboard motor.
How could the plants of the Amazon help people of the West?
It can open up the mind so we can find ways to help each other. It can help them find more self-realization in life. If a person is very shy for example it can help warm their hearts, give them strength and courage.
You have a different system in your countries, when we travel there we feel underrated just as when you come here you have to get accustomed to being here. When we get to know each other and become like brothers, solutions emerge. To get rid of vices and drug addictions, for example, there are plants which can easily heal people.
Pene de mono is a thick tree, which I have used to cure two foreign women of AIDS. The name means ‘monkey’s penis’. I saw in my ayahuasca vision that they were ill and diagnosed them as having AIDS. I boiled the bark of the tree and made 6 bottles which they took each day until it was finished. They had to go on a diet as well. No fish with teeth, salt, fruit or butter. The fish with teeth eat the plant so it cannot penetrate into the body. After this you get so hot that steam comes off the body. In the selva there is no AIDS, only some cases in the city of Pucullpa.
Since the late 90’s Eagle’s Wing has conducted Ayahuasca and San Pedro Retreats in Peru. We have our 2008 programme available for viewing, downloading, or printing on this blog.
Pablo Amaringo is one of the world’s greatest visionary artists, and is renowned for his highly complex, colourful and intricate paintings of his visions from drinking the Ayahuasca brew. Pablo is interviewed at his gallery in Pucallpa, Peru, by Howard G Charing and Peter Cloudsley. A copy of the original interview (with photos), first published in Sacred Hoop Magazine is on Howard’s website.
Pablo Amaringo trained as a curandero in the Amazon, healing himself and others from the age of ten, but gave this up in 1977 to become a full-time painter and art teacher at his Usko-Ayar school. His book, Ayahuasca Visions: The Religious Iconography of a Peruvian Shaman, co-authored with Luis Eduardo Luna, brought his work and the rich mythology of the Amazon to a wide audience in the West.
Pablo Amaringo was born Puerto Libertad, in the Peruvian Amazon. He was ten years old when he first took Ayahuasca—a visionary brew used in shamanism, to help him overcome a severe heart disease. The magical cure of this ailment via the healing plants led Pablo toward the life of a vegetalismo in which he worked for many years.
Howard and Peter met with Pablo at the school which he founded (Usko-Ayar school of painting) in Pucullpa where he lives and paints, and interviewed Pablo about his life as a shaman and artist.
What drew you to being a shaman?
It was a spiritual matter for me. I had thought that shamans deceived and lied to people, so I didn’t believe in them. I thought that Ayahuasca healed people because it was medicine, I didn’t believe in magic and spirits. No! Then in 1967 I saw a curandera miraculously heal my sister who had been in mortal agony with hepatitis, and could not either eat or speak, but with this single healing from the plants, she was cured in just two hours. That motivated me to start learning the science of vegetalismo
She was given Ayahuasca?
No, the Senora used the knowledge of Ayahuasca and chanted. That was during the day. That same night I drank and received the powers, but I didn’t know what I was being given. I saw many things. I sat like a king and watched! After that I dieted for five days, staying at home, without seeing many people.
After one month I began to feel what everybody else was feeling, it was a very strange thing! And I discovered I could sing the chants without even learning them. They came out beautifully and I wondered how it was possible that I knew them. I realised I had powers in me and I began to be a curandero when I cured a young man with a terrible headache, firstly I felt it and then he was better.
Is it an important part of the cure, to feel what the patient feels?
That was how the powers were given to me, but others say that when they take the Ayahuasca, they can see what the problem is with their patient. I didn’t even have to drink, I felt exactly where their pains were, and their emotions, everything.
What plant did you take on your diet?
Just Ayahuasca, but afterwards I took other plants at the same time as Ayahuasca, to learn more things.
Then you practiced as a curandero in Pucullpa?
Yes, and for many years I travelled to Madre de Dios, Cusco, Lima, Huanuco, Tingo Maria and Alto Ucayali. Wherever I went I cured people.
At that time Pucullpa was much smaller.
Yes, the houses were mostly wooden, with cultivation behind them, there were no high buildings. None of the streets had tarmac, they were of red mud, except for the one central Plaza. The road to Lima was terrible and it took a month or more to get there.
How do you communicate with plant spirits after you take them into you?
When you take any plant other than Ayahuasca, you connect through your dreams. Ajo sacha, Chric Sanango, Bobinsana etc. you learn while you are asleep. But with Ayahuasca no, you are conscious and awake. That is why it is the planta maestra – the eye through which you see the world, the universe. It is miraculous and sacred and you can learn from your studies far more with Ayahuasca than with other plants, but you must obey the ‘statutes’ of this plant, i.e. the rules. If you obey, no knowledge will be withheld from you.
My visions helped me understand the value of human beings, animals, the plants themselves, and many other things. The plants taught me the function they play in life, and the holistic meaning of all life. We all should give special attention and deference to Mother Nature. She deserves our love. And we should also show a healthy respect for her power!
How did you discover your gift of painting?
I used to make portraits and landscapes when I was 20 years old, but mostly using charcoal. But this didn’t earn me any money so I dedicated myself to other things, agriculture, raising animals and hairdressing, all kinds of things. I was working as secretary to the chief of customs here in the port of Pucullpa. One day my boss told me to paint two armchairs, and as I had never painted, I just slapped on the paint any old how, and it looked awful with lumps everywhere. But the boss didn’t reprimand me; he said how come you are good at everything except painting? I was a little hurt because he was always so impressed by everything I did. This made me think that if I was going to learn to paint, I would learn to do it well.
After three years working there I had a heart problem and returned to doing portraits in pencil beginning with my own portrait.
How did you begin painting visions?
Years passed and I used to say to my mother, when I am older I will paint several pictures of myself so that after I am dead people will know there has been a painter in the family! One day I was asked to accompany a foreign gentleman because I spoke a little English but I did not know that he was the biologist Denis McKenna. After some years he recommended me for a job in Sepagua but I was not able to take it up because my mother fell ill. So when he came back in 1985 I asked him if he would show my pictures in an exhibition he was organizing in Switzerland. They were small pictures, but later he returned with Luis Eduardo Luna who said how beautifully you paint Pablo. I can promote your work; do you want to be a world class painter?
I said no, I don’t want any of those things. I don’t know what a ‘world class’ painter is. I just want you to help me sell my pictures to make a little money. I was portraying the daily realities of people in the Amazon, how they sow and harvest, how they fish and celebrate their fiestas and so on. Luna said how is it I haven’t met you before now? Every year I have been coming for the last eight years, travelling up the Amazon through Brazil and Peru to Panama!
I asked him why he came. What was he looking for? We are interested in the magical plants of Peru from the coast, Sierra and Selva . I know what you are after, I said. I used to be a shaman ten years ago, what a shame you didn’t know me before, but now I have put all that behind me. I could have told you so much about what I had seen, I said. Then I started to think that I could paint for him all the things I had seen in my visions and all the things that were explained to me. But I had to do it in secret because even when people saw photos of what I painted, they said I had gone mad, that I was bedevilled and painting things of the demon!
They worried me with these remarks. I could never have had an exhibition here in Pucullpa. So Luna said paint for me then! And I made two pictures of visions for his next visit, and when he saw those pictures – one of which is in the Museum of Washington DC and the other in the University of Stockholm – they took hundreds of pictures of them. But I said he could take them away. And that’s what they did, wrapped up in a huge box. They sold them and sent me the money. After that they said we don’t want any more landscapes, only visions!
They studied them and said they found language and biology in the pictures so later I began to make explanations of them. But I could never show them to people here. That’s how it all started.
Are people still prejudiced here?
Yes, many are still. Once some religious people came and said that if the name of Jesus was spoken the paintings would explode. And they asked me to say Jesus. I said I can’t say that word, what for? They said to each other, he has got the devil in him, if he says Jesus, he will explode!
You have many amazing paintings here in your studio; can you tell us something about them?
The pictures are a means by which people can cross spiritual boundaries. Some people say they can only believe what they see, but there are thing which exist which cannot be seen. The pictures are for reminding people what we are and where we come from and where we are going. They are for people of any culture in the world although there is much that is taken from indigenous Amazonian culture.
Would you like to add anything more about the importance of plants?
For me personally, though, they mean even more than this. Plants—in the great living book of nature—have shown me how to study life as an artist and shaman. They can help all of us to know the art of healing and to discover our own creativity, because the beauty of nature moves people to show reverence, fascination, and respect for the extent to which the forests give shelter to our souls.
The consciousness of plants is a constant source of information for medicine, alimentation, and art, and an example of the intelligence and creative imagination of nature. Much of my education I owe to the intelligence of these great teachers. Thus I consider myself to be the “representative” of plants, and for this reason I assert that if they cut down the trees and burn what’s left of the rainforests, it is the same as burning a whole library of books without ever having read them.
People who are not so dedicated to the study and experience of plants may not think this knowledge is so important to their lives—but even they should be conscious of the nutritional, medicinal, and scientific value of the plants they rely on for life.
My most sublime desire, though, is that every human being should begin to put as much attention as he or she can into the knowledge of plants, because they are the greatest healers of all. And all human beings should also put effort into the preservation and conservation of the rainforest, and care for it and the ecosystem, because damage to these not only prejudices the flora and fauna but humanity itself.
Even in the Amazon these days, many see plants as only a resource for building houses and to finance large families. People who have farms and raise animals also clear the forest to produce foodstuffs. Mestizos and native Indians log the largest trees to sell to industrial sawmills for subsistence. They have never heard of the word ecology!
Howard G. Charing, is an accomplished international workshop leader on shamanism. He has worked some of the most respected and extraordinary shamans & healers in the Andes, the Amazon Rainforest, and the Philippines. He organises specialist retreats to the Amazon Rainforest He is the author of Plant Spirit Shamanism (Destiny Books USA). View Original Interview with Pablo Amaringo
The Magical Art of the Shipibo People of the Upper Amazon
By Howard G Charing
Underlying the intricate geometric patterns of great complexity displayed in the art of the Shipibo people is a concept of an all pervading magical reality which can challenge the Western linguistic heritage and rational mind.
These patterns are more than an expression of the one-ness of creation, the inter-changeability of light and sound, the union or fusion of perceived opposites, it is an ongoing dialogue or communion with the spiritual world and powers of the Rainforest. The visionary art of the Shipibo brings this paradigm into a physical form. The Ethnologist Angelika Gebhart-Sayer, calls this “visual music”.
The Shipibo are one of the largest ethnic groups in the Peruvian Amazon. These ethnic groups each have their own languages, traditions and culture. The Shipibo which currently number about 20,000 are spread out in communities through the Pucallpa / Ucayali river region. They are highly regarded in the Amazon as being masters of Ayahuasca, and many aspiring shamans and Ayahuasqueros from the region study with the Shipibo to learn their language, chants, and plant medicine knowledge.
All the textile painting, embroidery, and artisan craft is carried out by the women. From a young age the Shipibo females are initiated by their mothers and grandmothers into this practice. Teresa a Shipiba who works with us on our Amazon Retreats tells that “when I was a young girl, my mother squeezed drops of the Piripiri (a species of Cyperus sp.) berries into my eyes so that I would have the vision for the designs; this is only done once and lasts a lifetime”.
The intricate Shipibo designs have their origin in the non-manifest and ineffable world in the spirit of the Rainforest and all who live there. The designs are a representation of the Cosmic Serpent, the Anaconda, the great Mother, creator of the universe called Ronin Kene. For the Shipibo the skin of Ronin Kene has a radiating, electrifying vibration of light, colour, sound, movement and is the embodiment of all possible patterns and designs past, present, and future. The designs that the Shipibo paint are channels or conduits for this multi-sensorial vibrational fusion of form, light and sound. Although in our cultural paradigm we perceive that the geometric patterns are bound within the border of the textile or ceramic vessel, to the Shipibo the patterns extend far beyond these borders and permeate the entire world.
One of the challenges for the Western mind is to acknowledge the relationship between the Shipibo designs and music. For the Shipibo can “listen” to a song or chant by looking at the designs, and inversely paint a pattern by listening to a song or music.
As an astonishing demonstration of this I witnessed two Shipiba paint a large ceremonial ceramic pot known as a Mahuetá. The pot was nearly five feet high and had a diameter of about three feet, each of the Shipiba couldn’t see what the other was painting, yet both were whistling the same song, and when they had finished both sides of the complex geometric pattern were identical and matched each side perfectly.
The Shipibo designs are traditionally carried out on natural un-dyed cotton (which they often grow themselves) or on cotton dyed in mahogany bark (usually three or four times) which gives the distinctive brown colour. They paint either using a pointed piece of chonta (bamboo) or an iron nail with the juice of the crushed Huito (Genipa americana) berry fruits which turns into a blue- brown-black dye once exposed to air.
Each of the designs are unique, even the very small pieces, and they cannot be commercially or mass produced. In Lima I met with a woman who had set up a government funded community project which amongst other matters established a collective for the Shipibo to sell their artisan work and paintings. She tells that a major USA corporation (Pier 1 Imports), enamoured by these designs ordered via the project twenty thousand textiles with the same design, this order could never be fulfilled, the Shipibo could simply not comprehend the concept of replicating identical designs.
The Shipibo believe that our state of health (which includes physical and psychological) is dependent on the balanced union between mind, spirit and body. If an imbalance in this occurs such as through emotions of envy, hate, anger, this will generate a negative effect on the health of that person. The shaman will re-establish the balance by chanting the icaros which are the geometric patterns of harmony made manifest in sound into the body of the person. The shaman in effect transforms the visual code into an acoustic code.
A key element in this magical dialogue with the energy which permeates creation and is embedded in the Shipibo designs is the work with ayahuasca by the Shipibo shamans or muraya. In the deep ayahuasca trance, the ayahuasca reveals to the shaman the luminous geometric patterns of energy. These filaments drift towards the mouth of the shaman where it metamorphoses into a chant or icaro. The icaro is a conduit for the patterns of creation which then permeate the body of the shaman’s patient bringing harmony in the form of the geometric patterns which re-balances the patient’s body. The vocal range of the Shipibo shaman’s when they chant the icaros is astonishing, they can range from the highest falsetto one moment to a sound which resembles a thumping pile driver, and then to a gentle soothing melodic lullaby. Speaking personally of my experience with this, is a feeling that every cell in my body is floating and embraced in a nurturing all-encompassing vibration, even the air around me is vibrating in acoustic resonance with the icaro of the maestro. The shaman knows when the healing is complete as the design is clearly distinct in the patient’s body. It make take a few sessions to complete this, and when completed the geometric healing designs are embedded in the patient’s body, this is called an Arkana. This internal patterning is deemed to be permanent and to protect a person’s spirit.
Angelika Gebhart-Sayer, Professor of Ethnology, University of Marburg writes that “Essentially, Shipibo-Conibo therapy is a matter of visionary design application in connection with aura restoration, the shaman heals his patient through the application of a visionary design, every person feels spiritually permeated and saturated with designs. The shaman heals his patient through the application of the song-design, which saturates the patients’ body and is believed to untangle distorted physical and psycho-spiritual energies, restoring harmony to the somatic, psychic and spiritual systems of the patient. The designs are permanent and remain with a person’s spirit even after death.”.
Whilst it is not easy for Westerner’s to enter and engage with the world view of the Shipibo which has been developed far away from our linguistic structures and psychological models, there is an underlying sophisticated and complex symbolic language embedded in these geometric patterns. The main figures in the Shipibo designs are the square, the rhombus, the octagon, and the cross. The symmetry of the patterns emanating from the centre (which is our world) is a representation of the outer and inner worlds, a map of the cosmos. The cross represents the Southern Cross constellation which dominates the night sky and divides the cosmos into four quadrants, the intersection of the arms of the cross is the centre of the universe, and becomes the cosmic cross. The cosmic cross represents the eternal spirit of a person and the union of the masculine and feminine principles the very cycle of life and death which reminds us of the great act of procreation of not only the universe, but also of humanity, and our individual selves.
The smaller flowing patterns within the geometric forms are the radiating power of the Cosmic Serpent which turns this way and that, betwixt and between constantly creating the universe as it moves. The circles are often a direct representation of the Cosmic Anaconda, and within the circle itself is the central point of creation.
In the Western tradition, from the Pythagoreans, and Plato through the Renaissance music was used to heal the body and to elevate the soul. It was also believed that earthly music was no more than a faint echo of the universal ‘harmony of the spheres’. This view of the harmony of the universe was held both by artists and scientists until the mechanistic universe of Newton.
Joseph Campbell the foremost scholar of mythology suggests that there is a universe of harmonic vibrations which the human collective unconscious has always been in communion with. Our beings beat to the ancient rhythms of the cosmos. The traditional ways of the Shipibo and other indigenous peoples still reflect the primal rhythm, and their perception of the universal forces made physical is truly a communion with the infinite.
To View the original article (first published in Sacred Hoop Magazine)with detailed colour photographs, visit our website:Shipibo Article
Howard G. Charing, is an accomplished international workshop leader on shamanism. He has worked some of the most respected and extraordinary shamans & healers in the Andes, the Amazon Rainforest, and the Philippines. With Peter Cloudsley he organises specialist retreats to the Amazon Rainforest at the dedicated centre located in the Mishana nature reserve. He is the author of the best selling book, Plant Spirit Shamanism (Destiny Books USA). His website:www.shamanism.co.uk
The CD contains chants and dramatic effects of six different ceremonies with shamans. . Two ceremonies with San Pedro maestros working in the atmospheric ruins of Puruchucu; two ayahuasca shamans, a man and a woman, in separate sessions working in a jungle temple on the River Momon, outside Iquitos; a Shipibo shaman working in Yarinacocha, outside Pucullpa; and lastly, a despacho in the ruins of Pisaq, Cusco. In addition there are three tracks of atmospheric music played on pre‐Colombian instruments.
Shamanism & Visionary Art 