Friday, November 8, 2013

Piaroa Shaman at FITVen2013 Says Come Visit Village




You don't meet an authentic Piaroa Shaman every day. Joaquin Marquez and his son Alfredo came to Mérida all the way from Sabanito de Pintao in Amazonas State to take part in the International Tourism Fair,  FITVen2013.

It's hard to imagine the attraction of a tourism fair to an indigenous leader who has spent years trying to preserve the cultural traditions of his people, but Joaquin says he understands the need to integrate into mainstream society, albeit on his terms.

There are about 15,000 Piaroa (Wotuja in their own language) living in the Orinoco-Ventuari region of Venezuela's Amazonas and Bolivar states. Their most sacred monument is the dramatic, tabletop mountain known in Spanish as Cerro Autana, a popular destination for adventure tourists.

For the Piaroa, the Autana is the stump of a giant tree of life that once held all the fruits of the forest. When it was felled a giant flood engulfed the land, creating the world of the Piaroa but connecting them forever to the mythic pre-flood world.

While the majority of Piaroa now wear western clothing and are increasingly part of the cash economy they still hold on to traditional beliefs and customs.

Joaquin and Alfredo are keen to encourage more tourists to visit the village of 62 people that Joaquin founded as a young man.

They want the people of Sabanita de Pintao to benefit from the money they make by selling the beaded knecklaces, carved maracas, shamans stools, woven baskets and dance masks that form part of their culture.

Just 25 minutes by car from Puerto Ayacucho, the capital of Amazonas State, Sabanita de Pintao is on the road to a famous petroglyph carved into a high rock wall known locally as the Piedra Pintada.

Many people who visit the indigenous market in Puerto Ayacucho are struck by the dramatic masks and bark cloth costumes made by the Piaroa, which represent mythical creatures such as the monkey and the peccary, and are used in ritual dances.

If you want to visit an indigenous group that are proud to wear their white cotton guayucos (loincloths) and show you their heritage, then Sabanita de Pintao is a good place to start.



Follow my FITVen2013 trip on Instagram by clicking here:

Check out a video clip of Piaroa kids snacking on Tarantulas:

A Piaroa Creation Myth: Buoka and Wajari, the first men



Friday, November 1, 2013

Venezuela Guide on Instagram - FITVen2013


INSTAGRAMEANDO ANDO YO...

In October 2013 I was invited to travel around Venezuela on a Press Trip organized by the Tourism Ministry (MinTur) in the run up to the FITVen2013 International Tourism Fair.

As I lost my laptop and camera en route to Venezuela I was forced to improvise. Armed only with an HTC One S mobile phone with an 8 megapixel camera, I decided to document my trip on Instagram.

Through trial and error, I learnt how to get the most out of a single shot and train my eye to find images that would work in a square. The filters I just responded to depending on my mood that day. The feedback on Instagram, Facebook and Twitter has been really encouraging.

I am pleased with the results.

The restrictions of Instagram forced me to be more creative and think carefully before taking each shot, which helped me to see Venezuela in a different way.

I came home with some great new images of Caracas, the islands of Margarita, Coche and Cubagua, rafting in Barinas, paragliding in Mérida and the folk festivals of the Pueblos del Sur, remote villages in the Andean mountains south of Merida.

To see more of my Instagram images follow me at @Venezuelaguide - http://instagram.com/p/gJ0qZdNZZG/



Street Theatre: In the area around Plaza el Venezolano and Plaza Bolivar in the centre of Caracas, actors recreate key scenes from Venezuela's history by bringing to life famous characters from the past who tell the story of their time. Here, the dictator Juan Vicente Gomez takes a stroll with Independence hero Francisco de Miranda.  


Whitewater Rafting: On the Rio Acequias in Barinas, adventure tour company Arassari Trek took us on a bumpy, adrenaline-pumping ride down a Grade 3 stretch of foaming rapids. It helps if everybody rows together.

For more details of rafting in Barinas contact Arassari Trek


Remote Andean Villages: Just outside San Jose de Acequias, one of the so-called Pueblos del Sur, we came across this tiny chapel dedicated to San Isidro Labrador, the patron sain of farmers. 


Vibrant Folk Festivals: The Locainas de Santa Rita are gentlemen who dress like ladies for a day during the festivities in honor of San Isidro, as Santa Rita in popular lore is the wife of the saint. As their name suggests, these ladies can get quite "loco" during the festivities held on 21-22 May, and after dancing with their sticks they try to liven up the festive mood by flirting with the men in the crowd.




Paragliding in Merida: Close to the city of Merida is one of the best paragliding spots in Venezuela, a place called Tierra Negra. Jose Albarran of Fanny Tours is one of the pioneers of paragliding in Venezuela and a great pilot for a tandem flight. Known to his friends as "Piojo" (Flea), due to his uncanny ability to scale sheer rock faces, Jose is one of the founders of the paragliding school in the nearby village of Las Gonzales, close to the landing site, where youngsters are being trained to become the paragliding champions of the future. Watch a video of me paragliding with Piojo here

For more details of paragliding in Merida contact Jose at Fanny Tours

Thursday, February 10, 2011

Piaroa kids snack on tarantulas in the jungle



This cute little clip from the BBC's new Human Planet series follows a group of young Piaroa children from Venezuela's Amazonas State as they hunt for spiders to snack on.

These are no ordinary spiders, but the largest spider of all, the fearsome Goliath tarantula (Theraphosa blondi) which can give a nasty nip with its venomous fangs and also protects itself with irritating urticated hairs that it flicks off its abdomen when threatened with attack.

The effect is similar to horse-hair itching powder on the skin, but if breathed into the throat it can cause serious respiratory problems.

The clip was first shown on British TV on 3 February 2011.

Wednesday, December 15, 2010

Speak like a native - Pemon and Warao basics

A group of young Pemon porters take a rest on the way down from Mount Roraima.

For many travellers to Venezuela the biggest worry language-wise is getting a grasp on enough Spanish phrases to book hotels and buses, order drinks and make friends. But what do you do in the areas of Venezuela where Spanish is not the natural first language of the people who live there?
If you're heading for Canaima to see Angel Falls, the highest waterfall in the world, or climbing the Lost World tepui of Roraima your guides and boatmen will be from the local indigenous people, the Pemon.
If you visit the Orinoco Delta you'll be fishing for piranhas with men from the Warao tribe or buying baskets and handicrafts from Warao women.
These distinct indigenous cultures deserve our respect. They are after all the original inhabitants of the continent, surviving in these lands for thousands of years before the arrival of Columbus and preserving their language and culture today against all the odds.
From my experience, there is no better way to raise a smile and show respect for Pemon and Warao culture than to learn a few words of the local language. A simple "hello" might not seem like much but you'll soon discover how eager the indigenous people you meet will be to teach you new words and phrases and show you off to their friends and family.
To help visitors learn a few basic words I've created a short glossary to try out on your travels. You won't find anything like this anywhere else on the internet so print it out and take it with you.

Pemon Language Basics
Greeting
Hello, how are you? - waküperö
Good - wakü
Bad - awarö
Taking leave
Goodbye - airö
Expressions
Thanks - waküpe-küruman
I like - waküpeman
Friend - upetoy
House - tapüy (as in flat-topped mountain, also spelled tepuy, tepui)
Numbers
1. Taükin
2. Saküne
3. Seurawöne
4. Sakorörö
5. Taükin - yenna
6. Pona taükin
7. Pona saküne
8. Pona seurawöne
9. Pona sakorörö
10. Saküne yenna

Warao Language Basics
Greeting
How are you? How's things - Katuketi?
Possible replies
Good - Yakera
Very good - Yakera guito
Ok - Yakera sabuka
Bad - Asida
Taking leave
Goodbye - Omi
Numbers
1. Isaka
2. Manamo
3. Dijanamo
4. Orabakaya
5. Mojabasi
6. Mojomatana isaka
7. Mojomatana manamo
8. Mojomatana dijamo
9. Mojomatana orabakaya
10. Mojoreko
20. warao isaka (a Warao has ten fingers and ten toes so one Warao = 20)

Warao women sell moriche fibre baskets and wood carvings of local animals from a palafito (house on stilts) in the Orinoco Delta.

Tuesday, October 12, 2010

UK explorer learns survival skills from Venezuela's Pemon



Famous UK explorer Ray Mears travels into the Venezuelan jungle to learn some survival skills from the Yekuana and Pemon Indians for a BBC documentary series on bushcraft.

You can find the full documentaries on Youtube but here is my favourite episode, when Ray meets Venezuelan snake expert and naturalist Jesus Rivas and we learn a little more about some of the smaller inhabitants of the rainforest.

Wednesday, August 11, 2010

Yekuana Games Central to Beliefs - Documentary



This short film produced by Venezuelan videographer Angel Rizo and Francesca Staasch and directed by Enrique Blein Gerstl documents the life and beliefs of the Yekuana people of the Venezuelan rainforest as expressed through their games.

The filmmakers travelled to Santa Maria del Erebato in the Yekuana heartland to discover the games the Yekuana play to express mythic concepts and train the boys in hunting skills.

The narrator describes how the Yekuana, also known as Maquiritare, believe that the jaguar must only ever be killed in self-defence as he was once a man.

The myth states that a lazy man who refused to take part in the heavy labours of his village was cast out and forced to fend for himself, eventually turning to cannibalism, eating his own to survive.

They also believe that powerful shamans can take on the form of a jaguar to kill their enemies, which is very similar to the Pemon's belief in Canaima, an evil spirit that can bring death and often takes jaguar form.

Saturday, March 13, 2010

On the trail of painted ladies in Amazonas


Sometimes it takes so long to get your hands on a coveted object that you can end up with something that only vaguely resembles the treasured thing you originally set your heart on.

That is what happened to me recently, when I finally got my hands on a Hiwi ceramic figurine (below) after 10 years of fruitless searching.

The Hiwi are an indigenous people who live along the Orinoco River and its tributaries near Puerto Ayacucho, where one bank of the mighty river is in Venezuela and the other in Colombia.

They also inhabit the savannahs along Colombia's Meta and Vichada rivers and some groups are found in Venezuela's Apure, Guarico and Bolivar states. There are nearly 15,000 Hiwi in Venezuela and more than twice that in Colombia.

In Spanish their tribal name is rendered as Jivi, or Guajibo (sometimes spelled Guahibo) and they speak a language which was once thought to be Arawakan but is now classed as Independent.

The Hiwi are noted for their skill at making necklaces and decorated baskets and they produce sought-after hammocks from moriche palm (known as "chinchorro" in Venezuela).

But I've always been fascinated by the ceramics, especially the effigy vessels of male and female Hiwi covered in symbolically-important markings.

Few contemporary Venezuelan tribal groups produce elaborate ceramics, so when I chanced upon a slim booklet about Hiwi pottery traditions by a ceramicist called Alfredo Almeida I was intrigued.

Almeida's book was on sale at the past-its-glory-and-a-bit-dusty-but-still-fascinating Monsenor Enzo Ceccarrelli Ethnological Museum in Puerto Ayucucho, the capital of Amazonas State.

As I studied a display of Hiwi ceramics from the museum's collection I was able to compare the originals with Almeida's illustrations of male effigy vessels, which he called "Jivitonuu" and female effigy vessels which he called "Jivitovaa".

It was clear the female figurines in the museum all had the geometrical markings of squares within squares, which Almeida said corresponded to "Ikuli Itanee", the tortoise, used specifically as a design in face painting by Hiwi women.

Almeida had done his research into Hiwi pottery in the 1970s in a tribal community called la Reforma.

Along the way he had met Guillermo Guevara Kukubi who explained that "the history of Hiwi pottery goes back to the very origin and appearance of the first guajibo on Planet Earth.

"As the Jivi have taught us we come from inside the Earth, from a place called Unianato, a place located 5 kilometres west of the Atures rapids on the left side of the Orinoco, today Colombian territory," explained Guevara.

"Each Jivi man who came out of the Earth carried with him an earthenware jar to drink water from. But more than an earthenware jar for practical use, it was also a model for the creation of the varied forms of Jivi pottery that we have today," he wrote.

Guevara says the figures and designs were introduced by Kuvai, or Kuwai, the Hiwi culture hero, who first created the Shaman's prayers and the symbolic designs emerged from them and were passed on to the Hiwi so they could remember the stories of creation and the sacred prayers.

Pressed for time I missed the chance to buy myself some figurines from the Hiwi vendors in the market outside the museum but vowed I would return.

Twenty years later, when I finally got the chance to visit the market again after a tremendous river trip to Cerro Autana, the figurines on sale had changed almost completely. No longer did they have a slight glaze to the pottery or dark designs painted on the surface.

Time had moved on and the Hiwi figurines seemed to have lost touch with their mythical past. They looked slick and slightly generic, objects made to sell to tourists rather than meaningful expressions of Hiwi culture.

I bought one of the figurines anyway, at least to have something to take home.

But the question remains. Are there communities of Hiwi in Venezuela or Colombia still making traditional figurines?

My search is not over yet.



Wednesday, February 10, 2010

Warao Myth 2: The Origin of Stars


This myth from the Warao people of the Orinoco Delta appears in a book by the French anthropologist Claude Levi-Strauss called "The Raw and The Cooked: Introduction to a Science of Mythology", a sometimes head-scratchingly intense attempt to tease abstract meanings out of indigenous myths from across the Americas and show the psychological patterns underlying them.

Levi-Strauss, who died aged 100 in October 2009, was an inspired thinker who tried to deconstruct indigenous mythology to try and answer fundamental questions about human thought and motivation and the differences between the "raw" elements of nature and the "cooked" elements of human culture.

Although sometimes baffling in places, my dog-eared copy of "The Raw and the Cooked" has been a constant companion on my travels into the jungle regions of Venezuela ever since I bought it in the British Museum bookshop in 1989.

Frustratingly, most of the Venezuelan myths Levi-Strauss refers to in the book are only presented in summary form but this Warao myth is published in its entirety.


The Origin of the Stars

Once upon a time there were two brothers, the elder of whom was a celebrated hunter. Each day he went farther afield in search of game, with the result that finally he came to creek he had never seen before. He climbed into a tree standing at its edge so as to watch for the animals that came to drink. Suddenly he saw a woman wading through the water toward him and he thought her behaviour very curious. Each time she put her hand into the creek she brought out two fish, and each time she ate one of them and put the other into her basket.

She was a very big woman, a supernatural being. On her head she was wearing a calabash, which she occasionally took off and threw into the water in such a way as to make it spin like a top. When she did this, she would stop to watch it, and afterwards she would walk on again.

The hunter spent the night up the tree and returned to the village the next day. He told the story to his young brother, who begged to go with him in order to see "such a woman who can catch so many fish and can eat them as well."

"No", was the reply,, "because you are always laughing at everything and you might laugh at her."

But the young man promised to keep a straight face, and the elder brother allowed himself to be persuaded.

When they reached the stream, the elder brother climbed into his tree, which stood a little way back from the edge; the younger one insisted on taking up his position in a better-placed tree, so as to miss nothing, and he sat on a branch overhanging the water. The woman soon arrived and began behaving as before.

When she reached the spot directly beneath the young brother, she noticed the reflection of his shadow in the water. She tried to catch hold of it, and when she failed, kept on trying.

She put her hand in quickly, first to this side and then that, but of course she did not succeed, and what with all her queer gesticulations and funny capers she made so ridiculous an appearance that the brother up above could not resist laughing at her vain attempts to seize the substance of the shadow. He laughed and laughed and could not stop laughing.

Thereupon, the woman looked up and spied the two brothers. Furious at having been laughed at, she launched an attack with poisonous ants (Eciton species [New World army ants]); they bit and stung the boy so badly that to escape from them, he had to throw himself into the water, where the woman caught him and ate him.

Afterwards, she captured the other brother and put him in her well-secured basket. On returning to her hut, she put the basket down and forbade her two daughters to touch it.

But as soon as her back was turned, her daughters lost no time in opening it. They were delighted with the hero's physical appearance and his talents as a hunter. Both of them, indeed, feel in love with him, and the younger one hid him in her hammock.

When the time came for the ogress to kill and eat her prisoner, the daughters confessed to their misdeeds. The mother agreed to spare her unexpected son-in-law, on condition that he go fishing on her behalf. But however big the catch he brought back, the ogress would devour it all, apart from two fish. Eventually, the hero was so worn out that he fell ill.

The younger daughter, who was by now his wife, agreed to run away with him. One day he told his mother-in-law that he had left his catch in his canoe, and that she should go and fetch it (a fisherman was not supposed to carry the fish himself, since this would spoil his luck). However, he had arranged for a an alligator to be under the canoe, and the ogress was devoured.

The elder daughter, discovered the murder, sharpened her knife and pursued the culprit.

When she was about to catch up with him, he ordered his wife to climb a tree, and followed after her. But he was not quick enough to prevent his sister-in-law cutting off one of his legs.

The detached member sprang to life and became the mother of birds (Tinamus species).

You can still see, in the night sky, the hero's wife (the Pleiades); lower down, the hero himself (the Hyades) and lower still, his severed leg - Orion's belt.

Tuesday, December 22, 2009

Angel Falls or Kerepakupai-Meru?


Since coming to power in Venezuela in 1999, President Hugo Chavez has renamed the country, the currency and the mountain that separates the capital city from the Caribbean sea. Now he's turned his attention to the country's most famous landmark Angel Falls, or Salto Angel in Spanish, which at 979 metres (3,212 feet) is the highest waterfall in the world, Venezuela's greatest natural treasure and a top tourism destination.

The falls are currently named after the US aviator and adventurer Jimmie Angel, who first saw the record-breaking natural wonder from the cockpit of his plane in 1933 while searching for a river of gold.

Speaking on his weekly radio and TV programme "Hello, President", Mr Chavez said: "How can we accept this idea that the falls were discovered by a guy who came from the United States in a plane?"

"If we do that, that would be like accepting that nobody was living here," he added, suggesting that from now on Angel Falls should be renamed to show respect to the Pemon Indians who inhabit the remote Gran Sabana region in the south of Venezuela, and who were there centuries before the US bush pilot saw the falls.

The waterfall gushes forth from an enormous heart-shaped mesa mountain, which already has an indigenous Pemon name: Auyan-tepui, or Aiyan-tepuy, which means "Devil Mountain", according to Father Cesareo Armellada's "Diccionario Pemon".

Following his first flypast of the falls in 1933, Jimmie Angel attempted a landing on Auyan-tepui in 1937 but his Flamingo monoplane "El Rio Caroni" sank into soft ground.

The crash left Jimmie, his wife Marie (shown left with Jimmie) and the Venezuelans Gustavo Heny and Miguel Delgado stranded atop the isolated mountain. They had limited supplies and had to trek to safety through unexplored terrain.

It took Angel and his party 11 exhausting days to make their way down to the Pemon village of Kamarata.

As news of their adventure spread across the globe, Jimmie Angel's name became inextricably linked with the waterfall, which was named Angel Falls in honour of his exploits.

The "Rio Caroni" was eventually taken down from the top of Auyan-tepui by the Venezuelan Air Force in the 1970s and now stands outside Ciudad Bolivar airport, where modern-day tourists start their trips to Canaima Camp, the starting point for river trips to Angel Falls and flyovers in small planes.

Angel died aged 57 of injuries sustained in a plane accident in Panama in 1956.

In July 1960, in line with his wishes, Jimmie Angel's ashes were scattered over the falls by his two sons.

President Chavez acknowledged that Angel "was the first one to see it from a plane", but insisted it should have an indigenous name.

"That is ours, and was a long time before Angel ever got there... how many millions of indigenous eyes saw it, and prayed to it?" he added.

Referring at first to Churun-Meru, the Pemon name for a smaller waterfall that cascades from the Auyan-tepui mountain, Mr Chavez was subsequently corrected by his daughter Maria, who passed him a note stating the correct Pemon name for the falls is Kerepakupai-Meru, meaning "waterfall of the deepest place".

"Nobody should speak of Angel Falls any more," said the president.

However, there could be a challenge to the new name. While some Pemon refer to the waterfall as Kerepakupai-Meru, it is referred to in older reports as Parekupa-Meru, from the Pemon words kupa meaning "deep water", pare meaning "more", and meru meaning "waterfall".

The Venezuelan president's call for a name change comes at a moment of increasing interest in the world's highest waterfall. It featured as "Paradise Falls" in the Pixar/Disney movie "Up" and has made it into the final 28 candidates of a global internet campaign to find the New Seven Wonders of Nature.

By Russell Maddicks

Report on Jimmie Angel and the "discovery" of Angel Falls

Auyan-tepui, Angel Falls and Pemon myths

Angel Falls competing to be one of the 7 Wonders of Nature

Video clip of Angel Falls from David Attenborough's BBC series "Planet Earth"

Pixar's movie "Up" explores Venezuela's Lost World of Roraima, Angel Falls

Spectacular video clip of oldest base Jumper to leap from the top of Angel Falls



View of the falls from a pool below the "Mirador", where in the dry season visitors can bathe in the waters of Salto Angel. (All photos are the property of Russell Maddicks)

Friday, December 4, 2009

Watunna - An Orinoco Creation Cycle



One of the finest books ever published on South American indigenous myths, "Watunna", by French-born geologist Marc de Civrieux contains the epic history and creation myths of the So'to (also known as Makiritare, Maquiritare, Dekuana and Yekuana) - a rainforest people of the Upper Caura and nothern bank of the Orinoco rivers.

Civrieux's comprehensive overview of So'to myth was the culmination of nearly 30 years of travel and study among Venezuela's indigenous groups.

Watunna first came out in Spanish in 1970 to great acclaim, although it was 10 years until the US anthropologist David Guss, from Tufts University, published an English version, expanded to include Civrieux's retelling of the "Medatia" myth cycle, which recounts the origins of shamanism.

"Watunna" presents myths explaining the discovery of fire, the origins of evil on Earth, of the night, of sexuality and food, and the story of the first rain, which gave birth to the rivers.

The following is an extract from "Watunna: An Orinoco Myth Cycle"

Seruhe Ianadi
There was Kahuña, the Sky Place. The Kahuhana lived there, just like now. They're good, wise people. And they were in the beginning too. They never died.

There was no sickness, no evil, no war. The whole world was Sky. No one worked. No one looked for food. Food was always there, ready.

There were no animals, no demons, no clouds, no winds. There was just light.

In the highest Sky was Wanadi, just like now. He gave his light to the people, to the Kahuhana.

He lit everything down to the very bottom, down to Nono, the Earth. Because of that light, the people were always happy. They had life. They couldn't die.

There was no separation between Sky and Earth. Sky had no door like it does now. There was no night, like now. Wanadi is like a sun that never sets. It was always day. The Earth was like a part of the Sky.

The Kahuhana had many houses and villages in Kahuña and they were all filled with light. No one lived on the Earth. There was no one there, nothing, just the Earth and nothing else.

Wanadi said: "I want to make people down there."

He sent his messenger, a damodede. He was born here to make houses and good people, like in the Sky Place.

That damodede was Wanadi's spirit. He was the Earth's first Wanadi, made by the other Wanadi who lives in Kahuña. That other Wanadi never came down to the Earth. The one that came was the other's spirit.

Later on, two more damodede came here. They were other forms of Wanadi's spirit.

The first Wanadi to come was called Seruhe Ianadi, the Wise. When he came, he brought knowledge, tobacco, the maraca, and the wiriki. He smoked and he sang and he made the old people.

That was a long time before us, the people of today.

When that spirit was born, he cut his navel-cord and buried the placenta. He didn't know. Now the worms got into the placenta and they started to eat it. The placenta rotted.

As it rotted, it gave birth to a man, a human creature, ugly and evil and all covered with hair like an animal.

It was Kahu.

He has different names. They call him Kahushawa and Odosha too. This man was very evil.

He was jealous of Wanadi. He wanted to be master of the Earth. Because of him, we suffer now. There's hunger, sickness and war. He's the father of all the Odoshankomo. Now, because of him, we die.

When that old Wanadi's placenta rotted, Odosha sprang out of the Earth like a spear.

He said: "This Earth is mine. Now there's going to be war. I'm going to chase Wanadi out of here."

He misled those people who had just been born. He taught them to kill. There was a man fishing. He had lots of fish. Odosha told them: "If you kill him, you'll have lots of fish."

They killed him. Odosha was happy. Then the people were turned into animals as punishment.

Because of Odosha, Seruhe lanadi couldn't do anything on Earth. He went back to the Sky and left the old people as animals with Odosha.

He didn't leave any of Wanadi's people on the Earth though. That was the end of the first people.

The birth of Kahu on that old Earth is a sign to us, the people of today. When a baby is born, we should never bury the placenta. The worms get it. It rots.

Another Odosha will come again, like in the beginning to hurt the baby, to kill it.

Like what happened when Kahu fought against Wanadi for control of the Earth. When a baby is born, we put the placenta in a nest of white ants. It's safe there. The worms can't get it.

That was the story of the old people. That's all.

To purchase "Watunna: An Orinoco Creation Cycle" click here:

Thursday, November 5, 2009

Seven Yanomami die in suspected swine flu outbreak


Seven Yanomami Indians living on the border between Venezuela and Brazil have died from an outbreak of the Type A H1NI "swine flu" virus in the last three weeks, according to reports from Venezuelan sources and the UK-based NGO Survival International.

Raidan Bernade, a Venezuelan doctor based in La Esmeralda on the Orinoco, said that a 35-year-old Yanomami woman was confirmed to have died from swine flu but it was not possible to confirm that the six babies who died - the oldest just 1-year-old - had died of the illness.

Some 1,000 Yanomami are reported to have contracted the virus and Yamilet Mirabal, the government's deputy minister of indigenous affairs for the region, has confirmed that suspected cases of swine flu had been detected in the jungle villages of Mavaca, Platanal and Hatakoa and that medical teams had been dispatched to treat the sick.

Bernade, meanwhile, told news agencies that: "everything is under control" and that many of the flu cases the indigenous Yanomami are suffering from are down to a seasonal flu.

The UK-based indigenous rights group Survival International has called on the governments of Venezuela and Brazil to take urgent action to protect the 32,000 Yanomami who live in the isolated border area, where there is little access to medical care.

"The situation is critical. Both governments must take immediate action to halt the epidemic and radically improve the health care to the Yanomami. If they do not, we could once more see hundreds of Yanomami dying of treatable diseases," said Stephen Corry, director of Survival International.

"This would be utterly devastating for this isolated tribe, whose population has only just recovered from the epidemics which decimated their population 20 years ago," he added, referring to malaria outbreaks in the 1980s and 1990s introduced by wildcat gold miners known as garimpeiros.

The Yanomami, who are linguistically and culturally related to the Sanema, are the largest relatively isolated tribe in the Amazon rainforest and due to their isolation have very little resistance to introduced diseases such as flu.

Click here to read Yanomami Myth 1: The Origin of Fire

Click here to read Yanomami Myth 2: The Origin of Endo-Cannibalism

Video of Sanema Shaman Ritual with Bruce Parry

Saturday, July 11, 2009

The Dolphin People: Novel set in Venezuelan jungle


A small plane crashes deep in the Venezuelan jungle. A family fleeing the post-WWII nightmare of occupied Germany is captured by a warlike tribe living far from civilization who think they are magical river dolphins in human form. Can they keep up the pretence? Or will they be discovered and cast out or even killed?

To read more about Torsten Krol's debut novel "The Dolphin People" click here:

Saturday, April 4, 2009

Kariña Myth 2: Kaputa and the Great Flood

This Kariña myth recounts the arrival on Earth of the creator god Kaputa, who comes to warn his people that a great flood is coming. Many similarities have been drawn between this story and the Biblical flood story of Noah and the Ark. The idea of all the animals entering the great canoe in pairs and the seeds of all the plants also being stored is very similar.

Whether it is an adaptation of the biblical story passed on to the Kariña by missionaries and adapted by them, or an original Kariña myth is almost impossible to say, although the annual flooding of the major rivers in Venezuela during the rainy season has given rise to many myths. The text is taken from Father Cesareo de Armellada´s book: "Literaturas Indigenas de Venezuela" (Monte Avila Editores, 1991).


The Great Canoe

One day Kaputa came to the land of the Kariñas to tell them that the world was going to be flooded and nobody would survive unless they quickly built a great canoe and got in.

- My children, a great rain is going to fall. It will rain for many nights and many days.

But out of all the Indians only four couples were afraid; the rest didn't believe him.

- My children, help me to build a canoe we can all get in before the rains swell the rivers. That way we won't drown.

- What do you mean everything's going to be flooded? That just couldn't happen, they said, unconvinced.

- I am Kaputa, the father and creator of the Kariña. I don't want my children to die

- You're not Kaputa, the Indians said, except for the four couples who began to build a great canoe.

When they had finished they began to put different animals inside in pairs, and a seed for each plant.

Then the day turned to night as the sky darkened and it began to rain for months without stopping.

The rivers broke their banks and flooded the land. The water rose so high that it covered the highest trees.

When the flooding began everybody wanted to get into the great canoe but Kaputa said:

- You thought I wasn't kaputa! You didn't want to build the canoe! Well, now you will drown.

Translated by Russell Maddicks

Kariña Myth 1: The Twins and the Origin of Yuca

Friday, August 15, 2008

Maria Lionza - indigenous myth or folk legend?



This is just one version of the many myths that have been linked to Maria Lionza, the cult figure from Yaracuy State who is venerated throughout Venezuela.

With so little known about the origins of the cult it is impossible to know if Maria Lionza was a real historical figure or if the legends refer to an Indian girl from one of the historical tribes that inhabited the area around Chivacoa, where the sacred mountain of Sorte is located.

What is clear is that adherents of the cult, who refer to her simply as "La Reina" ("The Queen"), have continuously added stories and attributes to this local folk figure to increase her importance and power.

Adding to the confusion is the iconography of Maria Lionza. In some images she is shown as a Virgin Mary figure, others depict a European-looking lady with green eyes, an elegant dress and a crown.

The most famous image of her is the statue by Alejandro Colina which was placed on the Francisco Fajardo Freeway in Caracas in 1953 by the dictator Marcos Perez Jimenez. It shows a muscular indigenous woman sitting astride a tapir and holding aloft a female pelvis.

In the late 1940s and early 1950s the cult became more widespread as people from the countryside moved to Caracas and other big cities. It was also a time when writers and artists were looking back to Venezuela's indigenous past in response to a spate of archaeological finds from the late 1930s and there was a conscious attempt to link "La Reina" to this rediscovered past.


Yara, or Maria Lionza as she was known afterwards, was an indigenous princess. She was the daughter of Yaracuy, the chief of the Nivar tribe, the granddaughter of Chief Chilua and the great-granddaughter of Chief Yare, all great warriors and leaders.

The birth of Maria Lionza must have occurred around the year 1535 in the state that today is named after her father.

The shaman of the village had predicted before Yara was born that if a girl was born with strange, watery-green eyes, she would have to sacrificed and offered to the Master of the Waters, the Great Anaconda, because if not it would lead to the ruin and extinction of the Nivar tribe.

However, her father was unable to sacrifice her and so he hid the little girl in a mountain cave, with 22 warriors to watch over her and stop her from leaving.

She was also forbidden from looking at her image reflected in water.

But one day, her guards were mysteriously put to sleep and the beautiful young girl left the cave and walked to a lagoon, where she looked into the water and saw her reflection for the first time.

Captivated by her own image, she was unable to move, but her presence awakened the Master of the Waters, the Great Anaconda, who emerged from the depths, fell in love with the girl, and drew closer to take her away.

When she resisted its advances the anaconda swallowed the girl, but immediately he began to swell up, forcing the water out of the lagoon, flooding the village and drowning the tribe.

Finally, the anaconda burst and Maria Lionza was set free, becoming the owner of the lagoon, the river and the waters, the protecter of the fish and later of all the plants and animals.

Translated from various sources by Russell Maddicks

Tuesday, March 11, 2008

Piaroa Myth 1: Buoka and Wajari, the first men


There are about 15,000 Wotuja - better known as Piaroa - living in the Orinoco-Ventuari region of Venezuela's Amazonas and Bolivar states. Their most sacred monument is the dramatic, tabletop mountain known in Spanish as Cerro Autana, a popular destination for adventure tourists. While the majority of Piaroa now wear western clothing and are increasingly part of the cash economy they still hold on to traditional beliefs, including this important myth about the origin of the world and the creation of the first people by the brothers Buoka and Wajari. This myth is taken from Luis Boglar's "Cuentos y Mitos de Los Piaroa" (Montalban, 1977) and appears in "Mitos de Creacion de la Cuenca del Orinoco" (FUNDEF, 1993).

Everything was dark. There was no sun. There was no water. There was no sky. There were no mountains. There were no people. Wajari, the creator of all the elements, the animals and the people had not yet been born.

Suddenly, Buoka appeared next to a beautiful tree that he named Kareru. This tree produced the juice of knowledge.

Enemey Ofoda, a spirit, told Buoka to drink the juice from this tree. Buoka drank it and had visions of what he could do.

Kareru is the first tree. It is the grandfather tree and the father tree. The father of the white-lipped peccaries was born from this tree, as were the fathers of the collared peccaries and the armadillos.

Buoka drank the juice from the tree and he had visions. In these visions he travelled down underground to the sacred places of the white-lipped peccary spirits, the armadillo spirits, and the spirits of the other rainforest animals.

He saw all the animal spirits that live deep underground and he heard the voices of the white-lipped peccaries' musical instruments.

He had these visions after just one sip of the Kareru juice. He also saw images of the other musical instruments and he saw behind the waterfalls. His eyes crossed the sky in his vision and he saw the spirits of the mountains. He saw the birth of the great father of the waters, the Orinoco River, and its exit into the sea. He also saw the mountain of Paria, the Sipapo River and the Upper Cuao. He also saw the sacred places of the mountain animals.

The Kareru tree reproduces the voices of the father of the white-lipped peccaries and the fathers of the collared peccaries and the armadillos. Inside, it also has the voice of the grandfather and the cry of the mountain bear.

The second time that Buoka drank the juice of the Kareru tree, he saw his brother in a vision and he thought he would make it real so his brother would become the great chief of the world.

So Buoka pulled the vision from his right eye. From his right eye Wajari was born. Buoka thought that Wajari's eyes should be clear, like the eyes of a tapir, but Wajari came into the world blind. Nevertheless, Wajari was wise and before being born he had seen and visited many parts of the Earth.

He spoke to Buoka, his creator, like this: "Brother, how can you live without water, earth and sun?"

Then Wajari created water for the whole world. Afterwards, he said to his brother: "With the visions that the Kareru juice gives you and with my thoughts, let's start working to create the natural elements and everything the Piaroa need to live."

So between the two of them they made the sun and the stars, the soil and the waterfalls. Buoka also had visions about the organization of the family, about wives, sons, and grandchildren.

The two brothers said that everything they were creating was necessary for the other indigenous peoples that appeared in Buoka's visions, such as the Baniwa, the Waika and the Yabarana.

Then Wajari created the sun on the earth. He cleaned it, he blew on it and he lifted it up to the sky. But at first the sun's light could not be seen.

Wajari thought the sun must have lost its way. He decided to travel to the sacred sites in the mountains to see if he could find it.

Finally, he found it. He took it in his hands and made such a giant leap that he managed to reach the sky and made the sun burn fiercely.

When Wajari jumped with the sun in his hands there was a clap of thunder. It was the voice of the white-lipped peccary.

Wajari lifted the sun even higher and its rays reached every part of the world and all could see it.

Buoka, who had created the moon, wanted to do the same as his brother. He took the moon in his hands and jumped but he couldn't jump as high as Wajari and he struck the sky and the moon bashed him in the face. So he placed it under the sky and did not make it burn as Wajari had done with the sun.

When Buoka returned to the earth he said that his thoughts were no longer so powerful and he said he did not have any masks for the collared peccaries. And that he would also need the power to stop the Piaroa suffering from illnesses.

Meanwhile, Wajari asked Ku-upa, the lightning - his celestial companion when he rose into the sky - for help in creating people.

Ku-upa agreed to help and Wajari sat in the sky on a bolt of lightning as he fashioned the first people.

While the lightning flashed and its voice, the thunder, rumbled through the heavens, Wajari created all the different parts of the first people, their skin, bones and eyes.

And depending on the part he was creating the thunder was soft or booming.




Translated by Russell Maddicks

Monday, February 25, 2008

Warao Myth 1: The Owner of the Sun


The Warao of Delta Amacuro State have made their homes in the hundreds of distributaries called caños that make up the Orinoco delta and adapted to life in a watery world that changes with the rise and fall of the tides.

Their palafito houses rise up from the river mud on stilts and their name, Warao, means "boat people". Most travel and nearly all trade is done in the curiara canoes that the Warao hollow from a single giant tree trunk and it is said that Warao babies learn to paddle before they learn to walk.

There are over 36,000 Warao in Delta Amacuro, Monagas and Sucre states, according to the 2001 census, and they speak an independent language that was once thought to be linked to Yanomami.

They have a complex tradition of myths, healing rituals and music that survives to this day and Warao women are noted for their excellent weaving skills and the baskets and hammocks they weave from moriche palm fibres.

This myth, which relates how Ya, the Sun, and Guaniku, the Moon, came to light up the sky, is taken from Maria Manuela de Cora's book "Kuai-Mare: Mitos Aborigenes de Venezuela" (1957, Editorial Oceanida).


Long ago, at the beginning of everything, the sun did not light up the rivers or warm the conuco gardens, because a man who lived in the land up above, towards the East, had locked up Ya, the Sun, in a large bag and did not let him rise up over the clouds.

A Warao who lived in one of the branches of the Orinoco discovered the way in which Ya was hidden and decided to send his oldest daughter to the east to see if she could make the man release the sun.

The girl had to walk for a long time through the jungle and had a hard job clearing a path through the forest and crossing the steep riverbanks before she finally arrived at the distant place where the owner of the Sun lived.

When she arrived in front of him she said: "My father wants you to release the Sun from the hiding place you're keeping him in and to put him on the sea above (the sky) so he can shine his light on everybody.

The owner of the Sun pretended not to understand the girl's words, he looked at her warmly and finding her pretty wanted to take her for his wife.

She did not want to give in to his desires but the man rudely forced her to accept him and then sent her away, taking no notice of her father's request.

When the girl got home to the village she told her father everything that had happened and how the owner of the Sun had laughed at his request.

The father, undeterred by this, decided to send his second daughter, to see if she would have more luck than her sister.

The Warao's second daughter also had to cross the jungle and walk a long way, although she took less time than her sister to arrive at the house of the owner of the Sun, who she asked to release Ya and let him pass freely through the clouds.

But the man also ignored the girl's request and made her his wife like the other one, because she was also pretty and had awoken his desire.

Afterwards, he said: "Off you go now to the land below and don't come back and bother me."

Instead of obeying these cruel words as her sister had done, she relied angrily: "How dare you speak to me like that? Are you not going to release the Sun?"

And while she spoke to him, she looked around anxiously to see if she could discover the place where Ya was hidden, until she spied a strange and very large bag tied to the wooden posts of the wall and stared at it intently, suspecting that this was it.

Seeing that the girl was looking at the bag, the man said quickly: "careful! Don't even think about touching that!"

By the tone of his voice the Warao girl knew for sure that the Sun was hidden there and ignoring the man's threats she leapt towards the bag in a single bound and ripped it open with a swipe of her hand.

The bright face of Ya, the Sun, appeared immediately, orange and dazzling, and began to diffuse its heat and the light of its rays over the clouds of the sea above and over the hills and woods of the Earth. Its light reached to the very bottom of the rivers and the realm of the spirits who live beneath the water.

Seeing that his secret had been discovered and he could not contain the power of Ya again, the man pushed it towards the East and hung the ripped bag in the West, which was lit up by the rays of the Sun and became the Moon.

The girl ran home to her hut to tell her father how she had managed to free the Sun from its hiding place.

The Warao was very happy and did nothing more than contemplate the beauty of Ya, shining from the sea above. But when less than half a joyakaba (tide) had passed the Sun disappeared behind the hills, leaving the rivers lit only by the reflection of Guaniku, the moon.

The Warao said to his daughter: "Go again to the East and wait for the Sun to start his trip over the clouds. Just as he is starting out, carefully tie a tortoise behind him, so he travels more slowly.

The girl did what her father had told her and managed to hook Guaku, the tortoise, to the Sun's tail, stopping Ya from racing too much with its slow pace and so making sure the Earth was illuminated for the period of joyakaba and joajua (the tides).

Since then it has done just this every day and it only hides away at night, disappearing little by little over the waters of the rivers to sleep and refresh itself by drinking, because if it didn't it would die of the heat given off by its rays.

Meanwhile, Guaniku follows Ya's path, reflecting the light of the Sun from the West.

Translated by Russell Maddicks

Friday, February 22, 2008

Kariña Myth 1: The Twins and the Origin of Yuca


The Kariña, or True Caribs as they are sometimes called, were once spread throughout the Orinoco and the Caribbean and are still found in Surinam and French Guiana. The main concentration in Venezuela is now in the Mesa de Guanipa in Anzoategui State, but there are smaller communities in Monagas, Sucre and Bolivar states.

Many Kariña live and work in the cities of Ciudad Bolivar and Caracas but return home for tribal traditions such as the Akaatompo dances, which are celebrated every year from 1-3 November. The Akaatompo is like the Mexican Day of the Dead, a time when dead ancestors (añaatos) come to visit the living and speak to family members via mediums. It is also a time for communal dances, such as the Maremare.

This myth recounts the birth of the hero twins, the death of their mother and the origin of yuca and other plant foods. It is taken from Father Cesareo de Armellada´s book: "Literaturas Indigenas de Venezuela" (Monte Avila Editores, 1991).


Translated by Russell Maddicks

Long ago the Sun slept with the Moon and she became pregnant.
So the Sun invited her to give birth in his house.

"How do I get to your house?" the Moon asked him.

He said:
"At the first crossroads along the path that leads to the mountains you must take the path where you find a macaw feather. Further on you will find a feather from the Yuis bird and my house is close by. But you must be very careful. If you take the wrong path you will arrive at the house of Tarunmio, the old cannibal-woman!"

When the day came, the Moon set out to give birth in the Sun's house. More concerned than the mother were the children inside her belly. They bothered her ceaselessly. During the trek they kept saying:
"Look at those pretty flowers mother."
"Look at those ripe fruits."

On one of these occasions the Moon fell over and annoyed by the cheek of her babies she banged her belly to punish them.

They weren't born yet and they were already a nuisance.

When she arrived at the crossroads the Moon could not remember the sign that had been agreed. Frightened, she asked her babies, but they were angry and did not answer.

As might be expected she took the wrong road and ended up at the house of the old cannibal woman Tarunmio, who was cooking when she arrived.

The Moon was tired and hungry and asked if she could stay the night. Tarunmio didn't need to be asked twice. She offered her food, water and a room and then helped her to lie down.

In the middle of the night Tarunmio killed the Moon. She took out the twin babies and then she ate her.

From that night on the only mother the boys knew was the old woman.

In a few days they grew and became strong, because the blood of the gods ran through their veins.

The boys became great hunters. Every day they brought home from the jungle guan birds, agoutis and opossums that the old woman cooked in the night, giving the boys nothing.

The cannibal woman only gave them a white bread that tasted like cassava (flat manioc-flour cakes).

The boys, tired of the same food, asked themselves where the old woman got the cassava from if she didn't grow yuca (manioc). So they decided to watch how she did it.

From an enormous toad the old woman extracted a heavy milk that she threw on the hot flat circular cooking plate (budare) and from which she made the sipiipa (cassava cakes).

Afterwards, she spoke to the toad:

"The day will come when I shall stop getting milk from you for these two. Sometime soon I shall eat them."

Realizing that the old woman was not their mother, but a Tarunmio, the twins decided to kill her.

Also, after returning from hunting guans one day they heard two of the birds who were still alive speaking:

"Those two who hunted us are the sons of the moon...," said one of the birds, before recounting the whole story of what had happened to their mother.

The next afternoon, the twins told the old woman that they were going to burn the ground to prepare it for planting, but to obtain a good harvest they needed her to shout out her chants on top of a platform of sticks they would build.

After two days the ground was cleared and on on the third day the platform of sticks was ready.

When the old woman started to sing the twins set fire to the wood underneath her. The old woman had no time to escape because the flames burnt her up like a dry twig...

That was the origin of the indigenous people's first attempt at sowing, and from where all the fruits and root vegetables first came: ocumo, mapuey, ñame and many others.

Tuesday, February 19, 2008

Humboldt: Story of Guajibo mother's sacrifice


In 1800 the German explorer and naturalist Alexander von Humboldt - one of the first foreign scientists allowed to travel in Spanish America - arrived in what is now Amazonas State. The entries in his diary cover everything from plant life to local politics, but he was also a keen observer of the indigenous people he met on his travels. One entry describes his feelings on learning of a Guajibo woman's vain attempts to stay with her children after they were captured and taken to a Catholic mission. It is a chilling account of the cruelty inflicted upon the indigenous tribes of Venezuela by so-called "civilized" people. The Guajibo still live along both sides of the border with Colombia, but now prefer to be called Jivi or Hiwi.

April 30th. We continued upstream on the Atabapo for 5 miles, then instead of following this river to its source, where it is called the Atacavi, we entered the Temi River.

Before we reached its confluence, a granitic eminence on the western bank, near the mouth of the Guasacavi, fixed our attention: it is called Piedra de la Guahiba (Rock of the Guahiba woman), or the Piedra de la Madre (Mother's Rock.) We inquired the cause of so singular a denomination.

Father Zea could not satisfy our curiosity; but some weeks after, another missionary, one of the predecessors of that ecclesiastic, whom we found settled at San Fernando as president of the missions, related to us an event which excited in our minds the most painful feelings.

If, in these solitary scenes, man scarcely leaves behind him any trace of his existence, it is doubly humiliating for a European to see perpetuated by so imperishable a monument of nature as a rock, the remembrance of the moral degradation of our species, and the contrast between the virtue of a savage, and the barbarism of civilized man!

In 1797 the missionary of San Fernando had led his Indians to the banks of the Rio Guaviare, on one of those hostile incursions which are prohibited alike by religion and the Spanish laws. They found in an Indian hut a Guahiba woman with her three children (two of whom were still infants), occupied in preparing the flour of cassava.

Resistance was impossible; the father was gone to fish, and the mother tried in vain to flee with her children. Scarcely had she reached the savannah when she was seized by the Indians of the mission, who hunt human beings, like the Whites and the Negroes in Africa.

The mother and her children were bound, and dragged to the bank of the river. The monk, seated in his boat, waited the issue of an expedition of which he shared not the danger. Had the mother made too violent a resistance the Indians would have killed her, for everything is permitted for the sake of the conquest of souls (la conquista espirituel), and it is particularly desirable to capture children, who may be treated in the Mission as poitos, or slaves of the Christians.

The prisoners were carried to San Fernando, in the hope that the mother would be unable to find her way back to her home by land. Separated from her other children who had accompanied their father on the day in which she had been carried off, the unhappy woman showed signs of the deepest despair.

She attempted to take back to her home the children who had been seized by the missionary; and she fled with them repeatedly from the village of San Fernando. But the Indians never failed to recapture her; and the missionary, after having caused her to be mercilessly beaten, took the cruel resolution of separating the mother from the two children who had been carried off with her.

She was conveyed alone to the missions of the Rio Negro, going up the Atabapo. Slightly bound, she was seated at the bow of the boat, ignorant of the fate that awaited her; but she judged by the direction of the sun, that she was removing farther and farther from her hut and her native country.

She succeeded in breaking her bonds, threw herself into the water, and swam to the left bank of the Atabapo. The current carried her to a shelf of rock, which bears her name to this day. She landed and took shelter in the woods, but the president of the missions ordered the Indians to row to the shore, and follow the traces of the Guahiba.

In the evening she was brought back. Stretched upon the rock (la Piedra de la Madre) a cruel punishment was inflicted on her with those straps of manatee leather, which serve for whips in that country, and with which the alcaldes are always furnished.
This unhappy woman, her hands tied behind her back with strong stalks of mavacure, was then dragged to the mission of Javita.

She was there thrown into one of the caravanserais, called las Casas del Rey. It was the rainy season, and the night was profoundly dark.

Forests till then believed to be impenetrable separated the mission of Javita from that of San Fernando, which was twenty-five leagues distant in a straight line. No other route is known than that by the rivers; no man ever attempted to go by land from one village to another. But such difficulties could not deter a mother, separated from her children.

The Guahiba was carelessly guarded in the caravanserai. Her arms being wounded, the Indians of Javita had loosened her bonds, unknown to the missionary and the alcaldes. Having succeeded by the help of her teeth in breaking them entirely, she disappeared during the night; and at the fourth sunrise was seen at the mission of San Fernando, hovering around the hut where her children were confined.

"What that woman performed," added the missionary, who gave us this sad narrative, "the most robust Indian would not have ventured to undertake!" She traversed the woods at a season when the sky is constantly covered with clouds, and the sun during whole days appears but for a few minutes. Did the course of the waters direct her way? The inundations of the rivers forced her to go far from the banks of the main stream, through the midst of woods where the movement of the water is almost imperceptible.

How often must she have been stopped by the thorny lianas, that form a network around the trunks they entwine! How often must she have swum across the rivulets that run into the Atabapo!

This unfortunate woman was asked how she had sustained herself during four days. She said that, exhausted with fatigue, she could find no other nourishment than those great black ants called vachacos, which climb the trees in long bands, to suspend on them their resinous nests.

We pressed the missionary to tell us whether the Guahiba had peacefully enjoyed the happiness of remaining with her children; and if any repentance had followed this excess of cruelty. He would not satisfy our curiosity; but at our return from the Rio Negro we learned that the Indian mother was again separated from her children, and sent to one of the missions of the Upper Orinoco.

There she died, refusing all kind of nourishment, as savages frequently do in great calamities.

Such is the remembrance annexed to this fatal rock, the Piedra de la Madre.

In this relation of my travels I feel no desire to dwell on pictures of individual suffering- evils which are frequent wherever there are masters and slaves, civilized Europeans living with people in a state of barbarism, and priests exercising the plenitude of arbitrary power over men ignorant and without defence.

In describing the countries through which I passed, I generally confine myself to pointing out what is imperfect, or fatal to humanity, in their civil
or religious institutions.

If I have dwelt longer on the Rock of the Guahiba, it was to record an affecting instance of maternal tenderness in a race of people so long calumniated; and because I thought some benefit might accrue from publishing a fact, which I had from the monks of San Francisco, and which proves how much the system of the missions calls for the care of the legislator.

To see Humboldt's book "Personal Narrative: Of a Journey to the Equinoctial Regions of the New Continent" click here:



To see Daniel Kehlmann's "factitious" account of Humboldt's travels "Measuring the World" click here:

Sunday, January 27, 2008

Sanema: Video of Shaman Ritual with Bruce Parry

When British TV adventurer Bruce Parry visited a Sanema village in Venezuela for his BBC documentary series Tribe he found a people living between two worlds: the traditional world of the shamans, ebene snuff and hekura spirits, and the encroaching modern world with its medicines, metal cooking pots and machetes.

The Sanema are one of the four branches of the Yanoama language group, which includes their more famous cousins the Yanomami.

Cast in a subservient position to the dominant Ye'kwana people of the Caura River basin, the Sanema no longer live the nomadic lifestyle of the past and now face shortages of traditional hunting foods as the jungle is depleted of game.

Parry jumps into Sanema life with both feet, becoming an apprentice to a visiting shaman called Sosa who tells him that when shamans are in a trance after taking the hallucinogenic snuff they can see the Sanema spirits called hekura or hekula.
The hekura, Sosa says "are tiny beings, two centimetres or so high, which occupy all animate and inanimate things, from trees and streams to animals and humans."

"A powerful shaman can invite particular hekura to occupy him. The spirits crawl in through your feet or arsehole and up into your chest cavity, then hack away at the foliage which they believe to be there. They then string up a hammock between your ribs and start to sing. This is the song you hear coming out of the mouths of the shaman."

Parry finally tries the hallucinogenic ebene snuff, known as sakona to the Sanema and yopo to the Yanomami. Made from virola bark and other plant extracts, it is a powerful drug.

"At first I felt very light-headed and soon I became dizzy," writes Parry in the book of the series, "Tribe: Adventures in a Changing World" (Michael Joseph Ltd, 2007).

"The other shamans danced around me, chanting, and I began to have crazy visions. the shamans became holograms, as if a 3D image of each had been imposed on top of their existing forms. I could see straight through them and these new auras."


Click here to read Sanema Myth on Origin of Fire

Click here to read Yanomami Myth 2: The Origin of Endo-Cannibalism

Click here to read Yanomami vs. Sanema in Venezuela

To see Bruce Parry's fascinating book of the TV series "Tribe: Adventures in a Changing World" click here:



To get the complete DVD Box Set of the BBC TV series, including Bruce Parry's stay with the Sanema of Venezuela, click here:

Friday, January 25, 2008

Wayuu Myth 4: The Origin of Fire


This myth about the origin of fire is taken from Jose Enrique Finol's book "Mito y Cultura Guajira" (Universidad de Zulia, 1984). It not only relates how the brave and resourceful Junuunay stole fire from the cave of the creator god Maleiwa, but also the origin of the firefly, the scarab beetle and the sikiyu bird. It also signals the best kinds of wood to rub together to make a fire. So if you're ever stuck without a fire in the cold desert night of the Guajira Peninsula, seek out the caujaro tree and get rubbing.

In the beginning people did not have fire. They were imperfect creatures who ate things raw: meat, vegetables, roots and wild fruit. No vegetables were cooked in the fire. They ate no prepared foods. Meat was not smoked, or roasted, it was dried. They hung it in the sun and ate it dry.

Those first people, because of their imperfection, shared their sad fate with the animals. Some lived in tree trunks, some in caves, some in holes; others had huts to shelter in; but they lived without fire to warm them or give them light to stave off the fear that comes in the dead of night.

Maleiwa (the Wayuu creator god) was the only one who possessed fire. He had some burning stones that he jealously guarded in a grotto far from the reach of people. Maleiwa didn't want to give fire to people because they lacked judgement. Instead of making good use of it they could use it in bad ways to set fire to the undergrowth, burn living creatures and hasten calamities. That's why he kept it from them.

But one day, when Maleiwa was standing next to the fire (Octorojoshi) warming his body, a young man named Junuunay came towards him, stiff with cold.

Maleiwa on seeing him was greatly angered.

- What have you come for, trespasser? Don't you know that all access to this place is prohibited? Perhaps you have come to disturb my peace and try my patience?

Junuunay replied, pleadingly:

- No venerable grandfather. I have only come to stand next to you and warm my body. Have mercy on me. I did not mean to offend you. Shelter me from this cold that freezes me, that pricks my skin and works into my bones. As soon as I am warm I will leave.

Junuunay hid his intentions as he said this. The bold young man employed a host of cunning tricks to convince Maleiwa. He made his teeth chatter, he made his pores prick up as if he had goose pimples, he shivered like a machorro lizard and he rubbed his hands together until, finally, Maleiwa felt pity for him and agreed.

But the Great Father didn't take his eyes off him, because he had his doubts about the honesty of this stranger, who inspired admiration rather than disdain.

Both of them began to rub their hands together and warm up their bodies. The flames of that fire were intensely beautiful, giving off a glow that could be seen from afar like the golden glow of the stars, like the skemeche aitu'u, like the burning embers of heaven.

Junuunay's courage grew and tried to speak to Maleiwa in order to distract him, but Maleiwa stayed quiet and took no notice of the stranger's words.

However, a sudden gust of wind made Maleiwa turn his head round and look back to discover the source of the small noise. It sounded as if tiny, cautious steps were passing through the dead leaves.

Junuunay took advantage of this momentary slip by Maleiwa, grabbed two burning embers from the fire and quickly snuck them into a small bag he carried concealed under his arm.

With that he fled, sneaking out into the undergrowth that surrounded the grotto.

The Great Maleiwa, realizing that a robbery had taken place and he had been made a fool of, set off after Junuunay to punish him.

Maleiwa said:

- He tricked me, that rascal. I'm going to punish him, I'll torture him with a life of filth. I'll make him live in a pigsty, in a dungheap, pushing around balls of dung...

And saying that he ran after the thief.

Junuunay made a desparate dash to get away but his steps were so slow and short that he could barely make any headway.

Caught in this difficult predicament he again employed his slippery ability to save himself.

He called on a young hunter called Kenaa to help him, and quickly passed him one of the burning coals to hide.

Kenaa took the precious burning jewel and ran away without being seen. In the sun he was hidden from Maleiwa's view, but he was always discovered at night, when he had to try and hide the light of the burning ember among the trees and bushes.

To punish him, Maleiwa turned him into the firefly, who in the dark winter nights emits a flickering light as he flies by.

Junuunay in desperation found Jimut, the grasshopper and said to him:

- My friend, Maleiwa is chasing me because I have stolen fire from him to give it to the people. Take this last burning ember, flee with it and hide it in a safe place, because whoever possesses this jewel will be the most fortunate person of all, wise and great.

Saying this, Jimut took the burning coal and quickly hid it inside a branch from the Cuajaro tree, then he moved it into an olive tree, and then to a branch from another tree; and so it was spread and multiplied everywhere.

People discovered it later through a child called Serumaa. This child, as he played its games and jumped around the scrub, showed people the wood in which Jimut had deposited fire.

That child could not speak, he only knew how to say: Skii... Skii... Skiii... Fire... Fire... Fire...

People then rushed to find the fire but they couldn't find it and didn't know how to get it. They checked all the trees, the branches and the trunks but could find nothing.

Then they saw Jimut drilling a hole in a branch, and following his example, they drilled and rubbed with their hands two sticks from the Caujaro tree and at the tip a flame appeared, lighting up the heart of the countryside and filling the people's spirits with happiness.

Since that time they have made use of fire. Now people are no longer afraid and no longer have to suffer the harshness of the cold night.

Maleiwa turned the young boy Serumaa into the little bird that jumps from branch to branch crying Ski... Ski... Ski, it's song.

Since then, Serumaa has been called Sikiyuu.

This happened after Maleiwa turned Junuunay into a scarab beetle and condemned him to live in filth for stealing fire.

Since then the scarab beetle has lived off and fed from excrement. And in punishment for his audacity marked on his body are the marks of his theft, that is, the bright marks that the scarabs carry on their legs.


Translated by Russell Maddicks

Wayuu Myth 1: The Way of the Dead Indians

Wayuu Myth 2: Pulowi and the Jewels

Wayuu Myth 3: Kasipoluin the Rainbow

Video of the Wayuu People and Their Native Land