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.



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

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

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.

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.

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

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

Wayuu Video: The people and their native land

The Wayuu are the largest single native group in Venezuela and live on both sides of the border with Colombia. Their ancestral home in the Guajira Peninsula is a harsh land of hot sun and baking deserts and they live from herding goats and sheep, fishing, hunting and the weaving of colourful hammocks and bags, called susu. They refuse to recognize the border which separates the two countries and are also famed for their smuggling activities. The women paint their faces to protect them from the sun and wear brightly-coloured mantas, baggy dresses which reach to the floor.

Wayuu Myth 1: The Way of the Dead Indians

Wayuu Myth 2: Pulowi and the Jewels

Wayuu Myth 3: Kasipoluin the Rainbow

Wayuu Myth 4: The Origin of Fire

This Blog

What's it all about?

I lived in Venezuela from 1989 to 2001 and it's an experience I shall never forget, especially trips to the Gran Sabana, the Rio Caura and the Orinoco.
One day, if I win the lottery or get a decent job offer I shall go back there permanently. In the meantime, I try and go back every year to keep up with what's happening.
This Blog is my attempt to put together all the threads from my investigations into the myths and legends of Venezuela's Indigenous peoples.
I also want to cover all the latest news stories about Venezuelan Indians, all the books that deal with the subject and any important features that I come across.
I also hope to publish stories from sources in Spanish that have never been translated into English before.
As much as a diary of my progress towards a published book I want this to be a place where others interested in Venezuela and its indigenous peoples can come together and swap stories and photos of their travels.
So get in touch and let me know how I'm doing.

Russell Maddicks