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.

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.

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.

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.

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:

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

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:

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

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

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

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.

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:

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 Myth 3: Kasipoluin the Rainbow

Another myth taken from Michel Perrin's book "El Camino de Los Indios Muertos" explains the origin of Kasipoluin, the rainbow, and the connection between Kasipoluin and Juya, the rain.


Without Kasipoluin, the rainbow, it would rain without cease,
but the rainbow came to tell Juya, the rain, to stop.
He comes to disperse the rains.
The rainbow comes out at the same time as Juya,
to tell him to stop:
"Don't rain any more, Juya," he tells him.

They say that the Rainbow is the tongue of a snake,
that lives in the Earth, like a root.
What comes out of its mouth, appearing like a smoke, is three-pronged:
green or blue, yellow and red.
But the snake itself is unique,
having the same colours as the rainbow.


I know a child, who was running and
arrived at the place where a rainbow was coming out.
He saw a coiled up snake.
Frightened, he ran away immediately.
He did not try and get closer.
But he clearly saw a rainbow emerge from the snake.

The Guajiros say that,
snakes are the enemies of Juya.
And Juya is the enemy of snakes.
He strikes them with his lighting bolts when he sees them.
It is his fault that the largest ones are dead.

Some people say that the rainbow always comes from the boa, Sarulu.
Others say that it can come from any snake,
or an iguana or the caiman, Maliwa.

Translated by Russell Maddicks

Wayuu Myth 1: The Way of the Dead Indians

Wayuu Myth 2: Pulowi and the Jewels

Wayuu Myth 4: The Origin of Fire

Video of the Wayuu People and Their Native Land

Wayuu Myth 2: Pulowi and the Jewels

Wayuu Myth 2: Pulowi of the Land and Pulowi of the Sea

This myth taken from Michel Perrin's book "El Camino de Los Indios Muertos" tells the tale of two of Juya's wives, Pulowi of the Land and Pulowi of the Sea, who are fierce nature goddesses. Juya, a hunter who controls the rain, was married to Pulowi but later left her for Mma, who gave birth to plants. That is why the spurned Pulowi is so dangerous to people today and can turn those who look upon her to stone, or seduce them in the form of a beautiful woman and then devour them. The jewels that the troupial is sent to steal are tu'uma, made from red jasper or coral. Tu'uma are considered so precious by the Wayuu that they can form part of the "bride price", which is paid by the groom's parents to the bride's parents. Some tu'uma necklaces are considered equal in value to several dozen cattle. Alijuna are outsiders, non-Indians.

The Pulowi from the bottom of the sea
And the Pulowi that lives on land
are the wives of Juya.

The Pulowi from the bottom of the sea is richer.
Her "cattle",
are the turtles, the fish
and all the other food in the sea.
She owns a great deal of tu'uma
and jewels of every kind.

The Pulowi of the Land is poor.
Her "cattle",
are just the deer, the roe deer, the foxes,
and some other animals.

One day, she decided to steal a bag of tu'uma
from Pulowi of the Sea.

"Why don't you send me,"
said the Si'a bird, the troupial.
"Do you have supernatural powers
to try and bring me the jewels?"


"Yes, I am pulashi (magically powerful),"
replied the small Si'a bird to Pulowi of the Land.
"Well go then!"
"And return with the best jewels!"
"I will say you are pulashi
only when you have brought from Pulowi of the Sea,
the best bag of jewels."

The Si'a bird travelled very far,
to the seashore.
Then he went to the home of Pulowi of the Sea,
a very big house,
where her children also lived,
her daughters, the daughters of Juya.

"Hey Guajiro!"
"I've never see you before! Where are you from?"
"What are you after,
Indian who comes from far away from here?"
Pulowi asked him.
"I like to explore the world,
and I want to meet you."

"So you came to stay here?"
"Hang a hammock for this Guajiro!"
Pulowi said to her daughters, the daughters of Juya.

Pulowi of the Sea was very rich.
Her house was very big, very tall.
She had a great number of cattle,
turtles, fish and all sorts of sea birds.

Si'a stayed with her.
A hammock was put up for him
in which he could sleep.

The third day, at dawn,
while everybody was asleep
he flew up above the bags of jewels,
which were suspended very high, under the roof of the house.
He examined them.


One of them was small
but it contained the best jewels.
"This is the one I shall take,"
he said to himself.

When he came down,
he took the form of a Guajiro again
and stretched out in his hammock.

The next night,
he was the only one who did not go to bed late.
Finally, everybody went to sleep.
The old ones were sleeping and snoring.
Pulowi was sleeping.

Si'a was watching the susu
- the woven bags that contained the jewels -
"Where is the fastening for this one?"
"Is it tied to the other one?"
he asked himself.
He went to undo the small bag,
the bag that was secured at both corners.
He put it on his back,
and fled.

He went to deliver it to Pulowi of the Land,
who is also Juya's wife.

When Pulowi of the Sea woke up,
she looked up at her bag of jewels.
The bags weren't there any more!
They had been brought down to the ground.
The smallest, the most precious, had disappeared...

Pulowi could not see the Guajiro any more.
She went to check his hammock.
It was empty.
"Oh, help me," she cried.
"That man has left with my small woven bag!"

Pulowi's children woke up.
"Weren't you with him?"
she asked them.
"Yes, but he seemed asleep."
"I didn't notice anything..."
"What are we going to do?" said Pulowi.
"The bag is very far now,"
said the daughters.

Pulowi jumped into the sea after the Guajiro.
"Ou! Ouuuuuuuuuu! Ou! Ouuuuuuuuuuuuuu...!"
She always does that when she is robbed.
Pulowi was foaming at the mouth, following him.
But he was far away already.
The sea could not reach him now.

Si'a was now close to Pulowi of the Land.
"So have you brought them?" she asked when he arrived.
"Take this bag!"
"You'll find the best she had!"
replied the Si'a bird.
"Let me see!" said Pulowi.

From the bag of jewels she took out the tu'uma
and many necklaces, kakuuna and korolo...
She passed each one to her bag.

Pulowi gave the bag that had served as a wrapping
back to the Si'a bird.
"Take it!"
"Make yourself a hammock from this bag from a far away land,"
she told him.
From that time,
the Si'a bird has had a very good hammock of woven straw.

Do you know the nest of this bird Alijuna?
Have you seen the house of the Si'a bird?
When it's hanging down it looks like a woven bag
whose bottom has come untied.
We call it a chirana.
It was given to the bird by Pulowi.

Translated by Russell Maddicks

Wayuu Myth 1: The Way of the Dead Indians

Wayuu Myth 3: Kasipoluin the Rainbow

Wayuu Myth 4: The Origin of Fire

Video of the Wayuu People and Their native Land

Wayuu: The Way of The Dead Indians

Wayuu Myth 1: The Soul and Death

The Arawak-speaking Wayuu who live around Maracaibo in Venezuela and both sides of the border with Colombia in the Guajira Peninsula are also known as Guajiros. They are the largest indigenous group in Venezuela and have preserved a rich tradition of myth and legend as well as their own shamanic traditions and burial practices. This myth about the nature of the soul and the cause of death was collected by Michel Perrin in 1969 and is taken from his 1976 book: "El Camino de Los Indios Muertos". I have kept the sentence structure of the original.

Each one of us is joined to a soul.
It is like a small piece of white cotton, like a puff of smoke.
But nobody can see it.

Our soul follows us everywhere we go,
like our shadow.
- Some say that our shadow is the form of the soul,
and call the soul the shadow -.
Our soul does not leave us except during sleep,
or when we are sick,
or when we have been hit by the arrows of Wanulu (god of illness and death).

Everything that happens in our dreams
is what happens to our soul.
If a Guajiro dreams that they are outside
close to a well, in a house...,
or if they see birds,
that means that their soul has left their heart,
coming out through their mouth,
to fly there.
But their heart continues to beat.

Nevertheless, it is our soul that makes us die.
A man who dreams that he dies never wakes up again.
His soul has left him forever.
Someone who dreams that a knife has been plunged into his chest,
is still alive.
But his soul is now badly injured.
The sickness is there.
Death is close.

When a Guajiro gets sick,
their soul is like a prisoner,
in the place of dreams.
That is where the shaman's spirit
can find it and bring it back to the sick one.
But if he cannot find it,
if it is hidden away,
if it is somewhere inside,
the Guajiro dies.
His soul has passed along the path,
the path of the dead Indians:
the Milky Way.

It travels towards the sea,
to enter the house where the sisters,
the mothers, the maternal uncles, the brothers are...

And the last words are said by the dying man:
- I am going now, I am going,
going to die.
I am going and will never return...
But his soul has already gone and will never return.
It will have taken its saddle.
It will have taken its belongings, its hammocks...
It will have gone to its land,
to Jepira, the land of the Yoluja (the spirits of dead Wayuu)...
When they die, Guajiros become Yoluja.
They go to Jepira via the Milky Way,
the way of the dead Indians,
there they find their houses.

The souls of the dead return to the earth
in our dreams.
Our souls meet them
when we dream about the dead.
Here, sometimes, you can see their ghosts.
They are the Yoluja,
the ghosts of the dead come back to earth.

On our death, however, we do not lose our soul.
Only our bones do we lose.
Our bones and our skin.
Our soul goes, that's all.
What goes is our shadow,
like our silhouette, blurry, imprecise...

But we die twice.
Once here,
and again in Jepira...

Translated by Russell Maddicks

Wayuu Myth 2: Pulowi and the Jewels

Wayuu Myth 3: Kasipoluin the Rainbow

Wayuu Myth 4: The Origin of Fire

Video of the Wayuu People and Their native Land

Timote-Cuica: Caribay and the Five White Eagles of Merida

Timote-Cuica Myth 1: Caribay and the Five White Eagles

This myth from Merida is taken from Maria Manuela de Cora's book "Kuai-Mare: Mitos Aborigenes de Venezuela" but was originally collected by the noted Merida historian and writer Don Tulio Febres Cordero (1860-1938). The Timote-Cuica were a pre-Colombian collection of loosely-linked Chibcha-speaking chiefdoms living in an area that encompasses the current Andean states of Merida, Trujillo and Tachira. Their chief God was Ches, the Supreme Being, but they also worshipped Zuhe, the Sun, and Chia, the Moon, and venerated the mountain peaks and lakes. This myth tells the tale of Caribay, wind spirit of the high paramos, and the origin of Merida's five highest peaks - Bolivar (5007m), Humboldt/Bonpland (4942m), La Concha (4922m), El Toro (4775m) and El Leon (4743m).

High among the rocky crags of the Andes mountains, with their jagged peaks and hills, the Mirripuyes Indians lived a hard life, fighting frequent wars with their neighbours. In their vegetable plots, they grew corn, yucca, ocumo and different fruits. They hunted the abundant rabbits and deer in the forest and the birds that soared in the clear mountain sky.

One of the fierce Indian chiefs had a daughter, Caribay. She was so beautiful that people from the tribe thought she must be the daughter of Zuhe, the Sun, and Chia, the moon, because her eyes and her skin were so bright that they seemed to be made of pure light.


Caribay liked to wear necklaces of bone or painted clay and adorn her hair with coloured feathers.

One day, she was on the bank of a river looking for shiny flat stones to decorate her cotton shawl when she saw five gigantic condors fly past, their white plumage shining like silver in the sun.

Caribay had never seen birds like these before. Straight away, she felt a desire to adorn herself with their feathers and she began to run after the shadows they cast on the ground, hoping they would tire of flying before she tired of chasing them.

So she ran from hill to hill, jumping over ravines and the streams formed by the meltwater that blocked her path, until, overcome with fatigue she reached one of the highest summits of the mountain, a place bare of any vegetation, where the silence made her feel she was in the presence of Ches (the Supreme Being of the Timote-Cuica tribes).

When the birds got there they stopped for moment and then began to fly higher until they disappeared from view.

Caribay stopped. She was surprised at how far she had run. From the peak where she was standing she could see on one side, far away, the wide savannah at the foot of the mountain, and on the other side the great Laguna de Coquivacoa, in which the mountains of the sierra were reflected as if they rose up from the lake itself.

Above her head the mist which guards the realm of Ches was closing in as night began to fall.

Caribay felt cold and was afraid. She began to cry, calling on Zuhe, the Sun, to help her. But her cries bounced off the rocky crags until they turned into a terrifying whistle that echoed through the mountains. The Sun, however, unheeding of her pleas, began to set behind the Andes.

"Will you help me Chia!" said the girl, turning to the Moon.

As the wind dropped, Caribay´s words could be clearly heard. Chia, the Moon, appeared. Her radiance blocked out the light from the stars and lit up the sky, suddenly highlighting the five white eagles, which began to fly towards the Earth.

Filled with joy, Caribay began to sing a slow, rhythmic chant - like flute music - as the eagles descended lower and lower, until they touched down on the high Andean mountains close to the girl, cleaving to the rocks with their claws, each one on a different peak.

There they remained, motionless, their faces pointing north and their wings extended to form the white mountain peaks that stand out even in the dead of night.

"Now I can pluck some of their feathers," Caribay said to herself, and ran with new energy towards the birds, holding out her arms to reach them.

But when she touched their hard feathers, she stopped, afraid, and fled - giving out a long cry, because the condors had turned to ice and stone in their positions.

On hearing the young girl's cry, which resounded around the peaks like the echo of a great wind, Chia hid herself in the clouds and the five eagles awoke and furiously beat their wings, their white feathers falling down in a flurry of snowflakes that covered the mountains completely.

Caribay was lost that night among the peaks and became the spirit of the Andes. The eagles - still and silent in their high perches - became the five enormous mountain peaks that make up Merida's high sierra, perpetually covered in snow.

Nowadays, when Caribay, the spirit of the mountains, gives out her shrill lament - which is the howl of the storm - the eagles once again awake and shake off their feathers as falling snow and all the mountain peaks once again become white, in the heavy snow storms.

Translated by Russell Maddicks

Yanomami: The Origin of Eating the Dead

Yanomami Myth 2: The Origin of Eating the Dead

This myth comes from the book "Literaturas Indigenas de Venezuela" (Monte Avila, 1975), an anthology of myths from many Venezuelan indigenous groups collected by Father Cesareo de Armellada. It explains the origin of the Yanomami practice of endocannibalism, consuming the ashes of their dead in a plantain soup. This is a unique practice among tribal peoples today, but endocannibalism was once widespread among Panoan-speakers in South America and was only banned among Aboriginal groups in Australia in the 1960s. The photo comes from a trip I made to La Esmeralda and the Yanomami community of El Cejal.

Poreími was a talented, generous Yanomami with a magnificent intelligence. He is the one who gave the Indians stone axe blades. All the stone axe blades that are found at ancient sites are from Poreími.

At that time, there was a terrible scarcity of food in the world and the Yanomami had to eat meat raw, as they did not possess fire yet.
At that time, Poreími went to the jungle and built a magnificent house to live in with his wife Poreímiyoma.

One day some Indians came to visit them, and as a gift, they left different kinds of plantains, including a very large variety called "pareamu". That is what the one they were presented with is called.

Later, Poreími received another visit from Wayaromi, who as a present left "wabu", a fruit that is eaten when better foods are in short supply. As 'wabu" is poisonous in its natural state, Wayaromiriwa (the spirit of Wayaromi) showed Poreími how it should be prepared, cutting it into small slices with a tortoise shell.

Then Wayaromi turned himself into a bird.

Later, some other Yanomami arrived at Poreími's house. Not with presents this time, but with... empty stomachs.

They brought with them a frightful hunger. Poreími, moved by their plight, gave them abundant food to eat and on saying goodbye gave them several kinds of plantains, urging them to plant many, especially the "pareamu". He also gave them the "wabu".

The vistors then returned to their village. In their gardens they planted many plantains, harvested them in great quantities and since then have not suffered hunger any more.

Grateful for the precious presents they had received they sent a delegation to pass on their thanks to Poreími.

Arriving at his house they found him very upset: his son had died.

At that time the Yanomami used to bury their dead.

Poreími told his guests how he had carried out his son's funeral: he had burnt the body, collected the bones, ground them to ash and eaten the ashes in a soup of "pareamu" plantains.

When he said goodbye, he urged them to do the same with their own dead.

Since then, the Yanomami no longer bury the dead but burn them and consume their ashes mixed with plantain soup.

Translated by Russell Maddicks

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

Video of Sanema Shaman Ritual with Bruce Parry

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