Communion With The Infinite - The Visual Music of the Shipibo tribe of the Amazon

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Interview with Shipibo Ayahuasca Shaman Enrique Lopez in the Amazon Rainforest of Peru - Part 2

Tell us about the use of Tobacco.
Tobacco is very necessary for a shaman's work. Smoke protects against enemies and badness crossing your path. Before you light a mapacho you icaro it, then you blow the smoke onto your body before the session begins. You can also cure a child of susto (fright) by blowing smoke over it but babies are very sensitive and if very small, they can be made worse - cutipado - in which case you use agua florida. You can also chant to it and the mother's milk.

What is your state of mind and vision when you go around to each person before the session, blowing tobacco (mapacho) smoke?
I am asking the ayahuasca to give every one a good mareacion, or vision. The tobacco makes a kind of bridge with the ayahuasca. We normally prefer the cashimbo (Shipibo pipe) in a ceremony not mapacho cigarettes. It has a strong effect, and also calms people when the effects are too strong.

Some shamans drink pure juice of tobacco macerated with alcohol instead of ayahusca. First he drinks and goes off into another world and has a green vision. That means patterns only.

Sometimes the animals and things you see, have patterns on their skin. It happens when you sing in Shipibo, how do explain this?
What I do when I chant is to call the animals for protection. Otorongos may come near to us but sometimes they get too near and are ferocious and out of control. This can be caused by an enemy who has found a way to harm me. The thick bark and seeds of the Ayauma tree is good to protect against this. You take a vapor bath in it before the session.

Camalonga (a seed) is good too, it returns the harm from where it came and the wrong doer becomes ill. Lupuna and Catauhua are also good against brujeria (bad magic). Huayruro is not so much used.

Ajo sacha can be used in protective baths, for illnesses like arthritis, and as a powerful teacher. It makes you hard working, turns around a run of bad luck - saladera, helps you in fishing and hunting. You can also pour the ajosacha up the nose of the dog to make a good hunting dog. Also loose women (pishcotas) can be cured with ajosacha.

I left Roaboya in 1998 and went to live in Trujillo to sell healing plants and ointments made from boa, otorongo, bufeo colorado etc. I found many charlatans there selling any old thing. I worked mainly with banos florales and didn't use ayahuasca. I also felt a lot of envy from people there, and once it made me very ill. I couldn't walk, and was urinating blood so I went to Lima by bus and from there to Tingo Maria where it got much worse, and I only just got to Pucullpa to return to my community. I was 24 then. Everyone said it was dano (envy and bad magic). I cured myself with Catahua, Lupuna and Ayahuma. At the bottom of the saucepan we placed crushed green bottles before adding the plants and barks. When I was well I returned to Lima for a few years, and then my wife got a job as a cook at a tourist lodge, so that's how I came to live in Iquitos. My uncle Benjamin (who is from Pauyan) still works there occasionally. Authors note: Benjamin Ochavano a powerful Shipibo shaman.

How does a Shaman help people who have experienced harmful and negative sorcery?
Enemies can come from anywhere. If I heal someone, I undo someone's dano - illness from black magic - and that makes me the enemy of the brujo who tried harm or kill the person.

What is it important for an Ayahuasca shaman to know?
A shaman must know how to do three things;
They should know how to bring about the vision.
Second, how to bring the effects down again when a patient is suffering.
Thirdly, they must know how to close the session.
These are the most important things, but there are shamans who take ayahuasca without knowing them.

Shipibo Ayahuasca Shaman Leoncio Garcia Interviewed.

We interviewed Shipibo maestro Leoncio Garcia, a man in his mid seventies but with the appearance of a man twenty years younger. Again a testimonial to the youth giving qualities of Ayahuasca and the plant medicines of the Amazon Rainforest.

Interviewed at Mishana Private Retreat Centre, Amazon Rainforest with Peter Cloudsley August 2005.


Leoncio Garcia
I didn’t become a shaman until I was 50, I am now 74. I was always so busy working in the chacra, or cutting wood, it was only when I began to get a bit older. Until then I had taken Ayahuasca for all the usual reasons of health, but that was all. After deciding to do the diet I drank Ayahuasca seriously but I didn’t see anything and didn’t think I would learn anything but still I kept on drinking every night and didn’t sleep. With just one day to go before completing three months’ diet, I had a tremendous vision and I began to chant and continued all night until dawn. I saw under the earth, under the water, and into the skies, everything. Probably I was learning from the sprits during the diet but I didn’t understand. After that I could see what the matter was with people. I dieted pinon Colorado and tobacco first and then tried all the other plants.

This was in San Francisco, a Shipibo community on Yarinacocha, Pucullpa where I was born. After this I went to Huancayo for six months to try my medicine. Then I went to Ayacucho and then a Senor took me to Lima to heal his wife. After two months I was taken to Trujillo and then Arequipa, Cusco, Juliaca, Puno. Everything worked out well and I worked with a doctor once who was not very successful and soon there were people queuing outside her consultancy. Eventually I came to Iquitos in 2000 and I haven’t had time to return to my family since then, I just send them money.

When I go round to people blowing tobacco smoke it is to give them arcanas, to protect them so that when things happen around them it doesn’t hurt them or make them ill.

Leoncio tells a Shipibo (cautionary) myth?
There was once a wise man called Oni who knew what each and every healing plant could be used for. He knew all their names and one day he saw a liana and recognized it as Ayahuasca and he learned to mix it with Chacruna. One night he tried it and learned so many things that he carried on drinking it. But because he went on drinking so long and often he stopped eating and drinking, and just chanted day and night. Now he had two sons and they said ‘come and have breakfast Papa’, but he carried on drinking Ayahuasca and when they tried to pick him up, he was stuck to the ground and couldn’t be moved. So they left him chanting to all the plants everyday and night and they noticed that Ayahuasca was growing out from his fingers. So the sons went back to their chacras and after a month came back again, to see their father. Everywhere Ayahuasca ropes had tangled around him and still he continued chanting day after day and the forest carried on growing around him. After a few more months, he had merged with the forest itself and that is why its called Ayahuasca, rope of the dead and in Shipibo Oni.

The Visual Music of the Shipibo tribe of the Amazon

The Magical Art of the Shipibo People of the Upper Amazon

Underlying the intricate geometric patterns of great complexity displayed in the art of the Shipibo people is a concept of an all pervading magical reality which can challenge the Western linguistic heritage and rational mind.

These patterns are more than an expression of the one-ness of creation, the inter-changeability of light and sound, the union or fusion of perceived opposites, it is an ongoing dialogue or communion with the spiritual world and powers of the Rainforest. The visionary art of the Shipibo brings this paradigm into a physical form. The Ethnologist Angelika Gebhart-Sayer, calls this “visual music”.

The Shipibo are one of the largest ethnic groups in the Peruvian Amazon. These ethnic groups each have their own languages, traditions and culture. The Shipibo which currently number about 20,000 are spread out in communities through the Pucallpa / Ucayali river region. They are highly regarded in the Amazon as being masters of Ayahuasca, and many aspiring shamans and Ayahuasqueros from the region study with the Shipibo to learn their language, chants, and plant medicine knowledge.

All the textile painting, embroidery, and artisan craft is carried out by the women. From a young age the Shipibo females are initiated by their mothers and grandmothers into this practice. Teresa a Shipiba who works with us on our Amazon Retreats tells that “when I was a young girl, my mother squeezed drops of the Piripiri (a species of Cyperus sp.) berries into my eyes so that I would have the vision for the designs; this is only done once and lasts a lifetime”.

The intricate Shipibo designs have their origin in the non-manifest and ineffable world in the spirit of the Rainforest and all who live there. The designs are a representation of the Cosmic Serpent, the Anaconda, the great Mother, creator of the universe called Ronin Kene. For the Shipibo the skin of Ronin Kene has a radiating, electrifying vibration of light, colour, sound, movement and is the embodiment of all possible patterns and designs past, present, and future. The designs that the Shipibo paint are channels or conduits for this multi-sensorial vibrational fusion of form, light and sound. Although in our cultural paradigm we perceive that the geometric patterns are bound within the border of the textile or ceramic vessel, to the Shipibo the patterns extend far beyond these borders and permeate the entire world.

One of the challenges for the Western mind is to acknowledge the relationship between the Shipibo designs and music. For the Shipibo can “listen” to a song or chant by looking at the designs, and inversely paint a pattern by listening to a song or music.

As an astonishing demonstration of this I witnessed two Shipiba paint a large ceremonial ceramic pot known as a Mahuetá. The pot was nearly five feet high and had a diameter of about three feet, each of the Shipiba couldn’t see what the other was painting, yet both were whistling the same song, and when they had finished both sides of the complex geometric pattern were identical and matched each side perfectly.

The Shipibo designs are traditionally carried out on natural un-dyed cotton (which they often grow themselves) or on cotton dyed in mahogany bark (usually three or four times) which gives the distinctive brown colour. They paint either using a pointed piece of chonta (bamboo) or an iron nail with the juice of the crushed Huito (Genipa americana) berry fruits which turns into a blue- brown-black dye once exposed to air.

Each of the designs are unique, even the very small pieces, and they cannot be commercially or mass produced. In Lima I met with a woman who had set up a government funded community project which amongst other matters established a collective for the Shipibo to sell their artisan work and paintings. She tells that a major USA corporation (Pier 1 Imports), enamoured by these designs ordered via the project twenty thousand textiles with the same design, this order could never be fulfilled, the Shipibo could simply not comprehend the concept of replicating identical designs.

The Shipibo believe that our state of health (which includes physical and psychological) is dependent on the balanced union between mind, spirit and body. If an imbalance in this occurs such as through emotions of envy, hate, anger, this will generate a negative effect on the health of that person. The shaman will re-establish the balance by chanting the icaros which are the geometric patterns of harmony made manifest in sound into the body of the person. The shaman in effect transforms the visual code into an acoustic code.

A key element in this magical dialogue with the energy which permeates creation and is embedded in the Shipibo designs is the work with ayahuasca by the Shipibo shamans or muraya. In the deep ayahuasca trance, the ayahuasca reveals to the shaman the luminous geometric patterns of energy. These filaments drift towards the mouth of the shaman where it metamorphoses into a chant or icaro. The icaro is a conduit for the patterns of creation which then permeate the body of the shaman’s patient bringing harmony in the form of the geometric patterns which re-balances the patient’s body. The vocal range of the Shipibo shaman’s when they chant the icaros is astonishing, they can range from the highest falsetto one moment to a sound which resembles a thumping pile driver, and then to a gentle soothing melodic lullaby. Speaking personally of my experience with this, is a feeling that every cell in my body is floating and embraced in a nurturing all-encompassing vibration, even the air around me is vibrating in acoustic resonance with the icaro of the maestro. The shaman knows when the healing is complete as the design is clearly distinct in the patient’s body. It make take a few sessions to complete this, and when completed the geometric healing designs are embedded in the patient’s body, this is called an Arkana. This internal patterning is deemed to be permanent and to protect a person's spirit.

Angelika Gebhart-Sayer, Professor of Ethnology, University of Marburg writes that "Essentially, Shipibo-Conibo therapy is a matter of visionary design application in connection with aura restoration, the shaman heals his patient through the application of a visionary design, every person feels spiritually permeated and saturated with designs. The shaman heals his patient through the application of the song-design, which saturates the patients' body and is believed to untangle distorted physical and psycho-spiritual energies, restoring harmony to the somatic, psychic and spiritual systems of the patient. The designs are permanent and remain with a person's spirit even after death.”.

Whilst it is not easy for Westerner’s to enter and engage with the world view of the Shipibo which has been developed far away from our linguistic structures and psychological models, there is an underlying sophisticated and complex symbolic language embedded in these geometric patterns. The main figures in the Shipibo designs are the square, the rhombus, the octagon, and the cross. The symmetry of the patterns emanating from the centre (which is our world) is a representation of the outer and inner worlds, a map of the cosmos. The cross represents the Southern Cross constellation which dominates the night sky and divides the cosmos into four quadrants, the intersection of the arms of the cross is the centre of the universe, and becomes the cosmic cross. The cosmic cross represents the eternal spirit of a person and the union of the masculine and feminine principles the very cycle of life and death which reminds us of the great act of procreation of not only the universe, but also of humanity, and our individual selves.

The smaller flowing patterns within the geometric forms are the radiating power of the Cosmic Serpent which turns this way and that, betwixt and between constantly creating the universe as it moves. The circles are often a direct representation of the Cosmic Anaconda, and within the circle itself is the central point of creation.

In the Western tradition, from the Pythagoreans, and Plato through the Renaissance music was used to heal the body and to elevate the soul. It was also believed that earthly music was no more than a faint echo of the universal 'harmony of the spheres'. This view of the harmony of the universe was held both by artists and scientists until the mechanistic universe of Newton.

Joseph Campbell the foremost scholar of mythology suggests that there is a universe of harmonic vibrations which the human collective unconscious has always been in communion with. Our beings beat to the ancient rhythms of the cosmos. The traditional ways of the Shipibo and other indigenous peoples still reflect the primal rhythm, and their perception of the universal forces made physical is truly a communion with the infinite.

Interview with Shipibo Ayahuasca Shaman Enrique Lopez in the Amazon Rainforest of Peru - Part 2

Enrique talks about the Shipibo views on Ayahuasca and medicinal plants.

Tell us about the use of Tobacco.

Tobacco is very necessary for a shaman's work. Smoke protects against enemies and badness crossing your path. Before you light a mapacho you icaro it, then you blow the smoke onto your body before the session begins. You can also cure a child of susto (fright) by blowing smoke over it but babies are very sensitive and if very small, they can be made worse - cutipado - in which case you use agua florida. You can also chant to it and the mother's milk.

What is your state of mind and vision when you go around to each person before the session, blowing tobacco (mapacho) smoke?

I am asking the ayahuasca to give every one a good mareacion, or vision. The tobacco makes a kind of bridge with the ayahuasca. We normally prefer the cashimbo (Shipibo pipe) in a ceremony not mapacho cigarettes. It has a strong effect, and also calms people when the effects are too strong.

Some shamans drink pure juice of tobacco macerated with alcohol instead of ayahusca. First he drinks and goes off into another world and has a green vision. That means patterns only.

Sometimes the animals and things you see, have patterns on their skin. It happens when you sing in Shipibo, how do explain this?

What I do when I chant is to call the animals for protection. Otorongos may come near to us but sometimes they get too near and are ferocious and out of control. This can be caused by an enemy who has found a way to harm me. The thick bark and seeds of the Ayauma tree is good to protect against this. You take a vapor bath in it before the session.

Camalonga (a seed) is good too, it returns the harm from where it came and the wrong doer becomes ill. Lupuna and Catauhua are also good against brujeria (bad magic). Huayruro is not so much used.

Ajo sacha can be used in protective baths, for illnesses like arthritis, and as a powerful teacher. It makes you hard working, turns around a run of bad luck - saladera, helps you in fishing and hunting. You can also pour the ajosacha up the nose of the dog to make a good hunting dog. Also loose women (pishcotas) can be cured with ajosacha.

I left Roaboya in 1998 and went to live in Trujillo to sell healing plants and ointments made from boa, otorongo, bufeo colorado etc. I found many charlatans there selling any old thing. I worked mainly with banos florales and didn't use ayahuasca. I also felt a lot of envy from people there, and once it made me very ill. I couldn't walk, and was urinating blood so I went to Lima by bus and from there to Tingo Maria where it got much worse, and I only just got to Pucullpa to return to my community. I was 24 then. Everyone said it was dano (envy and bad magic). I cured myself with Catahua, Lupuna and Ayahuma. At the bottom of the saucepan we placed crushed green bottles before adding the plants and barks. When I was well I returned to Lima for a few years, and then my wife got a job as a cook at a tourist lodge, so that's how I came to live in Iquitos. My uncle Benjamin (who is from Pauyan) still works there occasionally. Authors note: Benjamin Ochavano a powerful Shipibo shaman.

How does a Shaman help people who have experienced harmful and negative sorcery?

Enemies can come from anywhere. If I heal someone, I undo someone's dano - illness from black magic - and that makes me the enemy of the brujo who tried harm or kill the person.

What is it important for an Ayahuasca shaman to know?

A shaman must know how to do three things; They should know how to bring about the vision. Second, how to bring the effects down again when a patient is suffering. Thirdly, they must know how to close the session. These are the most important things, but there are shamans who take ayahuasca without knowing them.

Howard G. Charing, is an international workshop leader on shamanism. He has worked some of the most respected and extraordinary shamans & healers in the Andes, the Amazon Rainforest, and the Philippines. He organises specialist retreats to the Amazon Rainforest. He is the author of the best selling book, Plant Spirit Shamanism.

Visit the website for info about our Andean & Amazon Ayahuasca Retreats

Shipibo Ayahuasca Shaman Leoncio Garcia Interviewed

First Holy Communion Thank you Cards

Interview With Shipibo Ayahuasca Shaman Enrique Lopez in the Amazon Rainforest of Peru - Part 2

Nterview With Shipibo Ayahuasca Shaman Enrique Lopeiz in the Amazon Rainforest of Peru - Part 1

Shipibo Ayahuasca Shaman, Benjamin Ochavano Interviewed in the Amazon Rainforest in Peru

Shipibo Ayahuasca Shaman Leoncio Garcia Interviewed

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