Ayahuasca Ceremony Video with Shipibo Shaman - Enrique Lopez

Shipibo Shaman Enrique Lopez - Ayahuasca Ceremony at Mishana, Peru November 2007








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Esquire Magazine - Ayahuasca Retreats

The Art of the Shipibo people of the Upper Amazon in Peru

A Gallery of the extraordinary art of the Shipibo people.

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 and Amazon Ayahuasca Retreats and work with Shipibo shamans and craft workers

A gallery of my shamanic art

I've posted a gallery of my artwork based on shamanism. Click 'view all images' below.

Jun Labo - amazing healer from the Philippines Part 2

Jun Labo in the Philippines, recorded August 2007.

Jun Labo - amazing healer from the Philippines Part 1

A video clip of Jun Labo. Recorded in the Philippines August 2007

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

The second part of an interview with Shipibo Shaman Enrique Lopez. Interviewed at Mishana, Amazon Rainforest Peru, November 2007. Enrique discusses his early years in the indigenous Shipibo community in the Ucayali region of the Amazon Rainforest in Peru. 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 and Amazon Ayahuasca Retreats

Interview with Shipibo Shaman Enrique Lopez in the Amazon Rainforest - Part 1

An interview with Shipibo Shaman Enrique Lopez. Interviewed at Mishana, Amazon Rainforest, Peru, November 2007, by Peter Cloudsley and Howard G Charing.

I was born in a Shipibo community called Roaboya which is on the River Ucayali about 10 hours downstream from Pucallpa. Roaboya means the place where the Koto monkey lives. In Shipibo this kind of monkey is call Ro, but Mestizos tend to lengthen words, so they called the place Roaboya.

The first Mestizos to arrive in the area were loggers – Boya (Buoys in English) refer to the logs which they floated down to their saw mills. Actually there are two places; Roaboya Nativa and Roaboya Mestiza a bit further down river. When I was young, Angel Sanchez Vargas was the local Curaca – who is both a chief as well as shaman – he was my grandfather and he knew all about plants for healing, for giving visions and increasing human intelligence. They later named the school after him there.

Roaboya was the first indigenous community to be officially recognized 114 years ago. Later the river changed its course and the banks crumbled and many Shipibo people moved to form communities elsewhere on the Upper and Lower Ucayali. When the earliest missionaries came in the 1940s, at first the people didn’t want to know about their pharmaceutical medicines or clothes which they tried to give away.

The Shipibo didn’t wear Western clothes at that time and even refused to meet with them. But the missionaries were clever and brought sweets and presents, and impressed them with their water-planes and eventually succeeded in introducing their evangelical religion. The effect was to threaten Shipibo customs and create divisions in the community. Later in the 60s when I was in my infancy, my grandfather put up resistance to Western things and warned that his people should not forget their customs and ancestral knowledge. He forbade the use of Western clothes, and encouraged people to eat together from one central plate as a community.

His four wives were also shamans and helped to revitalize their traditions. Don Angel even learned Spanish through his plants, such was his faith! Nevertheless, today most of the Shipibo in Roaboya are nominally evangelicos. After he died, his cousin took over as shaman and he wanted me, at the age of 10, to help at ayahuasca sessions by smoking mapacho for protection while he chanted.

I told him I wanted to be a womanizer when I was grown up! And he made it happen by chanting a Huarmi Icaro. I also want to be a good fisherman and again he said yes, I could be, and so it was. By the time I was 14 it had come true, and I had women coming after me! However, I didn’t want to marry at that time. At the age of 16 I started taking ayahuasca, but my Mother didn’t want it - a womanizer can’t be a good shaman she said. Only when you learn to follow a proper diet can a person serve.

This is the test that the plants give us. It has happened to me twice, a woman comes just when you are working and wants to make love. You can’t, if you give in just once you will fall ill, go mad, fall into the water, or die - these are the tremendous problems of being a shaman. At the age of 16, I started my first diet for 3 months, without ayahuasca, only plants, no drink, women, salt etc. After that the shaman called me and said I could go further and he chanted for me. Then I did another 3 months’ diet, again no ayahuasca, but the plants made me dream of what I should eat, how I should live, to not to go out etc.

It is important to avoid women who are menstruating, or who have made love the previous night, that is bad with the plants. It clashes, like a mirror smashing; it makes you ill or goes against you.

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

Pablo Amaringo - at home with the great visionary artist

Clip taken on a recent visit (Dec 2007) to Pablo's home in Pucallpa (Peru).



Pablo is one of the world's greatest visionary artist. There is an interview with Pablo on my website at;

View Original Interview with Pablo Amaringo

The Cactus of Vision - San Pedro and the Shamanic Tradition of northern Peru - Part 2

PART 2

Shamans from different cultures and traditions have been using psychoactive plants since the dawn of human emergence. These plants have been used traditionally for guidance, divination, healing, maintaining a balance with the spirit or consciousness of the living world.

Howard G. Charing and Peter Cloudsley talk with Maestro Juan Navarro

Juan Navarro was born in the highland village of Somate, department of Piura. He is a descendant of a long lineage of healers and shamans working with the magical powers of Las Huaringas.

What is the relationship of the maestro
with San Pedro?
In the north of Peru the power of San Pedro works in combination with tobacco. Also the sacred lakes Las Huaringas are very important. This is where we go to find the most powerful healing herbs which we use to energize our people. For example we use dominio [linking one’s intent with the spirit power of the plants] to give strength and protection from supernatural forces such as sorcery and negative thoughts. It is also put into the seguros - amulet bottles filled with perfume, plants and seeds gathered from Las Huaringas. You keep them in your home for protection and to make your life go well. These plants do not have any secondary effects on the nervous system, nor do they provoke hallucinations. San Pedro has strength and is mildly hallucinatory, but you cannot become addicted. It doesn’t do any harm to your body, rather it helps the maestro to see what the problem is with his patient. Of course some people have this gift born in them - as our ancestors used to say, it is in the blood of a shaman.

Is San Pedro a ‘teacher plant’?
Of course, but it has a certain mystery.You have to be compatible with it because it doesn’t work for everybody.The shaman has a special relationship with it. It circulates in the body of the patient and where it finds abnormality it enables the shaman to detect it. It lets him know the pain they feel and whereabouts it is. So it is the link between patient and maestro. It also purifies the blood of the person who drinks it. It balances the nervous system so people lose their fears, frights and traumas, and it charges people with positive energy. Everyone must drink so that the maestro can connect with them. Only the dose may vary from person to person because not everyone is as strong.

What about the singado? (inhalation of tobacco juice through the nostrils) The tobacco leaf is left for two to three months in contact with honey, and when required for the singado it is macerated with aguardiente, or alcohol. How it functions depends on which nostril is used; when taken in by the left side it is for liberating us of negative energy, including psychosomatic ills, pains in the body, bad influences of other people - or ‘envy’ as we call it here. As you take it in you must concentrate on the situation which is going badly, or the person which is giving out a negative energy.

When taken through the right nostril it is for rehabilitating and energizing, so that your projects go well. It’s not for getting high on. Afterwards you can spit the tobacco out or swallow it, it doesn t matter. It has an interrelation with the san pedro in the body, and intensifies the visionary effects.

Tobacco is an important plant in the ceremonies - can you smoke in the session? No, no, no. It may be the same plant but here another element comes into play, which is fire. As the session is carried out in darkness, the fire in the darkness can perturb, create a negative reflection or vision. It can cause trauma.

You use a chungana (rattle) during the san pedro sessions and I ’see’ the sound as a beam of a light penetrating the darkness. Yes, sound and light are interrelated. Chunganas are used to invoke the spirits of the dead, whether of family or of great healers, so that they may feel comfortable with us. the chunganas are to give us ‘enchantment’ (protection and positive energy) and it has a relaxing effect when taking san pedro.

What is the power of the artes - the objects on the mesa?
They come from Las Huaringas, where a special energy is bestowed on everything, including the healing herbs which grow there and nowhere else. If you bathe in the lakes it takes away all your ills. You bathe with the intention of leaving everything negative behind. People go there to leave their enemies behind, so they can’t do them any harm. After bathing, the maestro cleanses you with these artes, swords, bars, chontas (bamboo staffs), saints, and even huacos (the powers from ancient sacred sites). They ‘flourish’ you - spraying you with agua florida
(perfume) and herb macerations, and giving you sweet things like limes and honey, so your life flourishes. We maestros also need to go to Las Huaringas regularly because we make enemies from healing people, so we need to protect ourselves. The reason for this is that two forces exist: the good and the bad. The bad forces are from the pacts which the brujos (sorcerors with negative
intentions) make with the devil. The brujo is the rival of the curandero or healer. So when the curandero heals, he makes an enemy of the brujo. It’s not so much because he sends the bad magic back, as because he does the opposite thing to him, and they want supremacy in the battle. Not far from Las Huaringas is a place called Sondor, which has its own lakes. This is where evil magic is practiced and where they do harm in a variety of ways. I know because as a curandero I must know how sorcery is practiced, in order to defend myself and my patients.

Do people go there secretly?
Of course no one admits to going there, but they pass through Huancabamba just like the others who are going to Las Huaringas. I know various people who practice bad magic at a distance.They do it using physical means, concentrating, summoning up a person’s soul, knowing their characteristics etc. and can make them suffer an accident, or make an organ ill or whatever, or make their work go badly wrong.They have the power to get to their spirit. And people can even do harm to themselves. For example, if a person has bad intentions towards another and that person is well protected with an encanto, (amulet) then he will do himself harm.

How does the ‘rastreo’ (diagnosis through psychic means) work? Are you in an altered state? No, I’m completely normal and lucid. What allows the reading of a person’s past, present or future, is the strength of the san pedro and tobacco. It is an innate capability -not everybody has the gift, you can’t learn it from someone, it is inherited. The perceptions come through any one of the senses - sound, vision, smell, or a feeling inside of what the person is feeling, a weakness, a pain or whatever. Sometimes, for instance, a bad taste in the mouth may indicate a bad liver. All the things on the mesa are perfectly normal, natural things: chontas, swords, stones etc. They have just received a treatment - like a radio tuned to a certain frequency - so they can heal particular things, weaknesses or whatever. But always it is necessary to concentrate on the sacred lakes, Las Huaringas.

Is it necessary for the maestro to take San Pedro to have vision? Of course, he must take San Pedro and tobacco. But it is to protect himself from the person’s negativity and illness, not because he needs it to have the vision.

In conclusion, we must acknowledge that we, as humans, have realised from earliest times that knowledge goes beyond sensory awareness or the rational way of understanding the world. San pedro can take us directly to a telepathic communion and show us that there is no such thing as an inanimate object. Everything in the universe is alive and has a spirit. This is the gift of the plants which offer us a doorway into the infinite.

Howard G. Charing, is an accomplished international workshop leader on shamanism. He has worked some of the most respected and extraordinary shamans & healers in the Andes, the Amazon Rainforest, and the Philippines. He organises specialist retreats to the Amazon Rainforest at the dedicated centre located in the Mishana nature reserve. He is the author of the best selling book, Plant Spirit Shamanism (Destiny Books USA).

Visit our website for details on our Andean and Ayahuasca Retreats in Peru

The Cactus of Vision - San Pedro and the Shamanic Tradition of northern Peru - Part 1

Shamans from different cultures and traditions have been using psychoactive plants since the dawn of human emergence. These plants have been used traditionally for guidance, divination, healing, maintaining a balance with the spirit or consciousness of the living world.

Howard G. Charing and Peter Cloudsley talk with Maestro Juan Navarro

The hallucinogenic San Pedro cactus has been used since ancient times, and in Peru the tradition has been unbroken for over 3,000 years. The earliest depiction of the cactus is a carving showing a mythological being holding a San Pedro, and dates from about 1300 bc. It comes from the Chavín culture (c.1400-400 bce) and was found in a temple at Chavín de Huantar, in the northern highlands of Peru. Later, the Mochica culture, (c.500 ce) used the cactus in their iconography. Even in present day mythology, it is told that God hid the keys to heaven in a secret place and San Pedro used the magical powers of a cactus to discover this place; later the cactus was named after him.

La Mesa Norteña

Juan Navarro was born in the highland village of Somate, department of Piura. He is a descendant of a long lineage of healers and shamans working with the magical powers of the sacred lakes known as Las Huaringas which stand at 4,000 metres and have been revered since earliest Peruvian civilization. At the age of eight, Juan made his first pilgrimage to Las Huaringas, and took San Pedro for the first time. Every month or two it is necessary to return here to accumulate energy and protection to heal his people. As well as locals and Limeños (people from Lima), pilgrims also come from many parts of South America.

During the sessions Juan works untiringly, assisted by his two sons - as is common in this traditions - in an intricate sequence of processes, including invocation, diagnosis, divination, and healing with natural objects, or artes. The artes are initially placed on the maestro’s altar or mesa, and picked up when required during the ceremony. These artes are an astonishing and beautiful array of shells, swords, magnets, quartzes, objects resembling sexual organs, rocks which spark when struck together, and stones from animals’ stomachs which they have swallowed to aid digestion! The artes are collected from pre-Colombian tombs, and sacred energetic places, particularly Las Huaringas.They bring magical qualities to the ceremony where, under the visionary influence of San Pedro, their invisible powers may be experienced. The maestro’s mesa - a weaving placed on the ground on which all the artes are placed, (mesa also means ‘table’ in Spanish) - is a representation of the forces of nature and the cosmos.Through the mesa the shaman is able to work with and influence these forces to diagnose and heal disease.

The traditional mesa norteña has three areas: on the left is the campo ganadero or ‘field of the dark’; on the right is the campo justiciero or the ‘field of the light’ (justiciero means justice); and in the centre is the campo medio or ‘neutral field’, which is the place of balance between the forces of light and dark. It is important for us not to look at these forces as positive or negative - it is what we human beings do with these forces which is important. Although the contents and form of the artes varies from tradition to tradition, the mesa rituals serve to remind us that the use and power of symbols extends throughout all cultures.

San Pedro Cactus

San Pedro (trichocereus pachanoi) grows on the dry eastern slopes of the Andes, between 2,000 - 3,000 metres above sea level, and commonly reaches six metres or more in height. It is also grown by local shamans in their herb gardens. As can be imagined, early European missionaries held the native practices in considerable contempt, and indeed were very negative when reporting the use of the San Pedro. Yet a Spanish missionary, cited by Christian Rätsch, grudgingly admitted the cactus’ medicinal value in the midst of a tirade reviling it: “It is a plant with whose aid the devil is able to strengthen the Indians in their idolatry; those who drink its juice lose their senses and are as if dead; they are almost carried away by the drink and dream a thousand unusual things and believe that they are true. The juice is good against burning of the kidneys and, in small amounts, is also good against high fever, hepatitis, and burning in the bladder.” A shaman’s account of the cactus is in radical contrast:
“It first … produces … drowsiness or a dreamy state and a feeling of lethargy … a slight dizziness … then a great ‘vision’, a clearing of all the faculties … it produces a light numbness in the body and afterward a tranquillity. And then comes detachment, a type of visual force … inclusive of all the senses … including the sixth sense, the telepathic sense of transmitting oneself across time and matter … like a kind of removal of one’s thought to a distant dimension.”

San Pedro, considered the ‘maestro of the maestros’, enables the shaman to make a bridge between the visible and the invisible world for his people.The Quechua name for it is punku, which means ‘doorway’. The doorway connects the patient’s body to his spirit; to heal the body we must heal the spirit. San Pedro can show us the psychic causes of illness intuitively or in mythical dream language. The effects of San Pedro work through various stages, beginning with an expanded physical awareness in the body. Soon this is followed by euphoric feelings and then, after several hours, psychic and visionary effects become more noticeable.

Howard G. Charing, is an accomplished international workshop leader on shamanism. He has worked some of the most respected and extraordinary shamans & healers in the Andes, the Amazon Rainforest, and the Philippines. He organises specialist retreats to the Amazon Rainforest at the dedicated centre located in the Mishana nature reserve. He is the author of the best selling book, Plant Spirit Shamanism (Destiny Books USA).

Visit our website for details on the Andean and Ayahuasca Retreats in Peru

Ayahuasca - Medicine for the Soul Part 1

‘Whether the plant is to heal the body or the spirit or whether it is part of an apprenticeship, what makes it work is your good intention towards the plant. They are beings, which have their own forms or they can be like human beings with faces and bodies. When the spirit accepts the person, and the person has the will, the spirit grants them energy. The path to knowledge opens, and the healing takes place’

Guillermo Arevalo – Shipibo Maestro

In the Amazonian tradition working with planta maestras (teacher plants) is known as the Shaman’s Diet. The working can be seen as a conscious body of actions to incorporate the plant spirit into one’s own spirit. From this incorporation or union, the plant spirit informs and teaches the maestro or apprentice. They learn the magical chants (icaros) which invoke the power of the plant, how to use the plant for healing purposes, and how to strengthen the dieter both psychologically and physically. The purpose of the diet is to prepare the body and nervous system for the powerful knowledge and expansion of consciousness given by teacher plants.

It offers a significant challenge for the rational Western mind to come to terms with the teacher plants, and a leap of imagination is required to incorporate the ‘other’ consciousness, or spirit of the plant.

We also have a ‘linguistic’ limitation (as an analogue the Inuit have over fifty distinct words for snow), in that the word ‘shaman’ is very recent to the Amazon, coming via the Western world in the last 20 – 30 years. There are many words which denote the plant specialisation of the maestro or Vegetalista. Benjamin Ochavano a 70 year old Shipibo Vegetalista says that his father was known as a moraya or banco (healer), in Spanish it was a curandero. A curandero could then further specialise in a particular plant such as chonta (bamboo) and be a chontero. For example a curandero who specialises in smells and perfumes would be a perfumero.

Another challenge to our rational mind to enter the magical world to which we are transported by plants is that it is mainly accessible through dream language or an expansion of the imagination. Thus dreams & our imaginative powers act like doorways during a plant diet and connect us with the plant spirit.

The rational mind can only struggle, to take as an example the famed ‘love potion’ of the Amazon known as the Pusanga. In rational terms it makes no sense whatsoever, how can a concoction of leaves, roots, and seeds attract a lover, or good luck to you? My experience working with shamans in preparing Pusangas (which normally is prepared away from their clients so it was a privilege to be invited to participate in the preparation) showed me that far from interfering with the freedom of other individuals or putting a ‘number’ on them, we were altering something within ourselves, which was brought out by the ingredients, the magic of the plants. Whatever it was, it felt wholesome and good. It is what is in oneself… one’s own magic. Asking Javier Arevalo (the shaman) what does the Pusanga actually do, is it inside us or outside of us? His response was “When you pour it onto your skin it begins to penetrate your spirit, and the spirit is what gives you the force to pull the people. The spirit is what pulls”.

The anthropological term ‘sympathetic magic’ does not give this justice, to illustrate this, the water used in the preparation of an authentic pusanga (which has been specifically made for you) has been collected from a deep trek in the rainforest, sometimes 40 or 50 miles, where there are no people and where clay pools collect and thousands of the most beautiful coloured parrots and macaws gather to drink from them for the mineral content. Now the great leap of imagination required is to bring into yourself the knowledge, the feeling, the sense that the water in the Pusanga has drawn in or attracted thousands of the most brightly coloured creatures on the planet. If you do this, it can generate a shift in consciousness in you.

You can sample this for yourself, just find a quiet moment and space, close your eyes, and with the power of your imagination as the launch pad, draw in the verdant, abundant forest filled with life, colour, and sound. Sense the rich vibrancy of the rainforest as a single breathing rhythmic totality of life force. When you have this image, expand it to include, the humid warmth, the smell of earth, the scent of plants, hear the sound of insects and bird song, allow all your senses to experience this. Then with a conscious decision draw this sensory experience into your being. Whenever you are ready, open your eyes, and check how you are feeling.

Maestros do not invent diets, they are given by the plant spirits themselves, but there is more to it than simply abstaining from certain foods and activities. It involves a state of purification, retreat, commitment, and respect for our connection with everything around us - above all the rain forest. When we listen to our dreams, they become more real, and equally important as everyday life.

The shamans work with the power of the plants in many ways, the colours of the flowers, the perfume, their shape, form, and associations. To illustrate this, another maestro Artiduro Aro Cardenas remarks;

‘A smell has the power to attract. I can also make smells to attract business, people who buy. You just rub it on your face and it brings in the people to your business, if you are selling, people come to buy. I also make perfumes for love, and others for flourishing. These are the forces of nature, what I do is give it direction with my breath so it has effect. I use my experience of the plants which I have dieted. I have a relation with the plants and with the patient; I can’t make these things on a commercial scale.

When I diet I take in the strength of the plant and it stays with me. Later I find the illness or suffering of the person or what it is they want, and the plant guides me and tells me if it is the right one for that person, and I cure them’

He also (as do many maestros) works with the plants not only to heal illnesses but to resolve domestic and family problems;

‘I get people coming for help to give up drug addiction, people with family problems, supposing the man has gone off and left his family, the Mama is here with me and the Papa is far away. I pull him back so he returns to his home so that the family can consolidate again. In a short time he will be thinking of his children and his wife, and he comes back. I don’t need to have the actual plants in front of me, I call the plant spirits which work for that, Renaco, Huayanche, Lamarosa, Sangapilla, perfumes and I call his spirit back to the family home. I blow smoke to reunite them.’

Another (in a very enjoyable way) the qualities, consciousness or spirit of the plant is used to attract benign forces is “los baños florales” or flower baths. In this the individual is bathed in flowers which have been soaking in water for many hours. The maestro prepares the water by blowing mapacho (jungle tobacco) smoke and at the same time placing his intention into the flower soaked water. Again these flowers and plants have been gathered from sometimes deep and not easily accessible locations in the rainforest and have been selected for their specific qualities which the maestro feels are needed to help that person.

A friend of mine Alonso del Rio, who has lived with the Shipibo people, and is uniquely well equipped to be a bridge between the indigenous wisdom and modern Westerners, tells the following;

‘The mind of the traditional maestro is very different from yours or mine. He has lived in the rainforest without contact with the Western world, so to have access to the same visions, the same codes is difficult. But what I have found is that the expansion of the consciousness and the power that the plant gives you to understand many things is perfectly valid.

The magical space to which we are taken - call it the ‘unconscious’ or any term you want to use depending on your psychological model - is one where all the kingdoms of nature can communicate. That is people can talk to plants, and plants with minerals, minerals to animals and animals with humans… all in the same language. It is a very real communication and one of the greatest mysteries which exists. This is something which an English person or a Peruvian born in Lima can experience just as an Amazonian person. Because you can do it without speaking in a native dialect, it doesn’t go through the mind but between one spirit and another.”

On the edge of the Amazonian town Iquitos is the market river port of Belen, which has the famous street ‘Pasaje Paquito’ where many of the rainforest, herbs, plants, mixtures, tinctures are sold. Chatting to Juanita the owner of the stall where I buy plants from, I remember her describing some of the potions, lotions, plants, tonics, barks, perfumes, roots, oils, aphrodisiacs and leaves, and remarking “when you talk to the plants you will get to know them like friends, they have their own spirits, their own personalities”.


Howard G. Charing, is an accomplished international workshop leader on shamanism. He has worked some of the most respected and extraordinary shamans & healers in the Andes, the Amazon Rainforest, and the Philippines. He organises specialist retreats to the Amazon Rainforest He is the author of the best selling book, Plant Spirit Shamanism (Destiny Books USA), and has published numerous articles about plant medicines.


Visit Howard's website

Shamans of Peru CD - Sacred Chants, Icaros, and Music

The haunting, plaintive music of Peruvian shamans was recorded by the Eagle's Wing Centre for Contemporary Shamanism at ceremonies in the Peruvian Andes and the Amazon rainforest.

Although the chants and icaros have an organic relationship to the medicine plants and shamanic journeying of each particular ritual, and are primarily intended as devotional music for inner-journeying. It is equally possible to listen to the hypnotically beautiful sounds in their own right and simply enjoy them for their otherworldly loveliness.

WAVE MAGAZINE REVIEW.

The Shamans of Peru - Ceremonial Chants, Icaros, and Music

This unique set of recordings documents a collection of ceremonial chants and Ayahuasca icaros on CD.

Tracks 1-3 San Pedro ceremony held in Puruchucu, at the head of the Rimac valley. The ruins of this sacred site or huaca date back to pre-Inca times and have been accurately reconstructed. Setting the scene for the ceremony, three musicians play replicas of pre-Hispanic instruments. Alonso del Rio says: ‘while keeping to their original tuning, we have explored the instruments musical possibilities to give an idea of what the music could have been like in pre-Colombian times. The melodies came to us through the ancestral memory evoked through medicinal plants like San Pedro and Ayahuasca’. Instruments: the ceramic notch flutes of the Chincha civilization, Nazca panpipes or ‘antaras’ with their special tuning similar to Oriental scales, and Nazca drums.

The Mesa Nortena is a particular ceremonial tradition best conserved in the region of ‘Las Huaringas’, high and remote sacred lakes in the northern Department of Piura. There are probably only a few good maestros who continue this ancient tradition in Peru today. The rest simply work with the externalities of the mesa, while giving their clients minimal doses of the visionary San Pedro cactus. Originally more importance was given to the medicine, which must be in the organism of the participants as well as the maestro for the power to flow. The mesa then served to intensify the power of the plant.

An altered state is needed to enter the symbolic world of the objects on the mesa (the word refers to the altar as well as the ceremony itself). The abundance of macerated plants, perfumes and smells employed in the mesa function to move the feelings associated with one’s memories. At a deep level, sensations are translated into vibrations which the medicine brings to consciousness so that associated hurt and pain can be ‘re-membered’ again and a new attitude can emerge. The singado, or absorption of macerated tobacco juice through the nostrils involves another power medicine which is used to intensify the San Pedro at regular intervals.

The instruction from the maestro to pour up the left or right nostril reflects the notion of duality found in shamanic disciplines all over the world: masculine and feminine, hot and cold, upper world and earth, expansion and contraction, flowing and stagnant. Illness arises from one of these polarities loosing equilibrium. The word singado comes from the Quechua word singa meaning nose and is perhaps an Andean notion of Pranayama! Also audible in the following two mesas 4- 5 are the clicking of chontas, or black bamboo sticks used for cleansing people’s auras and the spraying from the maestro and assistants’ mouths, of perfumes and plant macerations over the participants.

The tendency to commercialise a tradition is inherent in urbanization and seeing things for their utility and business. For example mesas are sometimes held so that lawyers win legal battles. Piles of documents are laid on the mesa so that the power works on them and they win their case. In this way a shamanic ceremony is degraded to folklore. We can try to reconstruct the original tradition to how it was in pre-Colombian times and remove the images of Sarita Colonia and the other saints, crucifixes, photos etc., which have accumulated throughout the centuries and evolved the mesa into the mestizo tradition which survives today. Left behind are the ancient stones, magic plant brews and the enchanted waters of the lakes of Las Huaringas, being the original elements, which have survived underneath.

Track 4 Mesa with Alejandro Sanchez. Maestro Sanchez lives in Comas, a distant suburb of Lima which began in the 1960s as a shanty town. It is surrounded by impressive parched stony desert hills. The maestro’s house is at the end of a road near the cemetery and overlooks this immense settlement from where he draws his clients. Sanchez was born in Sondorillo near the legendary sacred lakes of Las Huaringas. At age 11, while still at school, he seemed to have perceptions and to be able foresee things accurately. His astonished teachers thought he was having hallucinations and called for maestro Florentin Garcia. Later Alejandro became his apprentice and learned from him the secrets of plants. The strangeness of these ceremonies can be seen as part of the ‘trappings’ of rituals in general. Strangeness serves to trick the rational mind so that it will not interfere with the subtle processes taking place in the subconscious. When we are fully awake, things can indeed seem strange… ‘people are strange, when you’re a stranger…’ as the song by The Doors goes. A part of healing is recovering the lost gift of perception, the feeling of being alive again.

Track 5 Mesa with Leopoldo Vilela who was also born near the celebrated Las Huaringas in Radiopampa, an extremely cold place at 3,500 meters altitude. He was 90 years old and in very good health at the time of this mesa which was also held in the ruins of Puruchucu. At three years old he was sent outside to look for herbs for his mother who was suffering from a stomach ache; there he knew he would become a curandero. He used to watch his father who was clairvoyant and assisted people in his community to find their animals when they were lost. He used tarot cards and looked into bottles of aguardiente (firewater) with grains of corn of different colours at the bottom Don Leopoldo improvises sessions for groups and individuals, which may continue for hours. These are full of idiosyncrasy, and characterized by warmth, dedication and playfulness, which is quite touching at times. The seemingly endless sequence of bottles of tastes and smells and other procedures are often extremely weird while his inadvertent remarks and caresses on his guitar (of his own manufacture) often provoke smiles and laughter in all present. Human beings have an instinctive awareness of other people’s conscious states of mind. When another person, a shaman, is authentic and spontaneously creative in the moment, this has the power to focus the mind, stopping it from verbalizing and rationalizing. A sense of pure wonder is evoked.

Track 6 Closing calls. The conch shells or pututus, still used in Andean communities today, are handed down from the Incas who obtained them from the Caribbean. They are used for convening meetings and ceremonies.

Tracks 7-9 Shipibo icaros of Mateus Castro, a shaman living outside Pucullpa in Yarinacocha. The arts of the Shipibo, especially textile designs, are closely related to ayahuasca icaros. The words of the chants are symbolic stories telling of the ability of nature to heal itself. For example the crystalline waters from a stream wash the unwell person, while coloured flowers attract the hummingbirds whose delicate wings fan healing energies etc. You might see such things in your visions but the essence which cures you is perhaps more likely to be the understanding of what is happening in your life, allowing inner feelings to unblock so that bitterness and anger con change to ecstasy and love. To awaken from the ‘illusion of being alive’ is to experience life itself.

Tracks 10-16 Dona Cotrina Valles was born in Agua Blanca, Department of San Martin. She apprenticed herself to a maestro in 1979 and later came to live in Iquitos with her husband. Today she lives alone with her children. It is very unusual for a woman to be a shaman in urban situations although they do exist amongst indigenous peoples. Amongst other limiting beliefs, it is thought that women break taboos as they are unable to take dieting seriously because of demands from their husbands and that when they go shopping in the market they will have contact with menstruating women or people who are mal dormida, (ie. a person who has been making love all night). The diet is a vexed question in the city as the temptations of rich spicy food as well as sex are greater than in the rainforest. As all shamans will tell you, Dona too, says that sex is bad. The ‘mother plant’ loves you and if you make love to another person, you are being unfaithful to her. For this reason it is often said that Ayahuasca is jealous, and if you do not respect her, she makes you ill instead of healing you. You will also not be able to see any visions. The ill effects from not respecting the diet are called cutipa and range from a sense of trauma and stress to skin problems. Dona’s chants are sung in Spanish and Quechua, as also are the chants of Javier Arevalo which follow. Both Dona and Javier are mestizo shamans, that is to say their ancestors moved to the Amazon from the Andes, rather than being indigenous to the Amazon as the Shipibo are. The melodies of mestizo icaros have an Andean structure and are sung partly in Quechua, a language of the Andes.

Track 17 Despacho to Pachamama in the ruins of Pisaq. A despacho is an offering to the Earth Goddess, Pachamama, which nurtures all life on earth. The ceremony symbolizes the reciprocity of nature and speaks back to her saying ‘we understand the message and we have the same attitude’. The word despacho was mistakenly translated into Spanish after the Conquest as pago, meaning payment, to imply a satanic pact with dark forces. As each participant made their contribution to the despacho convened by the Shamaness Doris Rivera Lenz ‘La Gringa’, Kike Pinto, played pre-Colombian instruments. The first piece is a Harawi from the Department of Cusco played on a quena, or notch flute, made from the wing bone of a condor. This little melody has been handed down from Inca times, thanks to its incorporation into Catholic mass in Colonial times. The second piece is a Haylli from San Pedro de Castas, Department of Lima, played on a ch’iriqway, or antara (panpipes), made from condor feathers. The melody also has pre-Hispanic roots and has survived in a form played on the chirisuya, kind of oboe, of probable Moorish origin. This track is ended with some calls on the putu, or conch shell. Kike Pinto is a lifetime musician and researcher of traditional Andean music. He has recorded several CDs and is curator of his own Museum of Andean Music in Hatunrumiyoq, Cusco.

Tracks 18-26 Javier Arevalo comes from Nuevo Progreso, a community of 50 families on the Rio Napo. Many generations of his family before him were shamans and already at 17 years old he knew this was his future. However when he was 20 his father died from a virote (poisoned dart in the spiritual world), sent by a jealous and malicious brujo (sorcerer) in his community. Soon after he began his two-year retreat in the rainforest with his maestro grandfather, dieting many plants, later to become his ‘doctors’. During his time in the wilderness he realised that it was better to leave God to punish the brujo who killed his father, and he decided to be a healer not a sorcerer. There are several different kinds of icaros, at the beginning of the session. Their purpose is to provoke the mareacion or effects, and, in the words of Javier, ‘to render the mind susceptible for visions to penetrate, then the curtains can open for the start of the theatre’. Other Icaros call the spirit of Ayahuasca to open visions ‘as though exposing the optic nerve to light’. Alternatively, if the visions are too strong, the same spirit can be made to fly away in order to bring the person back to normality.

There are icaros for calling the ‘doctors’, or plant spirits, for healing, while other icaros call animal spirits, which protect and rid patients of spells. Healing icaros may be for specific conditions like manchare which a child may suffer when it gets a fright. The spirit of a child is not so fixed in its body as that of an adult, therefore a small fall can easily cause it to fly. Manchare is a common reason for taking children to ayahuasca sessions.

Tracks 18 Llamada de mareacion in which the spirits of various healing plants are called, here the huacapurana, a tall tree with hard wood, whose bark is used for arthritis. Huacapurana is also used as an arcana, or spirit to protect the body. Also the remocaspi whose bark is used to reduce fever and cure malaria.

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. With Peter Cloudsley, 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 and Amazon Ayahuasca Retreats

The Spiritual Traditions of the Andes

The ofrenda

An 'ofrenda' is the most important ceremony used by Andean Indians to relate with Mother Earth. The ofrenda is a symbol of reciprocity with nature and its purpose is to teach us to reproduce this attitude. Through it we speak back to nature saying we understand the message and concord.

The ofrenda which is also known in Spanish as a 'pago', is not
a 'payment' to nature as the Conquistadores saw it, implying a sinister pact with nature spirits. Additionally, they accused the Indians of being miserly because they preferred to pay symbolically rather than with real money!

An ofrenda is an expression of gratitude, not of debt or obligation. Neither is it selfish to want things for ourselves as some people see it even today. It is true that urban people in Peru have started to make ofrendas for reasons such as wanting their businesses to flourish, but good business can equally imply good health, and harmony to the community and for the natural world.

In an Andean community realities are closer to earth than they are in the city, it is more important that the cattle do not die than to have more private possessions. Hence in the country there is a better understanding of the shamanic meaning of the ceremony, the re-establishing of relationship to nature. This is why we need a little preparation so that an ofrenda can work for us too.

Pachacuti

We live in a time of the fulfilment of an ancient Inca prophecy. This is the time of the new Pachacuti, a great change bringing with it a new relating to the Earth (Pachamama). Each Pachacuti is a era of time about 500 years. The last Pachacuti occurred with the Conquest in the early 16th century, and the Q’ero (Inca) priests have been waiting ever since for the next era, when order would start to emerge from chaos. The current Pachacuti refers to the end of time as we understand it, the end or death of a way of thinking and a way of being. A new relationship with the living Earth, and an emergence into a golden age of peace. There are many indications that changes in human consciousness are taking place, yet there is still a long way to go. The traditional ways can inform us and show how we can re-engage with the sacredness of life and the Earth so we too can more fully participate in the new Pachacuti.

2008 Retreat Programme - Andean and Amazonian Shamanism

March 8th - 14th incl. - San Pedro, Coca , and the Spiritual Traditions of the Andes.


March 15th - 29th incl. - Amazon Retreat, Ayahuasca, and Plant Spirit Medicines.


As a prologue to the Amazon retreat this optional week expands on our work with the shamanic tradition of the Andes. Working with San Pedro Maestro Shaman Juan Navarro, and Coca Leaf Diviner & traditional Healer Doris Rivera Lenz. This is an opportunity to experience the rich and powerful spiritual legacy of the Andean civilization which is only now being properly recognised after 500 years of obscurity.

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

Pachacuti - An Ancient Inca Prophecy

We live in a time of the fulfilment of an ancient Inca prophecy. This is the time of the new Pachacuti, a great change bringing with it a new relating to the Earth (Pachamama). Each Pachacuti is a era of time about 500 years.

The last Pachacuti occurred with the Conquest in the early 16th century, and the Q’ero (Inca) priests have been waiting ever since for the next era, when order would start to emerge from chaos. The current Pachacuti refers to the end of time as we understand it, the end or death of a way of thinking and a way of being.

A new relationship with the living Earth, and an emergence into a golden age of peace. There are many indications that changes in human consciousness are taking place, yet there is still a long way to go. The traditional ways can inform us and show how we can re-engage with the sacredness of life and the Earth so we too can more fully participate in the new Pachacuti.

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

Yoga and Shamanism - Ecstatic Trance Postures

Both Yoga and Shamanism offer a ways for people to become aware of their potential, and begin to explore their spiritual relationship to the universe, to other forms of life, and to each other. The experiences which come from these practices help a person to evolve a deeper bond and respect for all of creation, and from this perspective you are likely to lead a life which is vibrant and full in harmony and balance, and which encourages understanding and optimism.

The Shamanic path is a way to experience this expanded view of universe. One of the central practices of shamanism has been defined as the Spirit or Trance journey. One of the ways to embark on this experience of expanded consciousness is what is called ‘the shamanic journey’. In this Journey the shaman journeys to the Spirit world, (commonly referred to as Upper & Lower Worlds), to directly commune with the spirits who reside in the other realities. This is done for many reasons, for example to receive guidance for healing, maintaining both our own and by extension our communities spiritual wholeness.


There are a number of ways to embark on a Spirit journey; these can be through dance, dream, using teacher plants, and by assuming certain specific physical postures. The latter is known as Shamanic Trance Postures, and are a method for achieving ecstatic trance and entering that place of both personal and collective vision. The word ecstasy and ecstatic is used in its original meaning, which is based on the Greek ex-stasis, meaning 'outside of yourself', outside of the everyday world. The ecstatic trance brings with it a shift in our perception, a way of becoming aware of a reality outside of the world of the ordinary, and the mundane. The trance makes us able to perceive the continuum of life, from what has been called non-ordinary reality, a reality which has been known to co-exist with our physical reality throughout time.

Black Elk, the Lakota medicine man and great visionary whose life was recorded by John Neihardt in the 1930's, tells of "the world where there is nothing but the spirits of all things. This is the real world that is behind this one, and everything we see here is something like a shadow from that world".

There are certain works of ancient art, glyphs, carvings, rock paintings which are more than creative expressions of their culture. They are visual teachings for a specific ritual. These paintings and statues from the ancients depict people adopting distinct bodily postures. Many of these bodily postures are ways to an altered state of consciousness, visionary experiences, and a way to embark on a spirit journey. There is an extensive geographic distribution of the Trance Postures, and indications are that they belong to all cultures and traditions. These postures have been rediscovered by Dr Felicitas Goodman after years of extensive research, and a full account has been documented in her truly outstanding and remarkable book 'Where the Spirits Ride the Wind'.

When a person adopts a specific posture as shown in one of the ancient artefacts, with an accompanying rhythmic sound e.g. Rattle or drum, the person may experience a vision which although is personal , is also specific to the posture. It is as if, however personal the vision, it will conform within a consistent framework. Ritual has great power in this reality; it is a way of combining, the heart, mind, spirit, and body in a single physical action and intention. Religions from all over the world have long recognised the importance of ritual. Ritual is a means of communication between the Spirits and ourselves, it is a way that the Spirits can cross over from their world into ours. In Western society we have forgotten that the ordinary and other reality belong together, they are two halves of one whole. Ritual is a way to empower and enhance the trance state, and is a gateway to contain, translate, and safely guide an altered state of consciousness into a spiritual experience. Another way of saying this would be that a ritual carries an innate intention, a purpose.

Each of the Shamanic Trance Postures is in itself a ritual, and it is a ritual with such intrinsic qualities of exactness and power, that its objective is achieved outside the original cultural setting. This means that we in contemporary Western society can also successfully participate in the Shamanic Trance Postures. To understand the Shamanic Trance Postures they should be directly experienced, no amount of words can compensate for this. The best place to experience the ecstatic trance states is in a workshop environment. This brings with it the guidance and support of the workshop facilitator, and the collective energies of the group. The power of the group is important in that it helps in terms of the focus of the ritual, and provides indirect and direct feedback. Feedback is the way to obtain the ineffable quality of trust. Trust is one of the pillars of this work, and the group provides validation of your own experience. Another important factor is that the power of the trance postures is magnified, as each person supports and is a part of the collective visionary experience.

An Exercise – The Grandfather Bear Trance Posture. A powerful Healing posture. You may experience, great energy, certain colours, a feeling of being supported and contained in a loving and gentle way. Stand with your feet parallel , about six inches apart, and your toes aimed straight ahead. Your knees should be slightly bent, removing any strain on your lower back that would occur if your knees were locked. This stance is consistent for most of the standing postures. Gently roll both your hands , as though you are holding a small egg in the palm of each hand. Position your hands so that your folded fingers form a tall triangle over your navel. The first joint of the index finger of each hand should touch to form the apex of the triangle, with your thumbs resting one in front of the other, not one on top of the other. Your upper arms can rest easily at both sides of your body, so that your elbows are not sticking out. With your eyes closed, lean your head back as though you are looking at a point just above the line where the wall meets the ceiling. There may be a strained feeling in the muscles at the back of your neck.

Comments from people who have experienced the healing Trance Posture known as 'Grandfather Bear 'on workshops. "I have been having a sore and painful throat for some time. As I started the posture, I very quickly felt that I was being cradled from behind by a warm energy, which I saw in my mind as a large bear. I felt the bear rip open my throat with its claws, and pull out heavy, thick mucus like material. This went on for a few minutes, and then the bear blew warmth into my throat, and I began to see flashes of violet-blue colours around me.

When the trance posture ended, my throat felt clear, and my body felt as if it was glowing." "My back felt as if it was being opened, and metal plates which covered my spine being levered open and dragged out of my back. When we finished, my back felt so much more flexible, I could even touch my toes, which is something which I have not been able to do for quite some time. I had forgotten how stiff my back had become."

FURTHER READING: Where the Spirits Ride the Wind - By Felicitas Goodman

Howard G. Charing, is an accomplished international workshop leader on shamanism. He has worked some of the most respected and extraordinary shamans & healers in the Andes, the Amazon Rainforest, and the Philippines. He organises specialist retreats to the Amazon Rainforest He is the author of the best selling book, Plant Spirit Shamanism (Destiny Books USA), and has published numerous articles about plant medicines.

Visit our website www.shamanism.co.uk

Death as an Adviser - The Shaman's Perception of Death

In traditional wisdom and knowledge, life is a continuum that does not end at the moment of death. One of the most important traditional tasks of the seer, shaman, medicine man or woman is to assist people who are either dying or the spirits of those who have died to make the transition into great domain of consciousness. This body of practices is known as Psychopomp, from the Greek word psychopompos which literally means ‘conductor of souls’. In Greek mythology, the god Hermes served as the escort for the dead into the afterlife. This concept of a guide or intermediary between the living and the dead is a collective theme found in most religions and mythologies.

In our society and culture, death is something dark, mysterious, and fearful. Ancient cultures did not regard death as an enemy, but dared to make it an ally. It is ultimately about daring to live fearlessly from the centre of one’s truth, to challenge and defeat the tendency to inertia, fear of life and premature old age. To quote one of the great teachers, the Peruvian shaman Don Eduardo Calderon: ‘a shaman is someone who is already dead and thus has no fear of death or life’. Sometimes a life threatening crisis is what calls a person to the way of the shaman.

In traditional wisdom and knowledge, life is a continuum that does not end at the moment of death. One of the most important traditional tasks of the seer, shaman, medicine man or woman is to assist people who are either dying or the spirits of those who have died to make the transition into great domain of consciousness. This body of practices is known as Psychopomp, from the Greek word psychopompos which literally means ‘conductor of souls’. In Greek mythology, the god Hermes served as the escort for the dead into the afterlife. This concept of a guide or intermediary between the living and the dead is a collective theme found in most religions and mythologies.


Death and Dying


In shamanism death and birth are closely related to each other. One of the roles of the shaman is as a midwife of dying, to help, guide, or usher the soul or essence of the dying person into the unity of the afterlife. This is the work of the Psychopomp, conductor of souls.

There are many ‘cosmographies’ of where souls go when they die, each dependent on the culture and society they originated in. Shamanism is not a system of belief or faith, it is a system of knowledge, and is directly experienced first hand by the senses. The world that Shamans work in is not a consensus reality, i.e. what we have agreed is reality. The Shaman sees i.e. experiences with all the senses, and is the mediator between the everyday physical world and an alternate reality. The roots of shamanism pre-date recorded history. The earliest findings date back over 40,000 years. Shamanism is the ancestral mother of the human spiritual experience.

In the great panorama of creation, many cultures have structured and formed a navigable cosmography. The shaman navigates and journeys in a cosmos experienced as three great realms revolving around a great axis, known as the great tree, or axis mundi. They are known as the, Upper World, Lower World, and Middle Worlds. Central to all these realms is the Axis Mundi, which is the central axis which connects these three realms.

These realms have been structured and implemented in ways relevant to our culture and the world we live in. These three worlds have been renamed but are still present; The Upper World, the realm of our ancestors, religious or spiritual leaders, the gods, the spirit guides, is known as Heaven. The Middle World has been simply moulded into meaning our physical world or Earth, and the Lower World, the traditional place of sustenance and nourishment, the home where the spiritual power of the natural world, the plants, animals resides, has become demonised, and renamed as Hell.

The problem here is that the Lower World has become demonised, and turned into a travesty of it’s original meaning and embodiment of the living force of the natural world, and has become a very ‘bad’ place where all the wicked (disobedient) people go to suffer eternal damnation, hellfire, and other such terrible punishments. From a shamanic and a psychological perspective this has created the major problem of separation. By demonising the Lower World, the place which holds the feminine qualities of nurturing, and sustenance, we have as a society managed to disconnect ourselves from these very attributes. The story of the Garden of Eden fundamentally underlies this separation. If we consider the unifying principle of ‘so above, so below’, we are also looking at the cosmography of the human soul.

We have also lost along the expressway to modern civilisation this concept of the transition of the human soul from the physical world into the great realms of existence. People who die in sudden death , accident , confused , unhappy, drugged , people who lack power, murdered, killed in war, often disappear in the Middle World, and may be unable to make their transition , or not have an awareness of where and who they are. The work of the conductor of souls is to help these deceased individuals make that journey.

The shaman would embark on a spirit journey, to find the person who had died in unfortunate circumstances such as an accidental death. They would start from the place that the person died, and in their trance vision of expanded awareness spiral outwards in concentric circles to find them. Once located, it is then the work of the shaman to help them make that transition to another place, and be welcomed and re-united with loved ones.

This is Psychopomp work, helping the deceased to another world. There is an enormous fear of death in our society, and a renewed interest in this kind of work could provide re-assurance to those who are dying, and their loved ones.

Howard G. Charing, is an accomplished international workshop leader on shamanism. He has worked some of the most respected and extraordinary shamans & healers in the Andes, the Amazon Rainforest, and the Philippines. He organises specialist retreats to the Amazon Rainforest at the dedicated centre located in the Mishana nature reserve. He is the author of the best selling book, Plant Spirit Shamanism (Destiny Books USA).

Click to visit Howard's website

Shamanism, Healing and Divination

The Multi-dimensional Cosmos of the shaman

In shamanism, there is another kind of time, not linear or sequential but a time which is one single moment. This vast ever moving moment has no boundaries which separate the past, present and future. This is a time in which anything which has ever happened to anybody anywhere, somewhere it is still happening. The shaman travels 'outside' of linear time into this vast unending ever-moving moment to seek the information at the place where this event is happening.

One of the main gateways to this vast moment of time or universal consciousness is our own powers of imagination coupled with the three fundamental principles of expanded perception;

1.Intention All actions begin with an intention, a desire for a specific outcome. The principle of intention operates on two levels, the obvious , 'this is what I want to do', and the subtle level , i.e. it is a signal or alert to energy to be prepared to move to a certain destination.

2.Trust Trust is an ineffable quality, it is experienced in the body, not the mind. Trust takes time, and to get trust we need feedback which either directly or indirectly validates our experience. With trust our experiences and confidence in our actions increase significantly.

3.Attention This is about the application and focus of energy and intention. Attention is not 'hard-work' yet it needs consistency, to place your awareness at the interface of events or places..... Energy flows where Attention goes.
Shamanism is not a system of belief or faith, it is a system of knowledge, and divination is one of the paths to gain direct knowledge. Direct knowledge can be defined as that which is experienced first hand by the senses. Divination is not 'fortune telling', it is a way to a deeper understanding of events and influences surrounding a situation or person. Divination has always been an integral part of shamanism. One of the most important roles of the shaman has been to seek revelatory knowledge from visionary sources, which may be for healing purposes, "why has this person become ill?" "what medicine does this person need?, or important communal needs "where are the herds of caribou?", divination is also often used to get meaning from dreams and visions.

Divination is as old as humanity, but unfortunately in mainstream Western society it has been regarded as something primitive, irrational, and pandering to superstition. Divination is simply a way of revealing the truth. The diviner reveals or uncovers to their client hidden truths about themselves, or the circumstances surrounding them. In societies outside the West, divining continues to play an important role, revealing that which is hidden, easing anxiety, and helping in coming to terms with challenging circumstances that may demand the implementation of difficult decisions.

In divination, the role of the shaman is to act as a mediator or 'middle-man'. The shaman by exploring and providing the initial reading and interpretation allows the seeker of this information to avoid projecting personal wants, desires, and wishes if the question or situation is emotionally charged.

Divinatory methods

The shamans used many diverse methods for divination, either ways seeking patterns in natural objects and events, or using techniques to directly obtain hidden knowledge. An example of the former could be the practice of divination with rocks.

Rock Divination To do this the traditional practice is for the seeker looks for a rock whilst holding the question in the mind, eventually there will be a rock which stands out or 'metaphorically' shouts out "me, me!". Here is an opportunity to practice the principle of trust!. As a helpful tip the more faceted and inner forms the rock has the better as more facets and patterns mean more detail will be available to the reader. The seeker should then give the rock to the shaman or practitioner and state the question. The shaman (who knows as little as possible about the questioner or the circumstances regarding the question) will gently focus on the rock and allow patterns to form within the imagination. The shaman may ask the seeker to state the question a few times as this helps to deepen the trance state of awareness, to the place where the shapes and patterns in the rock become a 'gateway' directly into the universal field of energy, and images, pictures, words, feelings will start to form within the shaman's being. Each rock face represents a different aspect of the question, and the initial response is generally "where the questioner is at this moment", and this leads to other rock faces, each rock face exposing and presenting an expanded view of the answer. To me personally this work is awesome, mysterious and poetic, and I have found that is as if a person's life story is contained in a rock.

Sunbeam Divination Journey An example of a specific technique to discover hidden knowledge is the Sunbeam divination journey of the Labrador Naskapi shamans. This journey has a single specific purpose to find out the physical location of a person, object, or place where an event will take place. In this practice no information will be given about the object, person etc only it's location. One can see the usefulness and practicality of this technique, for example to help hunters locate game animals, or the to find out and rescue a lost member of the tribe and so on. I have used this practice many times often to locate lost keys or the wallet of a client!

An Exercise - Naskapi Sunbeam Divination Journey.

First meditate or reflect on what you want to locate or know the whereabouts of, remember the first principle of Intention. When ready, find a place where you will not be disturbed for half hour or so, darken the room, and lay down and relax. Note: It is best if you have tape for shamanic journeying drumming (which will smooth the transition into expanded states of awareness). In the imagination, the launch-pad into multi-dimensional perception, go to a place where you can visualise, perceive, or sense being in the open landscape. Sense being fully in this place, experience your feet on the ground and the ground pushing up against the soles of your feet, experience the air and the wind on your face, become fully present in this landscape, and when ready look up to the sky where the sun will be, with the question firmly in your mind, ask the sun to show you the location or whereabouts of what it is you are searching for. Typically a particular sunbeam will either shine brightly or capture your attention in one way or another, follow this beam of sunlight, you may even experience yourself flying over the landscape, and where this specific sunbeam touches the ground, that is where the location is. When you recognise the location, and can correlate it to an actual physical place, it is then time to return. So turn around and go back to the place where you started from, and when you have returned, gently feel yourself back in the physical world, and gently open your eyes.

Remembering the second principle of trust, check the information out, try and get verification of the validity of the journey, keep on doing this until you have developed trust and the confidence will then follow.

Shamanic Trance Postures.

Another form of specific techniques is the body of work known as Shamanic Trance Postures. They take the form of certain precise bodily postures. These postures are gateways to an altered state of consciousness, and visionary experiences. This body of knowledge originates from ancient civilisations and many indigenous cultures throughout the world. Rediscovered in the 1970's by the renowned anthropologist Felicitas Goodman, these postures are a piece of living history from our heritage of spiritual tradition.

It involves holding non-strenuous, but precise physical positions together with an accompanying rhythmic sound eg. Shamanic drumming or rattling. There are a number of specific postures for divinatory purposes, for example the Nupe people in sub-Saharan Africa, use these ritual postures, and in the one that their divinatory shamans work with gives the experience of detachment and a dispassionate persepective of the question.

An Exercise - Nupe Divination Posture

Once again meditate or focus on your question, as with this work it really helps if the question is sharp, no 'ifs', 'shoulds' , 'but' and so on, get your question as razor honed as possible.

Sit on the floor, leaning toward your left and supported by your left arm. Hold your left arm rigid, with your hand at a right angle to your body. Place your left hand at a spot three to five inches to the left of your body and just behind a straight line drawn along the back of your buttocks. Bend both legs at the knees with both feet pointing to the right, positioned so that your left foot is resting just to the left of your right knee. Place your right hand on your lower left leg, where the muscle indents about halfway down your calf. Move your head slightly to the left, so you are looking over your left knee, and close your eyes.

If possible listen to a shamanic drumming or rattling tape, as this will enhance the visionary potential and makes the experience smoother, and more powerful. Allow the visionary imagery , or just simple 'knowing' to take place, when you have a sense of an answer (even if you do not understand it rationally) just gently release yourself from the posture, and come back fully into the present. If an answer is not immediately understood, incubate it, play with it, draw or paint it, this is important as the answer is not always addressed to the rational mind. Being with the imagery or vision will often lead to a deep and profound revelation.

To conclude there are many other ways of divination in shamanism many which underlie well known practices eg; divination with quartz crystals, casting of objects, Scrying.

As the Tungus shamans of Siberia say "we are all connected, we are all one". So is it no wonder that we can discover ourselves through the natural world.

Howard G. Charing, is an accomplished international workshop leader on shamanism. He has worked some of the most respected and extraordinary shamans & healers in the Andes, the Amazon Rainforest, and the Philippines. He organises specialist retreats to the Amazon Rainforest at the dedicated centre located in the Mishana nature reserve. He is the author of the best selling book, Plant Spirit Shamanism (Destiny Books USA).



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