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	<title>Singing to the Plants &#187; Indigenous Culture</title>
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	<link>http://www.singingtotheplants.com</link>
	<description>A Guide to Mestizo Shamanism in the Upper Amazon</description>
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		<title>Amazonian Gastronomy</title>
		<link>http://www.singingtotheplants.com/2009/09/amazonian-gastronomy/</link>
		<comments>http://www.singingtotheplants.com/2009/09/amazonian-gastronomy/#comments</comments>
		<pubDate>Mon, 07 Sep 2009 11:12:40 +0000</pubDate>
		<dc:creator>Steve Beyer</dc:creator>
				<category><![CDATA[Books and Art]]></category>
		<category><![CDATA[Indigenous Culture]]></category>
		<category><![CDATA[The Amazon]]></category>

		<guid isPermaLink="false">http://www.singingtotheplants.com/?p=4347</guid>
		<description><![CDATA[<a href=http://www.singingtotheplants.com/2009/09/amazonian-gastronomy/><img src=http://www.singingtotheplants.com/wp-content/uploads/2009/09/cocina1-300x218.jpg class=imgtfe hspace=5 align=left width=100  border=0></a>Fusion is the hot word among Peruvian chefs. Pedro Miguel Schiaffino was one of the founders of what is now generally called <em>Amazon fusion</em>, which incorporates jungle ingredients into gourmet dishes. Back in May, the first <em>Festival Gastronómico de la Amazonía peruana</em> was held for five days at the Hotel Meli&#225; in Lima. I missed it. I had intended to bring some genuine Amazonian boiled monkey soup, but, as it turns out, it is likely the festival would not have been interested. When people in Lima speak of Amazonian gastronomy, they do not mean what indigenous people in the Amazon actually eat. <br clear="left" />]]></description>
			<content:encoded><![CDATA[<p>Peruvian cuisine got a lot of good news this month. Irzio Pinasco, chairman of the Economic Committee of the Peruvian Gastronomy Association, <a href="http://www.livinginperu.com/news/9984">announced</a> that the Peruvian gastronomy sector will generate 320,000 jobs this year, with about 240,000 of them in Lima. In recent years, he said, the number of restaurants grew 45 percent  nationwide.</p>
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<p>And Spanish chef Borja Blásquez, academic director of the Gastronomic Institute of Argentina, whose program on the El Gourmet cable TV channel is very popular in Latin America, <a href="http://www.livinginperu.com/news/10021">told reporters</a> in Arequipa that Peruvian dishes were &#8220;incomparable&#8221; &mdash; &#8220;the best in Latin America,&#8221; he said. &#8220;Peruvian cuisine&#8217;s fusions, and very especially its historic roots, are valuable things that can hardly be equaled by any other cuisine from this part of the continent.&#8221;</p>
<p>Fusion is the hot word among Peruvian chefs. Pedro Miguel Schiaffino &mdash; see biographies <a href="http://www.taste-of-peru.com/the-chefs/pedro-miguel-schiaffino.php">here</a> and <a href="http://jamesbeard.starchefs.com/events/2002/10/011.shtml">here</a> &mdash; was one of the founders of what is now generally called <em>Amazon fusion</em>, which incorporates jungle ingredients into gourmet dishes. Schiaffino &mdash; the  &#8220;young promise of Peruvian gastronomy&#8221; &mdash; studied at the Culinary Institute of America and at the Italian Culinary Institute, and he got practical kitchen experience under chefs Nadia Santini and Piero Bertinotti in Rome. Upon his return to Peru, he took charge of the kitchen at La Huaca Pucllana in Lima, creating what came to be called <em>neoandina</em> or nouveux Andean cuisine, and then opened the restaurant Malabar in Lima with the idea of offering a new fusion cuisine using jungle ingredients.</p>
<p>Back in May, the first <a href="http://www.adn.es/sociedad/20090505/NWS-3187-Gastronomico-Festival-Amazonia-promocionar-selvatica.html"><em>Festival Gastronómico de la Amazonía peruana</em></a> was held for five days at the Hotel Meli&aacute; in Lima. I missed it. I had intended to bring some <a href="http://www.singingtotheplants.com/2008/03/jungle-cookbook/">genuine Amazonian boiled monkey soup</a>, but, as it turns out, it is likely the festival would not have been interested.</p>
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<p>The event was sponsored by <a href="http://www.boletindenewyork.com/PromPeru.Comunicaciones.htm">PromPerú</a> &mdash; the Comisión del Promoción del Perú para la Exportación y el Turismo &mdash; and was attended by several Peruvian dignitaries, including Mercedes Ar&aacute;oz, the Minister of Foreign Trade, and Antonio Brack, Minister of the Environment. </p>
<p>The big hit of the show was Amazonian fruit &mdash; <em>ubos</em>, <em>sapote</em>, <em>anona</em>, <em>camu-camu</em>, <em>guanábana</em>, <em>conoca</em>, <em>aguaje</em>, <em>guayaba</em>. In addition to the fruit, there was <em>yuca</em>, of course, and  fish &mdash; I wrote about Amazonian fish <a href="http://www.singingtotheplants.com/2008/04/going-fishing/">here</a> &mdash; and meat of wild pig and deer. As far as I can tell they served no large rodents, such as <em>capybara</em> or <em>agouti</em>, both widely eaten in the Amazon, and no monkey or spiny rats. I do not know whether they served <a href="http://www.singingtotheplants.com/2007/12/suri/"><em>suri</em></a>, the grubs of palm beetles, considered a special treat in the Amazon. </p>
<p>In other words, when people in Lima speak of Amazonian gastronomy, they do not mean what indigenous people in the Amazon actually eat. They mean European preparations of Amazonian ingredients as similar as possible to those already used in Eurpoean gastronomy. </p>
<p>In the same way, <a href="http://manyaperu.com/javierampuero/2009/05/promperu-promueve-la-gastronomia-de-la-selva/">one press release</a> speaks of the jungle fruits on display as having been produced with &#8220;only minimal traditional management,&#8221; as if the fruit had just magically appeared out of the jungle, ignoring the fact that both mestizo and indigenous Amazonian peoples are active and ecologically astute forest managers.</p>
<p>Although the coverage is sketchy, there seem to have been no actual indigenous Amazonians present, except as dancers, for entertainment. All the headline chefs had restaurants in Lima, and all of them had been trained in Europe.</p>
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<p>One product of the festival was a new forty-recipe cookbook, with scrumptious photographs, entitled <a href="http://www.librosperuanos.com/detalle.php?tema=&#038;id_tema=&#038;subtema=&#038;id_subtema=&#038;id_libros=9926&#038;precio=130.00&#038;autor=Gutsche,%20Astrid%20.&#038;id_editorial=452&#038;cur_page=&#038;autor2=ok"><em>Frutas amazónicas, postres peruanos de vanguardia</em></a>, written by chef Astrid Gutsche. </p>
<p>Gutsche, born in Germany, manages the restaurant franchise Astrid &#038; Gastón along with her husband, Peruvian chef Gastón Acurio Jaramillo. They met at Le Cordon Bleu in Paris and have opened a number of restaurants in Lima specializing in Peruvian seafood, Peruvian confections, and &mdash; their latest &mdash; Peruvian <em>sánguches</em>, sandwiches.</p>
<p>The desert book was originally the idea of photographer Walter Wust, who solicited the support of the Proyecto Perúbiodiverso of PromPerú, which hoped that the book would help to promote the the use and export of Amazonian fruit. The promotional material for the book speaks sensually of a &#8220;host of revolutionary desserts, unexpected flavors, and exotic drinks. The bright yellow of <em>cocona</em>, the promising <em>camu camu</em>, the delicate <em>aguaje</em>, the creamy <em>shimbillo</em>, among many others, open up a range of textures and colors that provide infinite combinations. Under its green cloak of secrecy, the jungle hides sweet pleasure.&#8221;</p>
<p>This is the jungle in the Peruvian imagination &mdash; erotic, seductive, its unmanaged treasures waiting to be extracted.</p>
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		<title>A Love Story</title>
		<link>http://www.singingtotheplants.com/2009/08/love-story/</link>
		<comments>http://www.singingtotheplants.com/2009/08/love-story/#comments</comments>
		<pubDate>Sun, 30 Aug 2009 15:48:43 +0000</pubDate>
		<dc:creator>Steve Beyer</dc:creator>
				<category><![CDATA[Books and Art]]></category>
		<category><![CDATA[Indigenous Culture]]></category>
		<category><![CDATA[The Amazon]]></category>

		<guid isPermaLink="false">http://www.singingtotheplants.com/?p=4054</guid>
		<description><![CDATA[<a href=http://www.singingtotheplants.com/2009/08/love-story/><img src=http://www.singingtotheplants.com/wp-content/uploads/2009/08/yarima4-150x150.jpg class=imgtfe hspace=5 align=left width=100  border=0></a>In 1975 Kenneth Good traveled to Venezuela to study the Yanomam&#246;. After he had lived in the village for about two years, he found himself under increasing pressure to become betrothed. "What the hell," he thought, "what would be so wrong in saying yes?" So he became betrothed to Yarima, who at that time was around nine years old. Then something unexpected happened. Good began to fall in love with Yarima. He consummated their marriage when she was about fourteen, and he was almost forty. Five years later, after having lived with the Yanomam&#246; for more than twelve years, Good brought his now-pregnant wife back to the United States. Things did not work out as he had expected. <br clear="left" /> ]]></description>
			<content:encoded><![CDATA[<p>In 1975 Kenneth Good, a doctoral candidate in cultural anthropology, traveled to the headwaters of the Orinoco in Venezuela to live and study among the Yanomam&ouml;. He joined anthropologist <a href="http://www.singingtotheplants.com/2009/08/sex-and-violence-in-amazonia/">Napoleon Chagnon</a> for what was supposed to be fifteen months of fieldwork, funded by a generous grant from the National Science Foundation. But Good would end up living almost full-time with the Yanomam&ouml; for more than twelve years, sharing their lives, becoming fluent in their language, and marrying a Yanomam&ouml; girl named Yarima. </p>
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<p>After Good had been living among the Yanomam&ouml; for about two and a half years, he found himself under increasing pressure to become betrothed. The headman of the village was insistent. &#8220;I found myself thinking that maybe being married down here wouldn’t be so horrendous after all,&#8221; Good writes. &#8220;Certainly it would be in accordance with their customs.&#8221; The more he thought about the idea, the more attractive it became. &#8220;After all, what better affirmation could there be of my integration with the Hasupuweteri?&#8221;</p>
<p>It is common among the Yanomam&ouml; for an older man to become betrothed to a younger girl. Such betrothals are not consummated for some time &mdash; perhaps not ever. The Yanomam&ouml; understand that sometimes these relationships don&#8217;t work out. A girl might thus be betrothed several times before actually being married. The girl brings food from her mother&#8217;s fire to feed the man; he brings her his own gifts of food. They talk and joke together. Eventually, the girl feels comfortable being around his hearth and being around him. If things work out, they become friends.</p>
<p>When the girl has her first menses, the man and his betrothed hang their hammocks side by side, and they have sex for the first time. The girl thus has an instant husband and protector. Women beyond the age of puberty are routinely raped if they do not have husbands.</p>
<p>The Yanomam&ouml; have nothing like a formal ceremony comparable to marriage in American culture. Divorce is just as informal. The departing spouse simply removes his or her hammock from the space of the other spouse inside the <em>shabono</em>, the large communal house, and then resists or refuses reconciliation and reunification.</p>
<p>Good figured that the betrothal would not last, and presumably would never be comsummated. He was, after all, going to go home at some point. But he thought, &#8220;What the hell, what would be so wrong in saying yes?&#8221; So he agreed. &#8220;Good,” said the headman, smiling broadly.“Take Yarima. You like her. She’s your wife.&#8221;</p>
<p>At that time, Yarima was around nine years old. Good was thirty-four.</p>
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<td style="padding-top: 0.5em; text-align: center;" width="163">Valdir Cruz, <em>Yarima</em> (1996)</td>
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<p>Good found himself becoming increasingly fond of his child bride. The community began taking it more seriously too. The women started calling Good <em>yarima heorope</em>. &#8220;Our relationship changed,&#8221; he writes. &#8220;Before, Yarima had been the cute little girl with the smile and the hello. Now it was something more than that and, as time passed, a good deal more than that.&#8221; Yurima had her first menses while Good was away on a long trip. When he returned, they hung their hammocks side by side, and they consummated their marriage.</p>
<p>Yanomam&ouml; do not keep track of their age. Good and Yarima were married shortly after Yarima&#8217;s first menstrual period. In a nonindustrial society, especially one like the Yanomam&ouml;, where obesity is virtually unknown, a girl would normally have her first menstrual period between the ages of thirteen and sixteen, much later than girls in industrial  societies. A good guess is that the marriage was consummated when Yarima was about fourteen years old. Good was by then close to forty.</p>
<p>The marriage created problems in the village where Good lived with Yarima. Yanomam&ouml; attitudes toward women and sex were very different from his own, and, while he might normally regard these with anthropological detachment, his attitude was different when they were directed at  Yarima. Good frequently had to be away from the village &mdash; for permits, visas, research funding. He made a public and very angry announcement that his wife was to be left alone while he was gone. Still, on one occasion when he went downriver on business, the village decided that he was dead, and Yarima was raped by a number of men. One of the men was his own brother-in-law, Yarima&#8217;s sister&#8217;s husband, with whom it was considered normal for Yarima to have sex. But Good was furious when he returned, and he berated the man publicly. Another time when he was gone, Yarima was beaten and her ear partly ripped off. Yarima&#8217;s brother could not understand why Good was so upset by all this. It&#8217;s just <em>naka</em>, he told Good, just pussy. What do you care?</p>
<p>These difficulties were eroding his relationships within the village. And now, too, Yarima was pregnant. Finally, in 1987, after living with the Yanomam&ouml; for twelve years, Good took his nineteen-year-old wife and went back to the United States. The couple moved in with Good&#8217;s parents in Media, Pennsylvania, near Philadelphia. Here they were married in a civil ceremony, and here their first child, David, was born.</p>
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<p>The following year, in 1988, they returned to the jungle for a visit, taking David with them. Yarima was pregnant again, and, while they were there, Yarima gave birth to Vanessa, their second child. The visit cost Good about $23,000 for supplies, provisions, air fare to Venezuela, the flight to the interior, and the five- or six-day boat ride up the Orinoco River to Yanomam&ouml; country.  If they were going to keep visiting Yarima&#8217;s people, Good would have to make some money.</p>
<p>In 1991, Good, along with author David Chanoff, wrote a book about his experiences among the Yanomam&ouml; entitled <a href="http://www.amazon.com/Into-Heart-Pursuit-Knowledge-Yanomami/dp/0673982327/ref=sr_1_1?ie=UTF8&#038;s=books&#038;qid=1251582896&#038;sr=1-1"><em>Into the Heart: One Man&#8217;s Pursuit of Love and Knowledge among the Yanomama</em></a>. The book also contained bitter criticism of Good&#8217;s one-time mentor, Napoleon Chagnon. It was a moderate popular success, and it continues to be frequently cited in discussions of Yanomam&ouml; culture. It also made the couple, briefly, international media celebrities. Good sold their story to Columbia Pictures for $50,000, and he says that he received a telephone call from actor Richard Gere, who was interested in playing him. The money helped Good finish up his doctorate &mdash; not under Chagnon, but under well-known anthropologist Marvin Harris at the University of Florida.</p>
<p>At about this time, author Ron Arias <a href="http://alternativepublications.ucmercedlibrary.info/?p=36#more-36">interviewed Good and Yarima</a> at Good&#8217;s parents&#8217; home. All the questions were passed through Good, who translated them into Yanomam&ouml;. “The Yanomamo live naked their whole lives,” Good told the interviewer. “When I first took her out of the jungle, it was a constant struggle to get her to keep her clothes on. If I turned my back on her or left her alone, off they’d come. One time I had to chase her down the street to cover her up.” Arias heard stories of how Yarima thought that automobiles were going to bite her, how she learned to make light by moving a little stick on the wall, how she had given up her hammock to sleep on a big soft box. Once slender, she was now short and stocky. &#8220;I see no joy in her face,&#8221; Arias wrote, &#8220;and I’m feeling uneasy because we’re talking about her as if she were an object or pet from another time.&#8221; </p>
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<td style="padding-top: 0.5em; text-align: center;" width="250">Inside the <em>shabono</em></td>
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<p>Finally, in 1992, Good found a job teaching anthropology at Jersey City State College &mdash; now called New Jersey City University &mdash; in Jersey City, New Jersey. NJCU is a small urban public commuter school, which  began as a state teachers college and officially became a university only in 1998. The school has no department of anthropology, and until 2008 Good was the only anthropologist on the campus. It is not clear to me how Good wound up teaching at this school. He had his doctorate; he had worked for the prestigious Max Planck Institute in Germany; he had extensive &mdash; indeed, extraordinary &mdash; field experience; and he had published a significant memoir. Perhaps he was, at the age of forty-nine, considered too old for other entry-level positions. He had also quite publicly broken with the powerful Chagnon. Apparently Good was having trouble getting academic employment, and he and his wife found themselves in a small apartment in Rutherford, New Jersey.</p>
<p>The couple continued to attract media attention. Reporters were obsessed with Yarima&#8217;s exoticism, and made constant references to her alleged Stone Age origins, as if the Yanomam&ouml; somehow had no history. One reporter <a href="http://articles.latimes.com/1991-12-22/news/mn-1468_1_amazon-jungle">described the Yanamam&ouml;</a> as &#8220;naked Indians who feast on termites and tarantulas and have yet to invent the wheel.&#8221; <a href="http://sundaytimes.lk/970330/plus8.html">Another said</a> that &#8220;modern devices such as washing machines, television and the telephone were as foreign to her as they would have been to Neanderthal man.&#8221; The same writer quoted Yarima&#8217;s English language teacher as saying that Yarima was four feet tall and had no concept of time. &#8220;She did not know if it was morning or afternoon,&#8221; the teacher told the interviewer. And she added, &#8220;One thing you noticed about her was that she could not coordinate colors.&#8221;</p>
<p>Yarima had grown up in a <em>shabono</em>, surrounded by people. Her day had been spent gathering fruit and fishing with her sisters and mother. They would make a fire, sit and talk, laugh, watch each other&#8217;s babies and take turns going off to gather food. Then they would go to the stream, wash their babies and themselves, and come home with flowers in their hair. In New Jersey, she lived in a small apartment &mdash; isolated, alienated, and bored. Running water, appliances, malls, and television were not enough. She spent the day listening to cassette tapes Good had recorded of Yanamam&ouml; voices and the sounds of the jungle, and watching the videos they had shot on their 1988 visit. <a href="http://community.seattletimes.nwsource.com/archive/?date=19910115&#038;slug=1260782">One interviewer noted</a> that Yarima did not leave the house unless Good went with her. They had no friends among their neighbors, whose houses were abandoned by working husbands and wives during the day.</p>
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<td style="padding-top: 0.5em; text-align: center;" width="250">Valdir Cruz, <em>Yarima Breastfeeding Among Her People, Venezuela</em> (1997)</td>
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<p>Good also notes that Yarima began to view him differently once they were immersed in his culture rather than hers. He did not carry a shotgun. He obeyed the orders of police officers. When, after a minor traffic accident, a woman yelled at him and called him an idiot, he did not shout back and threaten her. Yarima thought he had lost his manhood.</p>
<p>And now Yarima had a third child, Daniel, to take care of. She did not understand why Good did not spend more time at home with his children, as Yanomam&ouml; fathers do, or why he had to leave her alone in the apartment every day while he went to work. &#8220;She didn&#8217;t understand meetings,&#8221; <a href="http://www.highbeam.com/doc/1P1-22574991.html">Good told an interviewer</a>, &#8220;time periods, schedules, students sitting in class waiting for you, why I had to go every day.&#8221; Once, <a href="http://community.seattletimes.nwsource.com/archive/?date=19910115&#038;slug=1260782">on a book tour together</a>, to her dismay, Good said he was too busy to talk with his daughter on the telephone. Good dismissed her concern. &#8220;She can&#8217;t understand how it is I don&#8217;t want to talk to my own kids,&#8221; he said, his hands on her shoulders. &#8220;She&#8217;ll get Americanized.&#8221;</p>
<p>Both Good and Yarima thought it would be a good idea to visit her home village once more, but they could not afford the trip on his salary as an assistant professor. Finally, in 1992, <em>National Geographic</em> agreed to finance the trip if they could make a documentary film out of it, to be called <em>Yanomami Homecoming</em>. The magazine sent three boats full of people and equipment to the Upper Orinoco, but not &mdash; as they had apparently promised &mdash; either a doctor or medical supplies for the Yanomam&ouml;. The <em>National Geographic</em> filming, too, seems to have been something of a disaster, which was in turn captured on tape by a village Yanomam&ouml; who had acquired his own 8mm video camera. </p>
<p>While Good and Yarima were awaiting the film crew in Caracas, Good learned that his father had died, but decided to honor his commitments to the film crew rather than return to the United States. Yarima could not understand this; Yanomam&ouml; have very strict rules about obligations owed to deceased relatives. When she returned to her village, Yarima learned that her own mother had died, and her own intense grief only underscored what she perceived to be her husband&#8217;s callousness. Moreover, according to Good, members of the film crew, presumably in order to make more dramatic footage, encouraged Yarima to criticize him. </p>
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<td style="padding-top: 0.5em; text-align: center;" width="165">Valdir Cruz, <em>Yarima and Son, Venezuela</em> (1996)</td>
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<p>Finally, Yarima simply ran away, apparently at the instigation of a member of the <em>National Geographic</em> film crew. This happened at the airstrip in Platanal, just as they were about to board the plane for a flight to Caracas. Good and Yarima had spent days in agonizing discussion about her wish to remain with her people, and she had agreed to give New Jersey one more chance. But she changed her mind at the last minute. She stopped, hesitated, and then just turned around and left. </p>
<p>For a while, Yarima appeared on talk shows in Caracas, discussing her decision to abandon the United States and her family. Then, at the end of 1993, she disappeared into the jungle. There were rumors that she was dead, or hiding in the hills.</p>
<p>In 1996, investigative reporter Patrick Tierney, accompanied by Brazilian photographer <a href="http://www.valdircruz.com/07en.html">Valdir Cruz</a>, while doing the research among the Yanomam&ouml; that would result in his scathing and controversial book <a href="http://www.amazon.com/Darkness-Dorado-Scientists-Journalists-Devastated/dp/0393322750/ref=sr_1_1?ie=UTF8&#038;s=books&#038;qid=1251637820&#038;sr=1-1"><em>Darkness in El Dorado</em></a>, had his sleeve tugged by a woman who said, in perfectly good English, &#8220;Hello. My name is Yarima. What is your name?&#8221;</p>
<p>Tierney writes that Yarima was nursing a baby and looked, as he put it, radiantly healthy. She had married again, Cruz says, and had two more children. She told Tierney that her new husband was treating her well. She asked about her three children in New Jersey, adding, &#8220;Here good. Jersey bad.&#8221;</p>
<p>Tierney&#8217;s discovery of Yarima among the Yanomam&ouml; became as much of a news story as had been her life in New Jersey.The <em>Times</em> of London published three stories in 1997 about how Yarima had abandoned civilization for the jungle, and about a new expedition that would entice her back by playing tape recordings of her three children in the United States begging her to return. The expedition turned out to be nonexistent.</p>
<p>That is as much as I know. I have seen no additional reports of Yarima&#8217;s life in the jungle. Good and Yarima are divorced, and he continues to teach anthropology at New Jersey City University, where <a href="http://www.ratemyprofessors.com/ShowRatings.jsp?tid=253116&#038;page=1">his students consider him</a> a likeable if undemanding teacher, and enjoy his stories of life among the Yanomam&ouml;. A proposed sequel to <em>Into the Heart</em> has not appeared. I do not know if he has remarried. Yarima, if she is alive, would be around forty-one years old. Good and Yarima have not seen each other for sixteen years.  </p>
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		<title>Sex and Violence in Amazonia</title>
		<link>http://www.singingtotheplants.com/2009/08/sex-and-violence-in-amazonia/</link>
		<comments>http://www.singingtotheplants.com/2009/08/sex-and-violence-in-amazonia/#comments</comments>
		<pubDate>Wed, 26 Aug 2009 01:31:20 +0000</pubDate>
		<dc:creator>Steve Beyer</dc:creator>
				<category><![CDATA[Indigenous Culture]]></category>
		<category><![CDATA[Research Studies]]></category>
		<category><![CDATA[The Amazon]]></category>

		<guid isPermaLink="false">http://www.singingtotheplants.com/?p=3914</guid>
		<description><![CDATA[<a href=http://www.singingtotheplants.com/2009/08/sex-and-violence-in-amazonia/><img src=http://www.singingtotheplants.com/wp-content/uploads/2009/08/yanomami8-kopenawa-300x275.jpg class=imgtfe hspace=5 align=left width=100  border=0></a>Do warfare and killing among Amazonian peoples have an evolutionary function? Anthropologist Napoleon Chagnon claims that the culture of the Yanomam&#246; of Brazil exemplifies a key principle of sociobiology &#8212; that males who had murdered during intervillage warfare had more than twice as many wives and three times as many children as men who had not. In other words, he claims that violence is evolutionary adaptive behavior. Now a new study of violence and reproductive success, this time among the Waorani of Ecuador, has come to a different conclusion. <br clear="left" />]]></description>
			<content:encoded><![CDATA[<p>This is probably the most famous passage in Amazonian anthropology:</p>
<blockquote><p>I looked up and gasped when I saw a dozen burly, naked, filthy, hideous men staring at us down the shafts of their drawn arrows! Immense wads of green tobacco were stuck between their lower teeth and lips making them look even more hideous, and strands of dark-green slime dripped or hung from their noses.</p></blockquote>
<p>These naked hideous men were Yanomam&ouml;, and, if you ever took an undergaduate anthropology course, you probably read that passage in Napoleon Chagnon&#8217;s incredibly popular ethnography, <em>Yanomamo: The Fierce People</em> &mdash; the best-selling anthropology text of all time. Chagnon chose the term <em>fierce people</em> for a reason. &#8220;The fact that the Yanomam&ouml; live in a state of chronic warfare,&#8221; he wrote, &#8220;is reflected in their mythology, values, settlement pattern, political behavior and marriage practices.&#8221; But over the years, Chagnon&#8217;s methods, fieldwork, and characterization of the Yanomam&ouml; have all been the subject of debate, often acrimonious and sometimes personal. </p>
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<td style="padding-top: 0.5em; text-align: center;" width="250">Davi Kopenawa, Yanomam&ouml; shaman and activist</td>
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<p>Critics have maintained, among other things, that much of the aggression he observed was instigated, knowingly or not, by Chagnon himself, through his introduction of scarce trade goods, such as machetes and metal pans, into Yanomam&ouml; culture. Critics have claimed that his characterization of the Yanomam&ouml; as irremediably belligerent has been used to justify incursions and massacres by miners in search of gold in Yanomam&ouml; territory, and to justify attempts by Brazilian politicians to split up Yanomam&ouml; territory into several small reserves in order to reduce conflict &mdash; a plan that would have allowed more gold mining in the region.</p>
<p>And some critics have pointed out that Chagnon has failed to support the Yanomam&ouml; in their struggles for autonomy &mdash; first, by failing to share with them any of the significant amount of money, allegedly more than a million dollars, that he earned with his popular text; second, by failing to speak out against the misuse of his own work for political purposes; and, third, by publicly criticizing, in a popular Brazilian magazine, Davi Kopenawa, a Yanomam&ouml; activist and leader of the indigenous movement that helped to establish the Yanomam&ouml; reserve in Brazil.</p>
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<td style="padding-top: 0.5em; text-align: center;" width="250">Yanomam&ouml; woman with traditional face ornaments</td>
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<p>Kopenawa himself speaks of Chagnon&#8217;s work with considerable bitterness. &#8220;So this Chagnon,&#8221; <a href="http://www.nku.edu/~humed1/darkness_in_el_dorado/documents/pdf_files/edtfpr_part1.pdf">he says</a>, &#8220;he said that the Yanomami are no good, that the Yanomami are ferocious. So this story, he made this story up&#8230; To make his book. To make a story about fighting among the Yanomami&#8230;. Because in his book he says we are fierce. We are garbage&#8230; He thought it would be important for him. He became famous. He is speaking badly about us. He is saying that the Yanomami are fierce, that they fight a lot, that they are no good.&#8221;</p>
<p>One of Chagnon&#8217;s most controversial claims is that Yanomam&ouml; culture exemplifies a key principle of sociobiology &mdash; that, among the Yanomam&ouml;, the most aggressive and murderous males have the most children. In an <a href="http://www.columbia.edu/~lnp3/chagnon.pdf">article published in 1988</a> in the prestigious journal <em>Science</em>, he reported that Yanomam&ouml; men who had murdered had more than twice as many wives and three times as many children as men who had not. He claimed, in other words, that violence is evolutionary adaptive behavior, and that, as Kim Hill, an expert in human evolutionary ecology, puts it, &#8220;the willingness to use violence under some conditions is part of the human male psyche.&#8221;</p>
<p>But there are several methodological critiques of Chagnon&#8217;s study, of which I will mention just three. </p>
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<td style="padding-top: 0.5em; text-align: center;" width="250">Yanomam&ouml; at home</td>
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<p>First, Chagnon used reported body count as an index of aggressiveness. But he had no way to determine with any accuracy the number of people killed by any individual Yanamom&ouml;. Chagnon did not himself participate in any raids, witness any killings, or count any bodies. When a Yanomam&ouml; man had killed a human, he underwent a relatively rigorous <em>unokaimou</em> purification ceremony, after which he was called an <em>unokai</em>. So Chagnon used participation in the <em>unokaimou</em> as a surrogate for having killed, and he asked raid participants for estimates of the number of their victims.</p>
<p>The problem is that such estimates could be wildly inaccurate, especially because the Yanomam&ouml; did not take human body parts as trophies. A raider might shoot several arrows at figures fleeing into the bush at twilight, and claim, rightly or wrongly, to have killed one or more of them. And a man might take part in the <em>unokaimou</em> ceremony when he claimed to have killed by less direct means &mdash; by stealing an enemy&#8217;s footprint, for example, or by sending a spirit animal to kill him, or by shooting an arrow into his dead body. </p>
<p>Second, for reasons that remain unclear, Chagnon did not count as tokens of reproductive success living children whose fathers were dead or whose fathers lived outside the villages in Chagnon&#8217;s study area. Presumably some number of these dead fathers had been killed while they were on raids, and some of those in more distant villages were there in hiding from retaliation for their own violence. Indeed, it was often the war leaders &mdash; that is, the most aggressive &mdash; who were targeted for death by their enemies, and being killed in one&#8217;s prime surely has an impact on one&#8217;s long-term reproductive success. If dead or absent <em>unokai</em> and their offspring had been included in the study, the number of offspring of all <em>unokai</em> might well have been lower.</p>
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<td style="padding-top: 0.5em; text-align: center;" width="200">Waorani man with traditional pierced earlobes</td>
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<p>Third, the number of people killed and reproductive success might not be correlated with each other but rather with a third variable &mdash; age. The older a man grows, the more raids he will have participated in, and the more children he will have engendered. The study included a large sample of young unmarried males. Since younger unmarried men were unlikely both to have undertaken the <em>unokaimou</em> ceremony and to have fathered numerous children, this cohort skewed the relative reproductive advantages of the <em>unokai</em>, almost all of whom were over thirty. The study did no stratification by age. </p>
<p>And additional hypotheses do not seem to have been considered &mdash; for example, that, while members of the raiding party were off on a ten-day raid, their wives were back home being impregnated by the more peaceful males.</p>
<p>Hill, who is a supporter of Chagnon, says that Chagnon&#8217;s study is &#8220;preliminary and suggestive.&#8221; The precise cause of the association between violence and reproductive success, he says, &#8220;is not possible to determine from the data presented, and there are many possible interpretations.&#8221; An appropriate study would require, among other things. a design &#8220;that would eliminate age effects and other possible covariates of both killer status and fitness.&#8221;</p>
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<td><img style="width: 248px; height: 200px;" src="http://www.singingtotheplants.com/wp-content/uploads/2009/08/waorani2-300x242.jpg" border="0" alt="" /></td>
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<td style="padding-top: 0.5em; text-align: center;" width="248">Waorani women</td>
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<p>And just such a study has now been performed by anthropologist Stephen Beckerman of Penn State University and his colleagues, and published in the <a href="http://www.pnas.org/content/early/2009/05/11/0901431106.abstract"><em>Proceedings of the National Academy of Sciences</em></a>. The study was specifically designed to explore Chagnon&#8217;s contention that reproductive fitness among men correlates with differences of aggressiveness, and to avoid the three methodological objections to Chagnon&#8217;s work that we discussed above. The study concludes that, among another Amazonian people, the Waorani of Ecuador, who at one time had the highest rate of homicide of any society known to anthropology, more aggressive warriors in fact had <em>lower</em> indices of reproductive success than less aggressive males.</p>
<p>As part of the Waorani Life History Project, the authors interviewed 121 Waorani elders of both sexes to obtain genealogical information and recollections of raids in which they and their relatives participated. They also obtained complete raiding histories of 95 warriors, and they analyzed the raiding histories, marital trajectories, and reproductive histories of all these men. &#8220;We included in our sample of warriors both living and dead men,&#8221; the study states. &#8220;We ranked their aggression by the number of raids they participated in and not by a local term of contested meaning with which they are labeled. Our analysis is free of the problem caused by the inherent correlation of the warrior’s age with both participation in raids and reproductive success.&#8221;</p>
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<td style="padding-top: 0.5em; text-align: center;" width="250">Waorani family</td>
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<p>The result: &#8220;Regardless of age category, the more zealous warriors consistently have lower reproductive success.&#8221; At each age interval, zealous warriors acquired fewer wives, produced fewer children, and had fewer surviving children.</p>
<p>There are two ways to interpret the reported differences between the Yanomam&ouml; and the Waorani. The first is that the disparate outcomes are due to differences in culture. This is the path taken by the authors of the Waorani study. They speculate that Yanomam&ouml; warfare cycles had peaceful interludes during which warriors could reap the benefits of their social status and accrue wives and children. The Waorani, on the other hand, did not incorporate peaceful interludes between raids. &#8220;We found no tradition of standing down,&#8221; the authors state, &#8220;even for a short period, after a rough balance of deaths was achieved. Indeed, a balance, although it might occur by chance, was never sought &mdash; the goal was to eliminate the other side.&#8221;</p>
<p>Another possibility, of course, is that the Yanomam&ouml; study was sufficiently affected by the bias introduced by its methodology that its results were incorrect.</p>
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		<title>The Gift of Diabetes</title>
		<link>http://www.singingtotheplants.com/2009/08/gift-of-diabetes/</link>
		<comments>http://www.singingtotheplants.com/2009/08/gift-of-diabetes/#comments</comments>
		<pubDate>Wed, 19 Aug 2009 16:08:48 +0000</pubDate>
		<dc:creator>Steve Beyer</dc:creator>
				<category><![CDATA[Books and Art]]></category>
		<category><![CDATA[Indigenous Culture]]></category>

		<guid isPermaLink="false">http://www.singingtotheplants.com/?p=3858</guid>
		<description><![CDATA[<a href=http://www.singingtotheplants.com/2009/08/gift-of-diabetes/><img src=http://www.singingtotheplants.com/wp-content/uploads/2009/08/diabetes4-299x300.jpg class=imgtfe hspace=5 align=left width=100  border=0></a>Type 2 diabetes has reached epidemic proportions among Native Americans. Complications from diabetes are major causes of death and health problems in almost every Native American community. In the film <em>The Gift of Diabetes</em>, Ojibway  filmmaker Brion Whitford uses his own diabetes as a metaphor for his "self-loathing and alienation from my people." His disease is the physical form of a spiritual condition, a sickness of the soul; and his quest for understanding takes him on a journey back to his own traditions.]]></description>
			<content:encoded><![CDATA[<p>Type 2 diabetes &mdash; in which high blood sugar occurs even when the body is producing insulin &mdash; has reached epidemic proportions among Native Americans. The statistics are startling. Based on 2007 estimates, 16.5 percent of American Indians and Alaska Natives suffer from the disease. That is more than twice the national average of 7.8 percent. Complications from diabetes are major causes of death and health problems in most Native American communities. </p>
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<td style="padding-top: 0.5em; text-align: center;" width="200">Brion Whitford, Ojibway filmmaker</td>
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<p>Among tribes in southern Arizona, 29.3 percent of adults are diagnosed with the disease. Pima tribes in the state suffer from one of the highest rates of diabetes in the world. Fifty percent of the tribe between the ages of 30 and 64 have diabetes &mdash; more than 19 times the rate of an urban white population. In South Dakota, nearly every county that is home to a reservation has a diabetes rate higher than 10 percent. In Big Horn County, Montana, home to the Crow Reservation, 12.3 percent of the population has diabetes &mdash; the highest rate in the state. </p>
<p>Compounding these concerns is the fact that type 2 diabetes is increasingly being discovered in Native American youth. Forty years ago it was almost unheard of for teenagers to have this disease.</p>
<p>Type 2 diabetes &#8220;is a complex disorder with strong environmental and genetic components,” <a href="http://discovermagazine.com/2005/may/native-americas-alleles">says Robert Williams</a>, an anthropological geneticist at Arizona State University. While any genetic contribution remains unclear, the Native American diabetes epidemic was almost certainly triggered by an unfavorable change in environment since the mid-twentieth century. It is a disease of progress &mdash; fatty foods, sedentary lifestyle, and obesity.</p>
<p>The website of the <a href="http://www.diabetes.org/communityprograms-and-localevents/nativeamericans/awakening.jsp">American Diabetes Associations</a> says, &#8220;Years ago, Native Americans did not have diabetes. Elders can recall times when people hunted and gathered food for simple meals. People walked a lot.&#8221; Mary Thomas, lieutenant governor of the Gila River Indian Community in southern Arizona, agrees. “Our diet was lean,&#8221; <a href="http://discovermagazine.com/2005/may/native-americas-alleles">she says</a>. &#8220;We ate fish and game, beans and quail. Then, with the white man, a new diet came.&#8221; One study estimates that the fat content of the Pima diet rose from 17 percent before contact with Europeans to 38 percent in the current diet.</p>
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<p>Obesity is well recognized as a risk factor for type 2 diabetes, and the incidence of diabetes among the Pima rises with the duration of obesity. Obesity is also associated with lower levels of physical activity.  Other cultural factors may also be at work. Among the Pima, for example, for reasons that are not understood, breastfeeding for a period of at least two months is associated with a 50 percent reduction in rates of diabetes. </p>
<p>And then there are the effects &mdash; unmeasured and often ignored &mdash; of oppression, internal colonization, loss of cultural identity, and the slow dissolution of spiritual traditions.</p>
<p>In the documentary <em>The Gift of Diabetes</em>, Ojibway  filmmaker Brion Whitford, with co-director John Paskievich, tells the story of his own journey through advanced diabetes. </p>
<p>In 2001, complications from the disease left Whitford with only fifty percent kidney function and blood sugar levels that were spiraling out of control. Raised in the city, he had grown up without knowing his cultural heritage. He was skeptical of traditional healing, but biomedicine was not controlling his disease, much less his long-term feelings of anger, hopelessness, and despair. </p>
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<p>The film follows Whitford&#8217;s search for answers &mdash; a spiritual quest that takes him to Wounded Knee and an Akwesasne anger management workshop, to biomedical doctors and traditional healers, to a sweat lodge and a foot care clinic. In many ways, the film is structured as a vision quest, in which Whitford is seeking not only his own understanding but also for a gift that he can bring back for his people.</p>
<p>&#8220;While we are alive,&#8221; he is told by Kahnawake Mohawk activist Stuart Myiow, &#8220;we have the unique ability to decide what kind of ancestors we want to be.&#8221;  Later, Whitford reflects, &#8220;I am doing this journey not only for myself but also for those who come after me. It makes me want to be an honored ancestor.&#8221; </p>
<p>His diabetes is a metaphor for what he describes as his &#8220;self-loathing and alienation from my people.&#8221; The disease is the physical form of a spiritual condition, a sickness of the soul; in finding his cultural roots, he is able to take on the discipline of controlling his condition. &#8220;All of a sudden it became clear to me,&#8221; he says after being hospitalized for a heart attack. &#8220;The teachings that I had been told led back to me and what I wanted in life. And I wanted to live.&#8221; He learns to honor the traditions he never knew; a ceremonial feast helps him to accept the death of his grandfather many years before. &#8220;Diabetes,&#8221; he says at the end, &#8220;has been a gift that has saved my life.&#8221;</p>
<p>Through the generosity of the <a href="http://www.onf-nfb.gc.ca/eng/collection/film/?id=51252#nav-version">National Film Board of Canada</a>, I am able to place the entire hour-long film on this blog.</p>
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<div style="text-align: center;"><object width="440" height="291"><embed src="http://media1.nfb.ca/medias/flash/ONFflvplayer-gama.swf" width="440" height="291" width="440" height="291" allowscriptaccess="always" allowfullscreen="true" autostart="false" flashvars="mID=IDOBJ7961&#038;image=http://media1.nfb.ca/medias/nfb_tube/thumbs_large/2009/The-Gift-of-Diabetes_Big.jpg&#038;width=440&#038;height=291&#038;autostart=false&#038;showWarningMessages=false&#038;streamNotFoundDelay=15&#038;lang=en&#038;getPlaylistOnEnd=true&#038;embeddedMode=true"></embed></div>
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		<title>Salvia on Schedule</title>
		<link>http://www.singingtotheplants.com/2009/08/salvia-on-schedule/</link>
		<comments>http://www.singingtotheplants.com/2009/08/salvia-on-schedule/#comments</comments>
		<pubDate>Thu, 13 Aug 2009 18:03:39 +0000</pubDate>
		<dc:creator>Steve Beyer</dc:creator>
				<category><![CDATA[Indigenous Culture]]></category>
		<category><![CDATA[Legal Issues]]></category>
		<category><![CDATA[Sacred Plants]]></category>
		<category><![CDATA[The Medicine Path]]></category>

		<guid isPermaLink="false">http://www.singingtotheplants.com/?p=3513</guid>
		<description><![CDATA[<a href=http://www.singingtotheplants.com/2009/08/salvia-on-schedule/><img src=http://www.singingtotheplants.com/wp-content/uploads/2009/08/salvia-plant1-150x150.jpg class=imgtfe hspace=5 align=left width=100  border=0></a>The plant <em>Salvia divinorum</em> has a long and continuing tradition of use by Mazatec shamans, who drink it, sometimes followed by a drink of tequila, to induce visionary states during healing sessions. Popular use of <em>Salvia</em>, especially among young people, has been increasing &#8212; along with calls for its criminalization. Some medical researchers argue that scheduling the drug should wait until evidence about its effects and toxicity becomes clear. A recent article in <em>Scientific American</em> addresses the issues. <br clear="left" />]]></description>
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<td style="padding-top: 0.5em; text-align: center;" width="195"><em>Salvia divinorum</em></td>
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<p>The plant <em>Salvia divinorum</em> has a long and continuing tradition of use by Mazatec shamans, who drink it, sometimes followed by a drink of tequila, to induce visionary states during healing sessions, which are performed at night in a quiet and darkened room. The drink is made by crushing the leaves to extract the juices, which are then mixed with water. It is important to be ritually mindful when collecting the leaves, and there are strict prohibitions &mdash; for example, avoiding sexual contact &mdash; to be kept for several days after the ceremony. The plant grows primarily in the mountain cloud forest in Oaxaca, Mexico. There is reason to believe that the plant is either a cultigen or hybrid developed specifically for its psychoactive effects. </p>
<p>The primary psychoactive constituent is a diterpenoid known as salvinorin A, a potent and selective &#954;-opioid receptor agonist. These receptors are widely distributed in the brain, spinal cord, and pain neurons. Other drugs that act at the &#954;-opioid receptor, such as ketazocine, produce similar effects. Salvinorin A is unique in being the only naturally occurring substance known to induce a visionary state by acting at this site. There is no evidence that <em>Salvia</em> is addictive.</p>
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<td style="padding-top: 0.5em; text-align: center;" width="200">R. Gordon Wasson, <em>A young Mazatec girl grinding </em>Salvia divinorum<em> leaves on a </em>metate<em> to express the juice</em> (1962)</td>
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<p><em>Salvia divinorum</em> can also be chewed, smoked, or taken as a tincture. Different preparations may have different onset times, but the effects and their duration appear similar &mdash; perceptions of bright lights, vivid colors and shapes, as well as body movements and body or object distortions. Other effects include dysphoria, uncontrolled laughter, a sense of loss of body, overlapping realities, and hallucinations. Adverse physical effects may include incoordination, dizziness, and slurred speech. The duration of these effects is relatively brief, typically lasting only a few minutes.</p>
<p>The most commonly reported aftereffects include improved mood and sensations of insight, calmness, and connection with nature. There have been rare reports of anxiety or sadness. </p>
<p>The Mazatec believe that <em>Salvia</em> is an incarnation of the Virgin Mary, and they refer to it as <em>ska Mar&iacute;a Pastora</em>, the leaf of Mary the Shepherdess. The name is usually shortened to <em>ska Mar&iacute;a</em> or <em>ska Pastora</em>. &#8220;The purpose of these sacraments is to purify, and to open the road,&#8221; says Mazatec shaman Aurelia Aurora Catarino. &#8220;When it opens, it&#8217;s as clear as the blue sky, and the stars at night are as bright as suns.&#8221;</p>
<p>In the September 2006 issue of <a href="http://www.newscientist.com/article/mg19125711.000-legal-highs-on-the-rise.html"><em>New Scientist</em></a>, writer Gaia Vince says that <em>Salvia</em> &#8220;took me on a consciousness-expanding journey unlike any other I have ever experienced. &#8221; He continues:</p>
<blockquote><p>My body felt disconnected from &#8220;me&#8221; and objects and people appeared cartoonish, surreal and marvellous. Then, as suddenly as it had began, it was over. The visions vanished and I was back in my bedroom. I spoke to my &#8220;sitter&#8221; &mdash; the friend who was watching over me, as recommended on the packaging &mdash; but my mouth was awkward and clumsy. When I attempted to stand my coordination was off. Within a couple of minutes, however, I was fine and clear-headed, though dripping with sweat. The whole experience had lasted less than 5 minutes.</p></blockquote>
<p>Poet <a href="http://dalependell.com/">Dale Pendell</a>, in the <a href="http://www.sagewisdom.org/pharmakopoeia.html"><em>Salvia divinorum</em> chapter</a> of his book  <a href="http://www.amazon.com/Pharmako-Poeia-Powers-Poisons-Herbcraft/dp/1556438877/ref=sr_1_1?ie=UTF8&#038;s=books&#038;qid=1250174235&#038;sr=1-1">Pharmako/poeia</a>, quotes some users who have smoked dried <em>Salvia</em> leaves: &#8220;It&#8217;s very intense, I call it a reality stutter, or a reality strobing,&#8221; says one report. And another: &#8220;It&#8217;s like heavy zazen, like after a very long period of sitting, the place you can get to there. It&#8217;s changed my life, turned my life around.&#8221;</p>
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<td style="padding-top: 0.5em; text-align: center;" width="250"><em>Two Guyz Trippin on Salvia at the Same Time</em> (2009)</td>
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<p>Popular use of <em>Salvia</em>, especially among young people,  has been increasing. A National Survey on Drug Use and Health Report published in February 2008 estimated that 1.8 million persons aged 12 or older had used <em>Salvia divinorum</em> in their lifetime, and approximately 750,000 had done so in the past year. As we have mentioned <a href="http://www.singingtotheplants.com/2008/04/the-war-on-drugs/">here</a>, the plant is being made illegal in an increasing number of states, and &mdash; while not currently regulated by the federal Controlled Substances Act  &mdash; the <a href="http://www.deadiversion.usdoj.gov/drugs_concern/salvia_d/salvia_d.htm">DEA has listed <em>Salvia</em></a> as a &#8220;drug of concern.&#8221; The legal situation has been aggravated by a number of YouTube videos of teenagers, allegedly high on <em>Salvia</em>, laughing uncontrollably and apparently unable to perform simple tasks or to communicate.</p>
<p>Now the prestigious and generally sober <em>Scientific American</em> has published, in its August 2009 issue, an <a href="http://www.psychointegrator.com/?p=396">article</a> by science writer David Jay Brown, calling for restraint in the march toward legal prohibition of <em>Salvia</em>. The article points out that only two labs currently conduct human studies with salvinorin A &mdash; one run by psychiatric researchers Deepak Cyril D’Souza and Mohini Ranganathan, both at the Yale University School of Medicine, and the other by pharmacologist John Mendelson of the University of California, San Francisco. Both groups are performing preliminary tests to determine how best to administer salvinorin A to human volunteers and collect basic data. The article states:</p>
<blockquote><p>The unusual properties of salvinorin A intrigue scientists. Psychiatric researcher Bruce Cohen and his colleagues at Harvard Medical School have been developing analogues of salvinorin A and studying their possible mood-modulating properties. The team’s work with salvinorin A in animals suggests “that a drug that would block kappa opioid receptors might be an antidepressant drug &mdash; probably a nonaddictive one &mdash; or a mood stabilizer for patients with bipolar disorder,” Cohen remarks. By activating the kappa opioid receptors, drugs such as salvinorin A could reduce dependence on stimulants and the mood-elevating and mood-rewarding effects of cocaine. Because salvinorin A can produce distortions of thinking and perception, researchers speculate that blocking the receptors might alleviate some symptoms of psychoses and dissociative disorders.</p></blockquote>
<p>D’Souza and Ranganathan argue that scheduling the drug should wait until evidence about its effects and toxicity becomes clear. &#8220;The issue is a serious one, with implications for policy, drug enforcement and research,” Cohen says. If salvinorin A becomes a federally scheduled drug, research on it would become “much more difficult,” predicts Rick Doblin, director of the Multidisciplinary Association for Psychedelic Studies. Approval boards at universities and research institutions view proposals involving criminalized drugs with extreme caution. &#8220;And funders are reluctant to look at potentially beneficial uses of drugs of abuse,&#8221; he adds.</p>
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		<title>Plants of the Ancient Maya</title>
		<link>http://www.singingtotheplants.com/2009/08/plants-of-the-ancient-maya/</link>
		<comments>http://www.singingtotheplants.com/2009/08/plants-of-the-ancient-maya/#comments</comments>
		<pubDate>Wed, 12 Aug 2009 18:00:08 +0000</pubDate>
		<dc:creator>Steve Beyer</dc:creator>
				<category><![CDATA[Indigenous Culture]]></category>
		<category><![CDATA[Plant Medicine]]></category>
		<category><![CDATA[Research Studies]]></category>
		<category><![CDATA[Sacred Plants]]></category>
		<category><![CDATA[The Medicine Path]]></category>

		<guid isPermaLink="false">http://www.singingtotheplants.com/?p=3377</guid>
		<description><![CDATA[<a href=http://www.singingtotheplants.com/2009/08/plants-of-the-ancient-maya/><img src=http://www.singingtotheplants.com/wp-content/uploads/2009/08/maya-vase2-213x300.jpg class=imgtfe hspace=5 align=left width=100  border=0></a>In 2001, a graduate student named Charles Zidar heard a lecture on the polychrome ceramics of the Classic Maya. The lecturer mentioned, in passing, that the botanical motifs with which many of these ceramics were decorated remained unidentified. This remark inspired Zidar, a natural historian and archaeologist, to focus his research on plants illustrated on Maya ceramics, culminating in the creation of a botanical resource database of the plants depicted in Classic Maya art, with the goal of rediscovering unknown or forgotten plants that were important to the ancient Maya. The initial results of this research have now been published. <br clear="left" />]]></description>
			<content:encoded><![CDATA[<p>In 2001, a graduate student named <a href="http://research.famsi.org/botany/zidarbio.html">Charles Zidar</a> attended the Primer Congreso Internacional de Copán &mdash; entitled <em>Ciencia, Arte y Religión en el Mundo Maya</em> &mdash; where he listened to a lecture on the polychrome ceramics of the Classic Maya, AD 250&ndash;900, presented by Dorie Reents-Budet, an expert on Mayan ceramics and curator of the Art of the Ancient Americas at the Boston Museum of Fine Arts.</p>
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<td style="padding-top: 0.5em; text-align: center;" width="156">Classic Maya vase depicting a scene of the royal court</td>
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<p>The paintings on these ceramics provide important information about the daily life of the Maya elite class, Reents-Budet said; they depict the decorations that adorned their now bare stone palaces, and the perishable interior furnishings that have not survived in the archeological record &mdash; curtains and throne covers of cloth and jaguar skin; ceramic, gourd, wood, and basketry containers; books; regal costumes; musical instruments; scented torches. And she mentioned, in passing, that the botanical motifs with which many of these ceramics were decorated remained unidentified. </p>
<p>This remark inspired Zidar, a natural historian and archaeologist, to focus his research on plants illustrated on Maya ceramics, culminating in the creation of a <a href="http://research.famsi.org/botany/working_plant_list.php">botanical resource database</a> of the plants depicted in Classic Maya art, with the goal of rediscovering currently unknown or forgotten plants that had been important &mdash; symbolically, ritually, or economically &mdash; to the ancient Maya.</p>
<p>Painted and sculpted images of whole plants, leaves, fruits, and flowers are represented on many Maya artifacts; the &#8220;breath soul,&#8221; the carrier of life, was often conceptualized as a flower. However, &#8220;despite the importance of plants to the ancient Maya and the many advances in understanding ancient Maya iconography and hieroglyphs,&#8221; <a href="http://research.famsi.org/botany/index.php">Zidar says,</a> &#8220;there has been scant identification and interpretation of botanical motifs in Classic Maya art. Many Classic period monumental and personal artworks feature plants, the rich variety of imagery reflecting that of the natural environment.&#8221; </p>
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<td><img style="width: 131px; height: 160px;" src="http://www.singingtotheplants.com/wp-content/uploads/2009/08/maya-1a.jpg" border="0" alt="" /></td>
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<td colspan="2" style="padding-top: 0.5em; text-align: center;" width="131">Trunk spines of <em>Ceiba pentandra</em> (left) depicted on a ceremonial incense jar </td>
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<p>Now some of this research has appeared in an article, co-authored by Zidar and botanist <a href="http://www.ou.edu/cas/botany-micro/faculty/elisens.html">Wayne Elisens</a>, and published in the journal <a href="http://www.springerlink.com/content/x86089uw6t285w12/"><em>Economic Botany</em></a>.</p>
<p>This first analysis focuses on artwork produced in a single geographic area &mdash; the southern lowland region of the Maya, located in the modern countries of Belize, Guatemala and Mexico. In particular, too, the authors searched for depictions of bombacoids, a diverse family of neotropical trees characterized by swollen or spiny trunks and big, colorful, conspicuous flowers with long folding petals. The goal was to see which of these plants were important to the culture, and why.</p>
<p>The study involved evaluating more than 2,500 images of Maya ceramics from the collection of Justin and Barbara Kerr, curated by the Foundation for the Advancement of Mesoamerican Studies, located in Crystal River, Florida. &#8220;It has amazed me that so many plants are depicted,&#8221; said in a <a href="http://news.bbc.co.uk/earth/hi/earth_news/newsid_8083000/8083812.stm">BBC interview</a>. &#8220;These plants are not as stylized as previously thought, and thus you can name the plant family, genus, and even the species.&#8221;</p>
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<td colspan="2" style="padding-top: 0.5em; text-align: center;" width="131">Flower of <em>Quararibea</em> sp. (left) painted on a vessel used for sacred chocolate</td>
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<p>For example, among the discoveries were numerous depictions of the kapok tree, <em>Ceiba pentandra</em>, which grows around 150 feet high, and was sacred to the Maya as the &#8220;first tree&#8221; or &#8220;world tree,&#8221; thought to stand at the center of the earth. The thorny trunks of the <em>Ceiba</em> tree were found to be represented on ceramic pots used as burial urns or ceremonial incense holders.</p>
<p>&#8220;The Maya have lived and used rainforest plants to heal themselves for thousands of years,&#8221; Zidar said in a <a href="http://news.bbc.co.uk/earth/hi/earth_news/newsid_8083000/8083812.stm">BBC interview</a>. &#8220;We are just beginning to understand some of their secrets.&#8221; He continued: &#8220;By determining what plants were of importance to the ancient Maya, it is my hope that identified plants can be further studied for pharmaceutical, culinary, economic and ceremonial uses.&#8221; </p>
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		<title>The Mystery of Ulluchu</title>
		<link>http://www.singingtotheplants.com/2009/08/mystery-of-ulluchu/</link>
		<comments>http://www.singingtotheplants.com/2009/08/mystery-of-ulluchu/#comments</comments>
		<pubDate>Tue, 11 Aug 2009 00:24:15 +0000</pubDate>
		<dc:creator>Steve Beyer</dc:creator>
				<category><![CDATA[Indigenous Culture]]></category>
		<category><![CDATA[Research Studies]]></category>
		<category><![CDATA[Sacred Plants]]></category>

		<guid isPermaLink="false">http://www.singingtotheplants.com/?p=3191</guid>
		<description><![CDATA[<a href=http://www.singingtotheplants.com/2009/08/mystery-of-ulluchu/><img src=http://www.singingtotheplants.com/wp-content/uploads/2009/08/moche-spider-300x254.jpg class=imgtfe hspace=5 align=left width=100  border=0></a>The Moche culture flourished in the northwestern coastal areas of Peru around AD 100&#8211;800. Human sacrifice was a significant part of their state religion, apparently to appease a deity named Ai Apaec, who is depicted in Moche art as fanged, half-human, most often in the shape of a spider, holding in one hand a severed human head and in another the crescent-shaped ceremonial knife called a <em>tumi</em>. In the archeological literature, this deity has come to be called the Decapitator. Were hallucinogens part of these ceremonies?<br clear="left" />]]></description>
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<td style="padding-top: 0.5em; text-align: center;" width="210">The Decapitator god in the form of a spider, holding a human head in its rear legs</td>
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<p>The Moche culture flourished in the northwestern coastal areas of Peru around AD 100&ndash;800. Human sacrifice was a significant part of their state religion, apparently to appease a deity named Ai Apaec, who is depicted in Moche art as fanged, half-human, most often in the shape of a spider, holding in one hand a severed human head and in another the crescent-shaped ceremonial knife called a <em>tumi</em>. In the archeological literature, this deity has come to be called the Decapitator.</p>
<p>At one site, named by archeologists <em>Huaca de la Luna</em>, Pyramid of the Moon, and known to local shamans as <em>El Brujo</em>, the Sorceror, archeologists have found the remains of more than forty men, ranging in age from fifteen to thirty years old. Their bones are scattered &mdash; apparently the bodies were tossed over the edge of a stone outcrop &mdash; and embedded in thick layers of sediment, indicating they may have been sacrificed during the heavy rains of <em>El Ni&ntilde;o</em>.</p>
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<td><img style="width: 160px; height: 181px;" src="http://www.singingtotheplants.com/wp-content/uploads/2009/08/ulluchu-decapitator-head-266x300.jpg" border="0" alt="" /></td>
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<td style="padding-top: 0.5em; text-align: center;" width="160">Another image of the Decapitator (detail)</td>
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<p>There is every reason to believe these bodies were human sacrifices. The victims had cut marks on their neck vertebrae indicating their throats had been slit; several were decapitated and had their jaws removed. And the victims may have been tortured before their death. Some of the skeletons were splayed, as if they had been tied to stakes; many had their femurs forcibly torn from their pelvic sockets; ribs, skulls, and long bones bore marks of cutting. In addition, many victims had multiple <em>healed </em>fractures to their ribs, shoulder blades, and arms, suggesting regular participation in combat. They may thus have been the losers in ritual combat among elite Moche warriors, fighting with mace-like clubs, or, more likely, prisoners of war captured in territorial combat with other societies.</p>
<p>Such sacrifices are frequently depicted in Moche art, both on ceramics and on walls within the pyramid sites themselves. The sacrifice is portrayed as an elaborate blood-letting ritual in which naked bound victims &mdash; often shown, surprisingly, with erect penises &mdash; have their throats cut with a <em>tumi</em>, and the spurting blood caught in gold goblets to be drunk by high priests. </p>
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<td><img style="width: 300px; height: 104px;" src="http://www.singingtotheplants.com/wp-content/uploads/2009/08/ulluchu-marching-prisoners-300x104.jpg" border="0" alt="" /></td>
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<td style="padding-top: 0.5em; text-align: center;" width="300">Bound prisoners being led to sacrifice</td>
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<p>Often depicted in these sacrificial scenes is a sort of seed pod floating in the air over flying priests or bound victims marching off to be sacrificed &mdash;a grooved, comma-shaped fruit with an enlarged calyx. Because of its shape, archeologists have generally called the plant <em>ulluchu</em>, a Quechua term meaning <em>penis pepper</em>, apparently coined by pioneer Moche scholar Rafael Larco Hoyle. For more than seventy years, the identification of this plant was seen as the greatest remaining challenge in the archaeobotany of the northwest Peruvian coast.</p>
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<td><img style="width: 110px; height: 200px;" src="http://www.singingtotheplants.com/wp-content/uploads/2009/08/ulluchu-jar-165x300.jpg" border="0" alt="" /></td>
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<td style="padding-top: 0.5em; text-align: center;" width="110"><em>Ulluchu</em> plant with hanging pods painted on a jar</td>
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<p>Ethnobotanist Rainer Bussmann and anthropologist Douglas Sharon &mdash; whose work I have discussed <a href="http://www.singingtotheplants.com/2009/02/survival-of-plant-knowledge/">here</a> &mdash; have long been interested in identifying <em>ulluchu</em>. For years they consulted local <em>curanderos</em> and sellers of medicinal plants.  “We would go to these markets,” Sharon has said, “and people would say, ‘We think we know what that is, but it’s not being sold here.’” The <em>curanderos</em> claimed to have heard of a plant called <em>ulluchu</em>, perhaps because of its coinage by Larco; but they did not use it, they could not describe it, and the term had no place in their language. “For the last seventy years people have been trying to identify this fruit but couldn&#8217;t,” Bussmann says. “And when our work started, I thought to myself, This is not going to be simple.” </p>
<p>Now, in an article in the <a href="http://www.pubmedcentral.nih.gov/articlerender.fcgi?artid=2670266"><em>Journal of Ethnobiology and Ethnomedicine</em></a>, Bussmann and Sharon have identified <em>ulluchu</em>, not as a pepper, but rather as a group of species in the genus <em>Guarea</em>, which is in the Meliaceae or mahogany family.</p>
<p>Their break came when actual dried remains of the fruit were unearthed during excavation of the the tombs of Dos Cabezas in the ancient Moche city of Sipan. Armed with actual physical specimens, even though they were desiccated, Bussman eventually focused on the genus <em>Guarea</em>, mostly restricted to tropical lowland forests, with some species reaching cloud forest habitat. No species is found along the dry coast of Peru, which means that the plant must have been widely traded in Moche times. </p>
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<td style="padding-top: 0.5em; text-align: center;" width="300">Prisoners, their hands tied behind them, having their throats slit, with <em>ulluchu</em> floating above</td>
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<p>This identification required Bussmann to sort through more than a thousand possible candidates in one of the most biodiverse regions in the world, in the hope of finding a specimen that matched the archeological find. “Rainer is a first-rate taxonomist,” Sharon says. “He studied every physical characteristic of these plants until he was absolutely certain we had it.” When Bussmann compared specimens of <em>Guarea</em> to drawings of the <em>ulluchu</em> that had been unearthed a decade earlier, he knew he had found the plant.</p>
<p>While the existing literature on <em>Guarea</em> seed compounds is fragmentary, Bussmann and Sharon believe that a concentrated dosage of <em>ulluchu</em> seeds, if ingested, would increase heart rate, elevate blood pressure, and widen blood vessels. This would make it easier to extract sacrificial blood &mdash; and cause those surprising erections. </p>
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<td><img style="width: 300px; height: 179px;" src="http://www.singingtotheplants.com/wp-content/uploads/2009/08/ulluchu-bird-priest-1-300x179.jpg" border="0" alt="" /></td>
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<td style="padding-top: 0.5em; text-align: center;" width="300">Priest costumed as a bird drinking a goblet of blood, with <em>ulluchu</em> in a basin, and perhaps holding a snuff tube</td>
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<p>Bussmann and Sharon also suspect that a ground preparation of <em>Guarea</em> seeds, when inhaled, may have been used as a hallucinogen. One ceramic figurine shows a seated male with <em>ulluchu</em> plants on his headdress holding a gourd and pestle, possibly containing ground <em>ulluchu</em> seeds, with his nostrils flared, as is often seen in people inhaling hallucinogenic snuffs. Similarly, a fineline painting shows a winged runner or flying priest with <em>ulluchu</em> on his belt, <em>ulluchu</em> seeds floating above his head, and an instrument in his hand that closely resembles a typical double snuff tube of the sort used to inhale powdered hallucinogens. When inhaled by priests, some components could have a psychoactive effect, which would not necessarily lead to high levels of toxicity, and could induce very rapid, short-term hallucinations.</p>
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		<title>Spirit Stuff</title>
		<link>http://www.singingtotheplants.com/2009/08/spirit-stuff/</link>
		<comments>http://www.singingtotheplants.com/2009/08/spirit-stuff/#comments</comments>
		<pubDate>Fri, 07 Aug 2009 12:58:17 +0000</pubDate>
		<dc:creator>Steve Beyer</dc:creator>
				<category><![CDATA[Indigenous Culture]]></category>
		<category><![CDATA[Shamanism]]></category>

		<guid isPermaLink="false">http://www.singingtotheplants.com/?p=3020</guid>
		<description><![CDATA[<a href=http://www.singingtotheplants.com/2009/08/spirit-stuff/><img src=http://www.singingtotheplants.com/wp-content/uploads/2009/08/edith-turner-150x150.jpg class=imgtfe hspace=5 align=left width=100  border=0></a>Anthropologist Edith Turner insists that spirit stuff is real because, during the frenzied climax of a lengthy Ndembu ritual in Zambia, she saw it come out of the patient’s body, and she observed it become a human tooth &#8212; an <em>ihamba</em>, a dead hunter’s tooth, which had been wandering around inside the patient, causing her severe pain. Turner considers, and rejects, the idea that some sort of sleight-of-hand might be involved in all this. <br clear=left>]]></description>
			<content:encoded><![CDATA[<p>Anthropologist Edith Turner insists that spirit stuff is real because, during the frenzied climax of a lengthy Ndembu ritual in Zambia, she saw it come out of the patient’s body, and she observed it become a human tooth &mdash; an <em>ihamba</em>, a dead hunter’s tooth, which had been wandering around inside the patient, causing her severe pain. As Turner writes, at the climactic point of the ritual, the healer, named Singleton, </p>
<blockquote><p>pressed Meru’s back, guiding and leading out the tooth – Meru’s face in a grin of tranced passion, her back quivering rapidly. Suddenly Meru raised her arm, stretched it in liberation, and I saw with my own eyes a giant thing emerging out of the flesh of her back. It was a large gray blob about six inches across, opaque and something between solid and smoke: I was amazed, delighted. I still laugh with glee at the realization of having seen it, the ihamba, and so big! Everyone was hooting, and we were all jumping with triumph. The gray thing was actually out there, visible, and you could see Singleton’s hands working and scrabbling on the back. And then it was there no more. Singleton had whatever it was in his pouch, pressing it in with his other hand.</p></blockquote>
<p>Turner gives substantially the same account in another article, except the spirit stuff is there described as “a deep gray opaque thing emerging as a sphere.”</p>
<p>Now there is a lot happening at once here. There is the “bellow of the drums.” Turner herself is crying, there are tears in her eyes, her eyes are “stabbed with pain.” Turner is clapping and jumping along with the crowd &mdash; clapping <em>hard</em>, she says. The patient is quivering, stretching out her arm; people are shouting and jumping up and down; the healer is touching the patient’s back, his hands pressing, guiding, leading, working, and scrabbling. Suddenly something is in his pouch; he has caught the <em>ihamba</em>. </p>
<p>There is more to the story. Singleton quickly transferred the contents of the pouch to a receiving can, which had a castor oil leaf and <em>mukosu</em> bark lid, and which contained a nest of root fragments, water, and blood from a rooster’s claw. He carried the can into a hut, set it down on the floor, held up his hands and said, “See, I have nothing in them.” Then he squatted down and dredged a long time in the bloody mixture. At length he drew out “an old tooth, a molar, natural size, ordinary and concrete, with a dark root and one side sheared off as if by an ax.” It was the <em>ihamba</em>. Retrieving and displaying the tooth from the receiving can is apparently an important part of the ritual.</p>
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<td><img style="width: 165px; height: 220px;" src="http://www.singingtotheplants.com/wp-content/uploads/2009/08/edith-turner.jpg" border="0" alt="" /></td>
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<td style="padding-top: 0.5em; text-align: center;" width="165">Anthropologist Edith Turner</td>
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<p>Of course, Turner has no way of knowing <em>when</em> the tooth was actually put into the bloody mixture. She assumes it was when Singleton extracted the tooth from the patient, because that is when she thought she saw him do it. But it could have been when Singleton, unsupervised, carried the can into the hut; it could have been when he was poking around inside the can. Indeed, the tooth could have been put inside the bloody mixture &mdash; which Turner never examined &mdash; before the ritual even began. There is no way to know. But why in the world would Singleton specifically deny that he was performing any sleight-of-hand before pulling the tooth out of the can?</p>
<p>That evening, Singleton said, “The thing we saw, we were five.” Singleton was counting the five doctors, of which Turner was one. Turner took this as a statement that the doctors too had seen a “thing,” meaning something like her gray blob; she does not consider that he is talking about the tooth he pulled from the can. Indeed, when Turner described to Singleton what she had seen &mdash; the gray blob of “spirit matter” &mdash; the healer made no comment. He did not “describe what he had seen” or “give any details about what he actually saw.“ Turner herself “was in no mood to become analytical so did not push the matter further.” So there is nothing to indicate whether Turner’s apprehension of a gray blob is consistent or inconsistent with Ndembu cultural notions of what an extracted <em>ihamba</em> tooth is supposed to look like, although one may guess, since it is a tooth that is pulled from the receiving can, that it is supposed to look like a tooth.</p>
<p>Turner considers, and rejects, the idea that some sort of sleight-of-hand might be involved in all this. She says that there was nothing in her audio tapes that hinted of duplicity, yet it is unclear how an audio tape would reveal conjuring. She does not discuss the possibility that, in the intense excitement of the ritual, out of Singleton’s skill as a performer, while she was moved emotionally, clapping hard with tear-filled eyes, she saw something out of her <em>own</em> cultural tradition, something smoky and ectoplasmic, that had symbolic significance to <em>her</em>, rather than to her hosts.</p>
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<td style="padding-top: 0.5em; text-align: center;" width="213">Ndembu boys prepared for an initiation ceremony</td>
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<p>There is a methodological point to be made here. Turner insists that, because she saw spirit stuff and believed in its reality, she was uniquely able to experience Ndembu culture “from within.” Yet she has no idea whether or not Ndembu culture considers an <em>ihamba</em> tooth to look like a gray blob when it is extracted from the body. Speaking of the other participants in the ritual, she says, “I could not ascertain if what they saw looked exactly like what I saw.” She made no inquiry about what they did see, and did not pursue why, once she told them what she saw, they &mdash; perhaps, one thinks, out of politeness &mdash; did not want to tell her.</p>
<p>Turner cites, with approval, Michael Harner’s distinction between the spiritual essence of an illness, which may appear, in the “shamanic state of consciousness,” to be, say, a spider, and its manifestation, in the physical plane, as, say, a “plant power object” &mdash; some twigs, say, which the shaman may hide in the mouth and then display to the patient and audience, who are in the “ordinary state of consciousness,” as evidence of the extraction. But the quote from Harner misses the point. Harner &mdash; and many others, such as anthropologist Marvin Harris &mdash; would agree that the tooth pulled from the can had symbolic significance as a warrant of the shaman’s skill, of the mystery underlying the healing process, and may easily have been produced by sleight-of-hand. But Turner is not talking about the tooth. She is talking about her own joyous and transformative vision of the gray spirit stuff. </p>
<p>This is the paradox of participant observation &mdash; how to participate and observe at the same time. We certainly cannot be invisible. As Dennis Tedlock puts it, “the more a fieldworker knows and is known, the less that fieldworker can avoid joining the action.” At the same time, the host culture is not a unity. The idea that an anthropologist can come &mdash; somehow &mdash; to see the world through the eyes of the host culture assumes that cultural insiders are a single collective entity, that all insiders see the same thing, and that all participants feel, experience, and assign an identical, singular meaning to a particular event.</p>
<p>Thus, the term <em>participant observation</em> has something of the oxymoronic about it. Pierre Bourdieu comes right out and calls it a contradiction in terms &mdash; “as anyone who has tried to do it will have confirmed in practice.” Bourdieu believes that it leads to the worst of two possible worlds: “One cannot live the belief associated with profoundly different conditions of existence,&#8230; still less give others the means of reliving it by the sheer power of discourse.” And he concludes: “Those who want to believe with the beliefs of others grasp neither the objective truth nor the subjective experience of belief.” </p>
<p>And if we sincerely seek to understand the spiritual realities of another culture, where does that leave us? When does <em>our</em> experience become <em>their</em> experience?</p>
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		<title>Sacred Justice, Part 1</title>
		<link>http://www.singingtotheplants.com/2009/05/sacred-justice-part-1/</link>
		<comments>http://www.singingtotheplants.com/2009/05/sacred-justice-part-1/#comments</comments>
		<pubDate>Mon, 25 May 2009 12:16:00 +0000</pubDate>
		<dc:creator>Steve Beyer</dc:creator>
				<category><![CDATA[Indigenous Culture]]></category>

		<guid isPermaLink="false">http://www.singingtotheplants.com/2009/05/sacred-justice-part-1/</guid>
		<description><![CDATA[We live in a culture that is hierarchical — that is, in which people have power over other people. We accept this as being normal and natural, as if there were no other way to live. We create spaces — classrooms, offices, courtrooms — that express this hierarchy architecturally. But there are consequences to this way of living that are worth examining.<br clear=left>]]></description>
			<content:encoded><![CDATA[<p>We live in a culture that is <em>hierarchical</em> — that is, in which people have power over other people. We accept this as being normal and natural, as if there were no other way to live. We create spaces — classrooms, offices, courtrooms — that express this hierarchy architecturally. But there are consequences to this way of living that are worth examining.</p>
<p>Hierarchy is essentially unstable. In our culture, people with power over other people seek to maintain this power primarily by using punishment and the threat of punishment. This punishment can take many forms — as many forms as there are ways people can harm other people. We assert and maintain hierarchical relations by public shaming, verbal abuse, physical injury, intimidation, reduction in status, and denying basic social goods, such as education, employment, the right to vote, and liberty. We swim in a punitive ocean without even realizing it is there. We do not realize the extent to which we think in terms of punishment in our workplaces, our schools, our justice system, and our relationships with our children. We think that punishing people is normal.</p>
<p>In addition, power relationships are constantly being negotiated. We think that negotiation is a fair way to decide issues of power. That means that we view relationships with other people in <em>transactional</em> terms. When people are in apparent conflict with each other, we expect them to handle it transactionally — to negotiate, bargain, compromise. This is reflected in one of the key strategies of our criminal justice system — the plea bargain. We are constantly seeking to craft outcomes rather than deepen relationships.</p>
<p>Then we wonder why these fixes are so temporary. We see our solutions discarded, our carefully negotiated agreements abandoned in cycles of violence. We try to force people to behave, and then we are bewildered when they do not. The result is a culture in which people are oppressed by the power that others have over them — a culture in which we all oppress each other, as if it were the most natural thing in the world.</p>
<p>The punitive foundations of our culture, like most cultural foundations, are expressed in myth. In our case, the foundation myth is what theologian Walter Wink has called the <em>myth of redemptive violence</em> — believing that a harm can be made right by humiliating or physically harming the offender, that violence is a necessary and appropriate response, even that such violence is <em>healing</em> for the victim. It is normative in our society to seek vengeance for a harm done to us. Anyone brought up in our culture has seen thousands of hours of movies and television in which the schoolyard bully is finally beaten and humiliated by his victim, or the ruthless outlaw is shot dead by the gentle sheriff. The schoolyard victim and gentle sheriff are empowered and healed by this response, and often given a sexual reward for their violence. We are all constantly tempted to reenact this mythology.</p>
<p>When a harm has been done in a punitive culture such as ours, founded on the myth of redemptive violence, there are, I think, four consequences.</p>
<p>First, it is completely rational for the person who has done the harm to try to evade responsibility for it — to lie, hide, deny, and blame others. What is the point of being accountable, if all that you get for it is punishment? What is the point of accepting responsibility for a harm you have done, if your own needs — to apologize, to make things right, to repair broken relationships — are not going to be met?</p>
<p>Second, a punitive system focuses on the past at the expense of the future. A punitive system is obsessed with the fact component of stories — who did what to whom in what sequence — because it is looking to single out the blameworthy participant for punishment. This means that a punitive system ignores the other components in the stories of the participants — how they feel, what they need. The system thus leaves all the participant with their stories untold, and their primary, most basic need — the need to be heard — unfulfilled. Moreover, the emphasis on punishment for the acts of the past means that the system largely ignores how to go forward into the future, how to make things right, and how to repair and restore broken bonds of trust in the community.</p>
<p>Third, a punitive system imposes a kind of Manichaeism — a belief that the world consists of two powers, good and evil, light and dark, easily distinguished, in constant battle. This Manichaean mythology pervades our criminal justice system and most of our thinking. We worry about the facts because we believe the facts will show us how to apportion blame. When people are in conflict, we attempt to punctuate their ongoing relationship, and thus determine who is the one to be punished.We feel compelled to distinguish bad guys from good guys, because only in this way can we make sure that bad guys get what they deserve. And, if we fail at punctuating the interaction, we often throw up our hands and punish both.</p>
<p>Fourth, our culture views punishment in transactional terms. The very terms we use — giving people what they <em>deserve</em> — embodies a transactional view. Being punished for having harmed someone is very much like a business transaction. The punishment is frequently negotiated. For example, punishment may be lessened in exchange for an admission or an apology — often a meaningless apology, with no intent to repair the harm or make things right. The transactional nature of punishment is also captured in the saying, <em>Don’t do the crime if you can’t do the time</em>. Think about the converse: If you can do the time, then hell, you might as well do the crime.</p>
<p>This means that the decision to harm another person is reduced to a calculus that does not involve the other person at all — only the harmer and the justice system. This means, too, that someone who has harmed another person is not put face-to-face with the harm that has been done — the physical injury, the fear, the loss of safety, the inconvenience suffered by the person harmed. The harmer does not have to deal with the person harmed at all. The harmer is involved only in negotiating with the justice system for the best possible deal.</p>
<p>This is our current culture of punitive justice. But there is an alternative — a culture of <em>sacred</em> justice, which focuses on repair, restoration, and healing. We will discuss this in Part 2.</p>
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		<title>Bioneers</title>
		<link>http://www.singingtotheplants.com/2009/03/bioneers-2/</link>
		<comments>http://www.singingtotheplants.com/2009/03/bioneers-2/#comments</comments>
		<pubDate>Fri, 27 Mar 2009 18:11:00 +0000</pubDate>
		<dc:creator>Steve Beyer</dc:creator>
				<category><![CDATA[Indigenous Culture]]></category>
		<category><![CDATA[Sacred Plants]]></category>

		<guid isPermaLink="false">http://www.singingtotheplants.com/2009/03/bioneers-2/</guid>
		<description><![CDATA[<a href=http://www.singingtotheplants.com/2009/03/bioneers-2/><img src=http://2.bp.blogspot.com/_2F6NQ_-Fucc/Sc0H9kpcCCI/AAAAAAAAB8A/QoSVcppDFfg/s200/Bioneers1.jpg class=imgtfe hspace=5 align=left width=100  border=0></a>In 1985, at Ohkay Owingeh Pueblo — at that time called San Juan Pueblo — in New Mexico, a young filmmaker named Kenny Ausubel watched a Native American farmer take some bright red corn seeds from a little clay pot that had been embedded in the mud wall of his adobe home. This was the sacred red corn of the Pueblo, which no one had grown in forty years. The old farmer planted the sacred seeds, renewing an ancient contract between the people and the earth. For Ausubel, the moment was revelatory.<br clear=left>]]></description>
			<content:encoded><![CDATA[<p>In 1985, at Ohkay Owingeh Pueblo — at that time called San Juan Pueblo — in New Mexico, a young filmmaker named <a href="http://www.bioneers.org/ausubel">Kenny Ausubel</a> watched a Native American farmer take some bright red corn seeds from a little clay pot that had been embedded in the mud wall of his adobe home. This was the sacred red corn of the Pueblo, which no one had grown in forty years. The old farmer planted the sacred seeds, renewing an ancient contract between the people and the earth. For Ausubel, the moment was revelatory.</p>
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<td><img style="width: 190px; height: 200px;" src="http://2.bp.blogspot.com/_2F6NQ_-Fucc/Sc0H9kpcCCI/AAAAAAAAB8A/QoSVcppDFfg/s200/Bioneers1.jpg" border="0" alt="" /></td>
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<td width="190" style="padding-top: 0.5em; text-align: center;">Bioneers founders Kenny Ausubel and Nina Simons</td>
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<p>Ausubel went on to form an organization named <a href="http://www.seedsofchange.com/">Seeds of Change</a>, devoted to conserving the world&#8217;s indigenous agricultural heritage by offering heirloom seeds to backyard organic gardeners. Along with his wife Nina Simons, he also initiated the annual <a href="http://www.bioneers.org/">Bioneers Conference</a> and its parent organization, the Collective Heritage Institute.</p>
<p>The term <em>bioneer</em> is intended to indicate a biological pioneer — one who sees the solutions to contemporary global problems not in technology but in a biological model of interconnectedness, in what Ausubel calls <em>true</em> biotechnologies, based on biomimicry, natural design, and the restoration of natural capital.</p>
<p>Bioneers states several interconnecting goals for its annual conferences — to cultivate and disseminate environmental solutions to national and global audiences; to inspire and equip people toward effective action; to develop and spread model economic strategies for ecological agriculture, environmental restoration, and community self-reliance; to strengthen traditional, indigenous, and restorative farming practices; to revitalize our cultural and spiritual connection with the natural world.</p>
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<td><img src="http://2.bp.blogspot.com/_2F6NQ_-Fucc/Sc0KIYUpvAI/AAAAAAAAB8I/IOhF5wF_37g/s200/Bioneers2.jpg" border="0" alt=""/></td>
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<p>And, in fact, the conference has over the years brought together a remarkable array of visionary activists, organizers, and speakers on such topics as restoration, ecology, bioremediation, alternative health, indigenous land practices, green medicine, natural capitalism, relation to place — and the role of sacred and psychoactive plants in world renewal.</p>
<p>The Bioneers propose that there is a profound intelligence in nature, and that, in our present moment of predicament and opportunity, we must learn and follow that intelligence. It is in this context that speakers at the Bioneers conferences have addressed the issue of sacred plants and fungi, and their role as guides both to the reality of the natural world and to the ways in which we can learn to live in harmony with it.</p>
<p>Fourteen of these presentations, taken from conferences held between 1990 and 2004, have been collected in the book <a href=" http://www.amazon.com/Visionary-Plant-Consciousness-Shamanic-Teachings/dp/1594771472/ref=sr_1_2?ie=UTF8&amp;s=books&amp;qid=1237607304&amp;sr=1-2"><em>Visionary Plant Consciousness: The Shamanic Teachings of the Plant World</em></a>. In the book, twenty-three leading ethnobotanists, anthropologists, artists, and medical researchers — people such as Terence McKenna, Wade Davis, Alex Grey, Kat Harrison, Paul Stamets, and Luis Eduardo Luna — present their understandings of the nature of psychoactive plants and their significant connection to humans.</p>
<p>The Bioneers conference is traditionally held in San Rafael, California, in the Fall — the 2009 conference will run from October 16 to18 — and is also carried by satellite feed to other locations. Here is an example — environmentalist, entrepreneur, journalist, and best-selling author Paul Hawken, introduced by Kenny Ausubel, addressing the final plenary session of the 2007 Bioneers conference:</p>
<div style="text-align: center;"><object width="291" height="245" data="http://video.google.com/googleplayer.swf?docid=4933599829717860857&amp;hl=en&amp;fs=true" type="application/x-shockwave-flash"><param name="id" value="VideoPlayback" /><param name="src" value="http://video.google.com/googleplayer.swf?docid=4933599829717860857&amp;hl=en&amp;fs=true" /><param name="allowfullscreen" value="true" /></object></div>
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