A Free Article from

The Shamanism Magazine You may share this article in any non-commercial way

but reference to www.SacredHoop.org must be made if it is reprinted anywhere.(Please contact us via email - found on our website - if you wish to republish it in another publication)

Sacred Hoop is an independent magazine about Shamanism and Animistic Spirituality.It is based in West Wales, and has been published four times a year since 1993.

To get a very special low-cost subscription to Sacred Hoop - please visit :

www.SacredHoop.org/offer.htmlWe hope you enjoy reading the article. Nicholas Breeze Wood (editor)

SH ISSUE 68 201020

There is something moving andinescapable in the similaritybetween the two words ‘Icaro’ -the shamanic singing tradition ofPeru, and ‘Icarus’ - the subject ofthe ancient Greek myth about theman who flew too close to thesun. It is as if there were aconnection between Icarus,inebriated by his flight, high in theskies upon his waxed wings, andthe magical shamanic songs,which go high into the spirit world.But there the parallel stops.

Icaros (or Ikaros) are themagical tunes or lyrics - which may

be sung, whispered or whistled -by shamans (and sorcerers alike)in Peru, to communicate with thespirit world. The word possiblyderives from the Quechua verbIkaray - ‘to blow smoke’ atechnique used by shamans intheir healing.

Shamans use these melodies tomagically charge a person, a plant,or virtually anything else - whetheranimated or unanimated - with aspecific intent or purpose, toobtain or influence a desiredoutcome. They represent aspecial language intended to

interact with the spirit world,including - but not limited to - theplant spirit realms.

THE SHAMANIC DIETThe traditional way by whichshamanic healers in the PeruvianAmazon learn - or better still,receive directly from the spirits -their icaros, is through a regimen ofdiet (la dieta). The shaman receivesthe tunes whilst they are asleep,dreaming, or in vision - whilstjourneying in the spirit worldintoxicated by ayahuasca, or duringthe plant diet.

The shamanic diet imposesphysical isolation in remote jungleareas (monte) away from people, anda strict celibacy and abstinence fromcertain foods (pork, chilli, spicy food,fats, meat from farmed animals, salt,sugar, most vegetables and fruits)too, as well as an avoidance ofalcohol, canned food, and chilled andfizzy drinks. The rigours of thetraditional diet in fact only allow forcertain river fishes, rice and greenplantains (boiled or roasted) to beeaten, all unseasoned.

The contact with the spirit worldis therefore achieved thanks to adiet that - in common with otherreligious, esoteric, shamanic andspiritual traditions - also entailssexual abstinence and isolation.

During the diet the shaman (aswell as the apprentice shaman)ritually ingest different brebajes(beverages) of plantas maestros(teacher plants) and palosmaestros (teacher trees) in theform of teas, made from the resin,leaves or scraped stem of plantsand trees, and, or macerates(from the scraped bark or roots oftrees), alternating this with thetaking of ayahuasca.

The choice of the plantteachers to diet with, as well asthe interaction between the plantsand trees of the diet withayahuasca (which is usually takenon different days to the brebajes)will vary from shaman to shaman.This is because many shamansreceive their instruction for how toproceeed with the diet in visionfrom the plant spirits themselves.

The diet is therefore the mainmethod used by the shaman forlearning, advancing and progressingin their knowledge of the plant spiritworld, and receiving powers.

Contrary to what is commonlybelieved - with the exception ofayahuasca and a few other plantssuch as one called toé - the plants

IICCAARROOSSMAGICAL SONGS

OF THE AMAZON

Francesco Sammarco

‘I am flying through the air,I am flying for you,I am flying with a happ y music, with an exciting music’

Don Mariano (Shipibo-Conibo shaman)

SH ISSUE 68 2010 21

of the diet do not usually have anintrinsic psychotropic, mind-alteringeffect. Visions occur by asynergetic interaction between thediet’s setting and the plants of thediet, which are naturallycomplementary to each other.

This is the framework withinwhich the shaman operates, and itis of paramount importance to beaware of this in order tounderstand the process of the dietand - consequently - that of theorigin of the icaros.

Every plant teacher spirit maybestow, as a gift, an icaro to theperson undergoing the shamanic diet,and this icaro becomes thecommunication link between thatplant itself and the shaman. The icaroso received is therefore the magicalmethod with which the shaman maydirectly communicate with the spiritrealm, and it may be used to invoke,summon and ask for help from theplant spirits themselves.

This is why shamans in thePeruvian Amazon, when performinghealing on a patient, call upon thespirit of their plant ally first; they dothis to summon power, and thenask for the healing to take place.The longer the diet with a largevariety of plant teachers, the moreicaros a shaman may receive.

Sorcerers (called brujos,maleros, shitaneros or hechizerosin Peru) obtain their icaros insimilar ways, but unlike shamansuse their icaros in a negativefashion: to contact dark forces orevil spirits, to damage people,cause harm (daño), bringmisfortune, illness or even death.

Icaros may also be passed onfrom master shaman to their

students, and they can be sung indifferent native dialects andtongues, as well as in Spanish.They may also be passed onbetween maestros (maleshamans), as a gift, duringayahuasca ceremonies.

However, icaros received directlyduring the shamanic diet and sungin native Indian tongue are believedto be much more effective andpowerful than those sung inSpanish and learnt from a teacher.This is perhaps because some ofthe ancient magic formulae are lostin translation, or perhaps becauseof an intrinsic power embedded innative, indigenous tongues.

There are some shamans whosing their magical songs in a mixtureof different Indian dialects, to makethemselves deliberately unintelligibleto others (as protection and defensefrom sorcerers or bad spirits). DonJose’ Coral was one such shaman, amuraya, also renowned to enter intotrance without the aid of ayahuasca.

THE MASTER SHAMANSThere are three levels of highshaman in the Peruvian Amazon, thebanco, the sumiruna and the muraya.

A banco, is a master shamanwho has dominance over the jungleand sky realms, they specialise indiagnosing, healing or divining afterthey have entered into trance,face-down in their mosquito net.

A sumiruna can access andmaster all of the jungle, sky andwater realms.

A muraya is a shaman who canaccess the sub-aquatic realm,having control over the waterspirits (yacurunas) mermaids andriver dolphins). They learn thisfrom aquatic trees, plants and

vines. A muraya is also a master ofthe earth (jungle) realms too.

Among the murayas, there arealso the allpa muraya (muraya ofthe earth) who specialise inmastering the spirits of the earth,the huayra muraya (muraya of theair), who have mastery overmeteorological phenomena such asthunder, wind and rain. These aredifferent to the alto muraya (murayaof the sky), who are masters of thespirits of the sky - heavenly spirits,dwelling in space, and on otherplanets and constellations.

To confuse things further, onecould also be a banco muraya.These are shamans who haveknowledge of, and dominanceover, water plants and spirits, aswell as the spirits of the earth.

THE VARIED ROLE OF ICAROSIcaros serve several differentpurposes. There are some usedspecifically for healing or love magic,while others are used in shamanicapprenticeship and initiations (dietachamanica). Some are usedspecifically at the point of ending the

Above: ShamanDon Alfredowith sacha

chuchuhuasi,a woody vine.

Don Alfredostresses the

importance ofa strict diet on

this vine, whichonly the most

knowledgeableshamans mayhandle safely

Below: ShamanDon Mariano cuts

an ayahuascavine growing on

a chullachakicaspi tree

Shamans in thePeruvian Amazon,when performinghealing on a patient,call upon the spir itof their plant allyfirst; they do this tosummon power, andthen ask for thehealing to take place

Above: freshwater Amazon

river dolphin

Right: flowers ofthe toé plant(Brugmansiasuaveolens)

SH ISSUE 68 2010 22

shamanic diet (icaros por la quebrade dieta), others for spiritualpurification (icaros de purificacionespiritual), to cleanse, bless andprotect people (el canto de la arkanapor la protecion), to close ashamanic treatment (para finalizar untratamiento), and there are evenicaros to overcome the intoxicationcaused by ayahuasca (icaros parasuperar el senso de mareacion).

The shamans of the PeruvianAmazon also have a concept whichthey call the arkana. This is aninvisible energetic protection -which may be given by stones,crystals, angels, rainbows, plantteachers, spirit allies of animalslike the jaguar, the eagle, thecondor, or other entities - engagedby the shaman for a variety ofpurposes, especially duringayahuasca ceremonies.

The arkana is used by theshamans themselves, first of all fortheir own protection, then for theprotection of the participants(apprentices and patients) takingpart in the ayahuasca ritual, inorder for all to be shielded frompotentially malevolent attacks frombrujos (witches), competingshamans, or evil spirits.

The arkana - like the icaros -is received during the shamanicdiet. Each arkana is different andeach ayahuasca ceremony has itsown arkana. An arkana may beemployed therapeutically throughthe chanting of an icaro, and wehave been able to record one ofthese arkana icaro during a healingsession performed by the Shipiboshaman Don Adriano.

During the healing, Don Adrianosang the icaros to protect thepatient, and here is the songtranslated into English:

‘Now that I have extracted thisblack spirit from you,

I can call for thegood spirits to come. I want them to arrive

like a whirlpool, I want the good spirits

to arrive here as a whirlpool and enter with power

inside your body. I want this whirlpool

to rise above you, to be strong. I am going to finish with this, but first I want to charge this

arkana with more power, so that other people or evil spiritsmay not take it away from you.

I ask the plant spirits to help me, I call the spirits,

I call my spirit protector. May nothing enter,

May no evil spirit enter this bodyand may all be cleansed and pure.’

There are also icaros againstdepression, and icaros sung whenone is receiving powers (recibiendopoder) from the spirit world.

Shamans sometimes sing‘autobiographical icaros,’ icarossung by some maestros and

maestras (female shamans) todemonstrate how powerful they areas healers (medicos).

Specific icaros are also sungover plant brews (el brebaje) whilethey are being prepared by theshaman. The brew could be eitherayahuasca or other concoctionsprepared with other plant teacherssuch as remo caspi (aspidospermaexcelsum), toè (brugmansiasuaveolens), or chullachaki caspi(brysonima christianeae) as part ofthe shamanic diet.

In this case the icaros areusually softly whispered to the plant

medicine, and are used to charge itwith positive energy and protection.

All power plants - as well asanimals, and unanimated thingslike mountains or lagoons - arebelieved to have a spirit (genio) ora mother (madre) that demandsutmost care and respect. This isespecially true of the ayahuascamedicine, which has a very proud,indomitable spirit.

Other icaros are used toannounce an exciting journey inthe spirit world, when new plantteachers are discovered during theintoxication with ayahuasca, likethis one, by Shipibo shaman DonLeoncio, translated into English, inwhich he sings:

‘In my anaconda ship…I am journeying with a large ship…This ship is as big as an anaconda.

I am going with this ship to theplace where I will know many,

many plants.’

Moreover, there are icaros toacknowledge and celebrate asuccessful treatment, in which theshaman declares ‘he logrado’ (I’ve

achieved that), and even icarosspecific to invoke the spirit of theicaros themselves (el dios de losicaros). This icaros spirit is the spiritof the teacher plants who rewardthe shamans with their songs.

Shipibo-Conibo shamans(onanyas) normally sing two orthree similar icaros in sequencewhen they see that their patient isvery ill or feeling bad.

They do that because whenfacing a deep-rooted condition -whether of a physical, emotional,mental or spiritual nature - they

A muraya shaman can access t hesub-aquatic realm, having control

over the water spirits(yacurunas)

mermaidsand riverdolphins

Below: twoShipibo shamanshold a ceremony

at night

Above: Shipibotextile design

SH ISSUE 68 2010 23

need more time to enact thehealing, and so singing a numberof icaros allows them to cleansetheir patients a little at a time.

These will be icaros that invokethe healing spirits specifically, andexclusively for a cleansing treatment,and not for any other purpose.

When working on patients,Amazonian shamans in Perualways invoke their spirit allies first:and as soon as they have askedfor the spirits’ help, they may thenbegin their treatment.

THE SHIPIBO ICAROSThe icaros sung by the Shipibo-Conibo shamanic healers are verydifferent from the icaros ofshamans belonging to other ethnicgroups, and are especially different

from the mestizo (mixed race)healers, generally of Spanish-European decent.

Shipibo icaros always bear thedistinction of a changing of thevoice or vocal pitch, oftenalternating between a strong,masculine tone and that of a moredelicate, high-pitched, feminine-like tone. This is known as the‘dual choir’ singing style, and forthe Shipibo shamans it is aspecific way to communicate withthe feminine spirits.

The spirits are not only invokedby singing this way, as, by through

this vocal technique they are alsoable to directly enter the ceremonyand communicate with - and via -the Shipibo shaman, by using theshaman’s own voice.

This dual choir style is one of themost important elements of distinctionbetween Shipibo icaros on one sideand all other icaros on the other.

By listening to Shipibo icaros itis clearly evident how the shamanis engaged in an openconversation with their spirithelpers - including the everpresent spirit of the ayahuascavine Nishi Ibo.

The shaman lends their voice tothe spirits, and as reported byShipibo shaman Don Leoncio, afeminine spirit teacher may appearor may be summoned during anayahuasca ceremony, and whenthis happens he is compelled tosing in the same fashion as thisspirit. The shaman has to shape-shift into the spirit whilst it istransmitting its powers.

Don Leoncio maintains that hedoes not deliberately sing hisicaros in this dual choir fashion,and when he does it, he is notfollowing a rational decision; forwhen the feminine spirits arrive orare summoned, they themselvessing with a very delicate, high-pitched voice, and the shamanneeds to become one with them,singing with them in the samefashion to, as he puts it, summonmore power.’

Aside from being an ‘acousticbridge’ between the spirit worldand the village world, it may alsobe said that the Shipibo shaman isan ‘acoustic bridge’ between thespirit world and the patient, as wellas acting as an ‘acoustic bridge’between themselves and feminineand masculine spirit entitiesoperating through them.

Notwithstanding the abovehowever, after a decade ofrecording icaros performed bymany shamans belonging todifferent traditions and ethniclineages in the Peruvian Amazon,and having compiled a large

archive of indigenous as well asmestizo icaros, I am baffled at thereason why feminine spiritsmanifest themselves in this fashiononly to Shipibo-Conibo shamans(regardless of the gender of theshaman). Why don’t they manifestthemselves in the same dual choirmanner to shamans of other tribalgroups, or mestizo shamans?

MELODIES MAGIC AND DESIGNSThe setting where icaros may beappreciated in their full power andbeauty is during the ayahuascaceremony, when the melodies andtunes engaged by the shaman canliterally drive the otherworldlyjourney of a participant along theprecise pathways of a mappedvisual - and visionary - landscape.

This is especially true of Shipiboicaros, which may be seen in avisual way through the intricateluminescent designs (quené) of theShipibo people themselves. Thesedesigns are reminiscent ofphosphenic visions, and are deeplyembedded with Shipibocosmogonic and cosmological

Shipibo designs express the compelling need tobring the cosmic , heavenly order down to ear th,

to bring order into chaos, to re-establish harmony