A Visionary Legacy effectuating Heaven on Earth

Kindest most appreciated boon companions of the designs path 

As some of you may know I had the honor of spending some outstanding times with maestro Pablo Amaringo. His art graces with commendation the cover of my book Rainforest Medicine, a book he encouraged and helped blow into existence.

To remember maestro Pablo Amaringo is to awaken the memory of truth, to the memory of deep integrity, to a magnificent and wonderfully auspicious spirituality. The kind that holds deep understanding for the human predicament, who sustains a deep understanding of the difference between right and wrong. One that sees other people’s joys as one own joys and other peoples sorrows as ones own sorrow The kind that enjoys not getting used to anything at all, not even to what part of ones house one will throw down a bed roll to sleep on that night.  Allow me here to honor don Pablo Amaringo with some experiences I was able to with him share. The kindest hearted, high-level wizard maestro, spiritual teacher, visionary painter and Amazonian sage. Whose legacy continues through his art and teachings.

Don Pablo lived a life of love and selfless service, who through teaching art tirelessly worked to instill a moral compass in his students at the Usko Ayar “Spiritual Prince,” School of Amazonian Painting in Pucallpa Peru. Years living alone in the wilderness, where he became friends with jaguars and wild boars, sleeping with no fire, foraging on fruits, roots and leaves strengthened his deep essence.

Followed by many years of upholding the practice of a shamanic ayahuasquero doctor of the people, where he was attested to have once even healed a president of Peru. Every night for ten straight years he drank ayahuasca, healing dozens of people at time in a single night. His stories are fantastic and beyond measure, encouraging deep respect for his old school training and the majestic world this revealed to him. So much of which he worked to preserve for us through his books and the accounts therein. And I have quite a few journals from my time with him of wisdom and stories, that I plan on continuing to share.

Yakuruna by maestro Pablo Amaringo

Riding a Heaven Disk

Once while drinking ayahuasca, don Pablo visited a temple with a high roof. There were people there, women who were organizing these long strands of gorgeous multi colored threads. The women sang wonderful songs as they wove intricate weavings. He noticed there was a river and a dock. Multicolored boats, like yachts that looked like fish, made of opalescent translucent material like leather, that where breathing, expanding and contracting as if inhaling and exhaling. He heard a person tell another, “Let’s go for a ride!” They entered the vessel and the motor ignited. A disk began to spin, and a soft hum resounded. Up the boat went, up into the air and he heard them laughing and talking as they rose up and away. He saw a ladder and he asked a women there, “can I go up there?” She replied, “you’re not ready yet to go there. Every rung of that ladder, as you walk up it, you have to know more about how you function, about how your disposition. You have to know more still about how your mind works, about how your heart works. To climb that ladder, you have to be well prepared. If you try to climb that ladder now, you’ll surely fall far below.” Don Pablo said,“I drank ayahuasca with the inquisitiveness of a scientist, devoted to investigating life.”

Don Pablo related that the ayahuasca reveals magnificent realities, but we must not forget our mortal place. This helps keep us humble and wise. When following correctly a dieta one can experience realms beyond ones capabilities, and that is ok. To witness these realms, fills one with energy, that can then be applied in our everyday life. It is an inexhaustible spiritual science, that at most one can only scratch the surface of. 

Ayahuasca Mariri, by maestro Pablo Amaringo, 30-01-02

 Then a time came when he was obliged to renounce ayahuasca shamanism. The account he shared with me is fascinating. A time came after a series of  incidents that occurred, which escalated into him making this decision. 

This is what he shared…

Many of his patients where suffering from sorcery. When the healer removes the malice this flies back like a dart and jabs the sorcerer in the back or belly while he is sleeping, who then in turn falls ill. The Sorcerer begins investigating in their visions why they got ill and determine the cause being the healer returning the darts. The sorcerer tries to damage the healer but sees his arkanas, spiritual protections are too powerful.

In his glory as a great healer, don Pablo Amaringo healed many patients damaged by different sorcerers. However, the sorcerers realized that separately they could not harm this great healer because his arkanas, spiritual protections, are too powerful. After some time, the different sorcerers meet up and conclude it’s the same healer that is making them all sick. They collude and join forces to topple him. While this is happening, don Pablo’s healing spirits keep beckoning him to just give them the orders and they will kill all the sorcerers. Don Pablo refused, his commitment was to God and to healing. He did not give them their life, thus he could not take their life.

The spiritual battle escalated. His helping spirits that helped him accomplish many marvelous and complex cures, healing illness no doctors could understand, insisted that if he does not give them to order to kill the sorcerers it was his life they would take. How can I back out of this he insisted, I did not give them life, I can not take their lives, nor do I wish to die either, he said. They said we’re going to make you transform into a bat, if you can stop that from happening and not transform into a bat, then you must abdicate  from drinking ayahuasca and you’ll be relinquish of all liabilities and can walk a free man.  He drank ayahuasca and started transforming into a bat, he had to use all his might, like never before to return back, already half transformed, into his human form. After that Don Pablo stoped drinking, and swore to never drink again and never drank again!

Hamahuala Machaslaca  (Crowning the Disciple) by Maestro Pablo Amaringo, 30-01-02

He did not however renounce the universal path of service. Many wonders he learned from the spirts, many divine methods for healing such as the use of medicinal plants in certain ways and the miraculous  copal incense cleanse (link here) for cleansing ones aura. Many many patients still came to him, and he continued healing people with the copal incense cleanse, herbal recipe’s, with listening to their tribulations and offering life guidance and council, he was a true friend of the people. Years after he refrained from drinking ayahuasca oriental celestial spirits would come to him at three in the morning in his meditations and advise him how to heal his patients and he knew well the symbol of Tai Chi of the Yin Yang.

Words of Wisdom from maestro Pablo Amaringo 

To enter a turbulent world,

we need spiritual abilities. 

The  development of your spiritual capability,

comes through training your heart,

and your level of awareness. 

The heart works with the mind,

and consciousness works with spirit.

The world today is much too turbulent,

to be rigid, or disorderly. 

Being orderly is ~  in and of itself,

a form of spiritual and intellectual training. 

Learning to talk, think and do good,

refines spiritual abilities. 

Meditation is a practical thing, 

it helps train your spiritual nature,

bringing reflection to all you do. 

With self reflection we can purify the mind. 

Spend time in nature,

so that, from seeing plants swaying in the wind, 

you can learn to be adaptable and flexible.

Learning to appreciate mother natures simplicity,

you can obtain her innate orderliness.

Don Pablo was someone who could hold peoples sufferings and help them transform this. A man of absolute integrity who know how to help people cross turbulent waters and reach the golden shores.  His abilities as an artist grew and he eventually with help from friends opened the school of Amazonian Painting. Don Pablo left an indelible mark on everyone who was fortunate to have met him and was like a father to thousands of riverine locals from his region. The influence of his therapeutical artistic creations continues to inspire countless people world-wide. He passed to returned to the glory of the heaven that brought him forth, on November 16 of 2000. Maestro Pablo Amaringo’s legacy is one that will not be forgotten. 

Temples in the Canopy by maestro Pablo Amaringo

Years back, after spending some time with Don Pablo in Iquitos, I was blessed to return with him to his home at the Usko Ayar School of Amazonian painting and spent an entire month living in don Pablos home. That was a profoundly moving experience in so many ways, some of which I wrote about in my book Rainforest Medicine. I was once invited to be his translator when he was summoned to share his wisdom and art at a most unique botanical convention called Voyage Botanica, held by genius herbalist Michael Cottingham at the Eden Hot springs in Arizona. The legendary pools, also known as Indian Hot springs, where Geronimo himself was believed to have bathed. Later I brought don Pablo to Costa Rica on four occasions to share his art and wisdom at our Rainforest Medicine Council Gatherings.

Over the years I knew him I served don Pablo as one of his representatives and he issued me a letter granting me authority to sell his art and issue prints of his work as well. I was able to place many of his fine art master pieces in homes of people who I’m sure to this very day are relishing these exquisite pieces of paper made sacred by the stroke of his brush and the purified gaze of his eye. And all kinds of funds from the sale of his works were channeled to ground level projects aimed at preserving ethnobotanical wisdom, supporting local and indigenous peoples projects and for the conservation of the might rainforest. 

Although he offered, I never kept any commissions from the sale of his art. Rather, given my passionate devotion to the cause, I was overjoyed to collaborate in his mission of the Usko Ayar School of Amazonian Painting, where he selflessly served his community like a whole hearted father.

It was moving and eye opening to see the location of the school, on stilts over a swamp, literally in an impoverished slum in the outskirts of the Amazonian city of Pucallapa in Peru. The funds from the paintings I sold for him, he was kind to inspiringly inform me how with that he was improving the school and he even built a new smaller jungle school deeper in the forest too outreach to more rivereños, river dwellers. I would take all opportunities of folks traveling to supply him with copious amounts of high quality pigments, brushes and his all time favorite, Arches paper.

Years later when I was building the main lodge at Ocean Forest Ecolodge, I was able to sell two of his paintings. Never asking, he sensed my financial need and insisted I I keep half. At that moment I did really needed it, and with his divine support, we finished the construction of the Lapa Lapa Lodge at our center in Costa Rica. 

The Lapa Lapa Lodge at Ocean Forest Ecolodge, Osa Peninsula, Costa Rica
Full moon on the Sierpe River, Osa, Costa Rica. Painted while maestro Pablo Amaringo was visiting Guaria de Osa (Ocean Forest Ecolodge) 4/7/06
Maestro Pablo Amaringo at (Guaria de Osa) Ocean Forest Ecolodge, Osa Peninsula, Costa Rica, 2004

Don Pablo also joined me on four occasions to visits the Secoya (Siekopai) territory in the Ecuadorian Amazon. On these early sojourns, organized between 1997-2000, don Pablo had already years back left the path of ayahuasca shamanism, his skill though, in helping people interpret their visionary experience in modern language, was as honed in as ever! And this was a wonderful contribution to the retreat after the all night, powerful ceremonies of yagé, with our most high Siekopai traditional elders, maestro Cesareo, maestro Delfín, maestro Tintin, maestro Esteban, maestro Jójó, joining in the reverie camaraderie. By day don Pablo was interpreting participants visions and teaching art classes to the group of visitors and Siekopai youth alike. Many of who have gone on years later until this day creating marvelous paintings of their rainforest home. Those were some far out trips!

Emilio Lucitante (Jójó) waving goodbye to us as our canoe departed upriver. At San Pablo de Cantesíayá, Aguarico River, Ecuadorian Amazon, 1994

On one such trip, we had the unforeseen incident of our canoe being stolen. And from right in front of Siekopai traditional elder don Cesareo’s homestead! That story is written about in Daniel Pinchbeck’s book Breaking Open the Head (who was with us on that trip) in chapter 22 ~ My Shamanic Vacation. After a series of adventures the canoe was retrieved from a Shuar Indigenous village some hours downriver.

After that, Cesareo had us taking turns, “watching the canoe,” these were all night shifts. And out of sheer coincidence, the night that was my turn to watch the canoe, a ceremony of yagé coalesced to occur. It would be the first time I would sit out one of the seasonal celestial summer ceremonies. All the elders arrived, in tunic, bead and crown, and the participants alike left the camp to the ceremonial lodge some distance removed behind the ol’ man’s house. One of the participants Mark, who had enough on the prior ceremony and opted out stayed back too. And the Kofán elder, Emilio Lucitante, endearingly called “Jójó,” at the last moment rather than going to drink yagé said I’ll stay with you! A fella in the group came up to us, feeling sorry we couldn’t go to the ceremony. He said, “here if you get bored, try some of this.” He left a small blue dropper bottle on the table and walked off saying, “three drops will light up the night!”

Golden Moon of the Amazonian by maestro Pablo Amaringo

An hour or so later, the singing began at the ceremonial lodge and we could hear this loud and clear. It was powerful! This got me thinking that anyone and every one coming up or down the river around here would’ve clearly heard all the singing that’s been going on. That had me entertained for a while. Jójó, Mark and I were sitting there and as some hours went by we ran out of things to talk about. The continual chanting of the elders in the ceremonial lodge was at that distance by now purring us to sleep. “Hey what about that little blue vial,” Mark says. “Three drops, eh?” Three drops later and the drop of the moment in time stretched over the rivers borders, over-bordering the canoe that we were watching. Dissolving the rivers edges and that of the forest and the sky into an ocean of heavenly designs. Jójó the Kofán elder, dropped too and was quietly content ~ watching!

Deep of the Night by maestro Pablo Amaringo

Suddenly the quiescent stillness of the night was shattered with Mark starting to bad trip! He got really vocal and was screaming, “Spines in my head.” He wanted to run off, had to hold him back. I said, “I’ll call don Pablo.” “Yes,” he said, “he’s the only one who can save me,” he said panting. Don Pablo was contently sleeping in the hut not too far off. “Don Pablo, don Pablo,” I said to him as I nudged him to awaken. He awoke and sat up, and I explained, “Don Pablo, Mark is bad tripping, we need your help!” He came over and Mark was loosing it hard poor fella, moaning and groaning, and all lull and limp, he was a mess! Don Pablo, sat Mark before him, and he raised his hands to sky. Whispering a subtle prayer, Pablo lowered his hands on Marks head and right then Mark gasped in relief. Don Pablo left back to his hut to sleep and Mark was flying high as a kite. Feeling better than he’s ever felt, the rest of the night!

To me this was an absolutely amazing show of power. Don Pablo in his humble presence calmed Mark down just by placing his both hands on Marks head! A rare and miraculous moment we witnessed that solemn night, all whilst “watching the canoe,” on the banks of the moonlit Aguarico River. In the reverberations of an all night ceremony of yagé, where the elders chanted full blast ahead, all throughout the night, until the sun gently rose, glistening with all its glory in the eastern sky.  

Descent of the Angels by maestro Pablo Amaringo

The personal spiritual energy don Pablo embodied was also delicately instilled in his paintings, this is why he would say his art is therapeutic. Try looking at them for a while and see how you feel!

Don Pablo also shared that his art, being therapeutical in nature, is more effective when hung covered with a cloth. Choose a pleasing pastel color that may on itself have pleasant designs. When one wishes to view the painting, and the curtain is opened, a therapeutical transmission can occur. 

It is a high honor and joy to be eligible to offer you my beloved reader the option of acquiring high quality giclée prints of maestro Pablo Amaringo’s masterpieces to bless your space. Please visit our Maestro Pablo Amaringo Visionary Fine Art Gallery to explore fifty fine art masterpieces.  Proceeds from the sale of the prints are channeled to ground level rainforest conservation and cultural heritage preservations initiatives.

Maestro Pablo Amaringo at his home in Pucallpa Peru, 2002

The development of ones spiritual capability,
comes through training your heart,
and your level of awareness.
The heart works with the mind,
consciousness works with spirit.
Learning to talk, think and do good,
refines ones spiritual abilities. 
To enter a turbulent world,
we need spiritual abilities. 
Meditation is a practical thing, 
it helps train your spiritual nature,
bringing reflection to all we do. 
With self reflection we can purify the mind. 
Spend time in nature,
from plants swaying in the wind,
we can learn to be adaptable.
Learn to appreciate mother natures simplicity,
and her innate orderliness.
The world today is much too turbulent,
to be rigid, and disorderly. 
Being orderly is in and of itself,
a form of spiritual and intellectual training. 

Ayahuasca Visions The Religious Iconography of a Peruvian Shaman–Unveiling the sacred mysteries of Ayahuasca Author: Pablo Amaringo, Luis Luna
Existencia humano (Human Existence) by maestro Pablo Amaringo
Los Rondadores del Mundo (Circulating the Globe) 57 X 76 cm, Extra fine gouache on Arches paper by maestro Pablo Amaringo, dated: 16-02-02

This exquisite painting, that graces the cover of Rainforest Medicine, illustrates a ceremony held among the deep forest Ashaninka, where a vision is reveled that the wisdom of the sacred plants will one day will reach all regions of the globe. Standing witness on left are spirits of the Inka, predecessors of the tradition who brought forth the knowledge of the preparation of ayahuasca. To the right, mystical wisdom sages of alternate dimensions. Celestials angels descend from above, to instill the occasion with their divine energies, heartening the expansion of opportunities for this blessed wisdom to infuse its auspicious potential far and wide, into the hearts and minds of people the planet over. 

The Yagé Complex by Neil Logan


Dedicated to Miguel Payaguaje and his extended family (including his father Delfín and his grandfather Fernando), as well as all the vine gardeners responsible for stewarding these sacred plants through time.

Note: This article was originally published  on Microcosms, A Home to Sacred Plants of the Americas. It has been republished here with permission from the author. 

Miguel Piaguaje making cuttings of Wai Yagé to plant in a garden with pineapples, Sucumbíos Province, Ecuador, 2017. (Photos T. Baldwin)
Miguel Payaguaje making cuttings of Wai Yagé to plant in a garden with pineapples, Sucumbíos Province, Ecuador, 2017. (Photos T. Baldwin)


This essay will present the origins, evolution, and human co-history of the Malpighiaceae family of ethnomedically significant vines in order to shed light on the confusion and controversy surrounding these important taxa. The intention is to draw attention to the importance of preservation and support of the indigenous cultures that continue to have deep connections with these sacred plants before this knowledge is gone. Images created with the confocal microscope of these species are featured in the website Microcosms: A Homage to Sacred Plants of the Americas.

Origin of the Malpighiaceae Family

South America separated from Africa around 100 mya. The Malpighiaceae family of plants originated in South America approximately 70 mya. The family has roughly 77 genera containing approximately 1300 species, ranging in form from vine, tree, or shrub. 88% of the genera are from the new world with 22% escaping to the old world. Quite a feat considering South America and Africa had been split apart for ~30 million years before this family was born. (See Davis et al and Davis and Anderson)

Ecology and Fruit

Many of the vines in this family function ecologically as pioneer and accumulation species that help promote soil fertility by rapidly colonizing open sunny areas and degraded sites. They climb to the tops of tall trees in search of sunlight. Eventually, they can become so heavy that the host tree collapses under the weight, thereby creating gaps in the forest canopy. When a vine reaches the treetop, it is perfectly located for reproduction. Once the flowers are pollinated, the resulting fruits, when dry, are shaken by wind and released, sending them helicoptering down to the forest floor below, where some of them will find new fertile ground to germinate. The fruits of Banisteriopsis and Tetrapterys species are samaras, which resemble maple seeds with a wing-like appendage that cause them to whirl as they fall so winds can distance them from the mother vine. Fruits with wings have evolved and have been lost over time several times in this family. Other genera like Diplopterys and Callaeum have some species whose fruits are not samaras, but rather reduced winglets with air pockets that help them float with currents downriver. Herbarium collections from the upper Amazon basin demonstrate a pattern of locations for these genera: they flow laterally following the river courses from west to east. The more Banisterioid species with winged-fruit (for example Diplopterys longialata syn. B. rusbyana) have a vertical distribution running north-south along the eastern Andes. This distribution could be explained partially by the prevailing wind patterns pushing the wind-dispersed species up against the mountains and then riding the escalator of Andean uplift. Interestingly, only family members with winged, wind-dispersed fruits such as the genus Tetrapterys are found in both the new and old worlds. How might this have happened?

Sprouting somaran seed of Diplopterys longialata var huambisa, photo by Julio Vicencio at Jambi Mayu, Ecuador.
Tetrapterys mucronata (Photographs by N. Logan with permission from the NYBG.), 1a&b – Bahia, Brazil (Amorim, Forzza, and Sant’Ana 3047), 2 – Rio Negro, Venezuela (Davidse 27817)

New World to Old World Migrations

During the Tertiary period, Tetrapterys and a few other related genera of the Malpighiaceae migrated north into North America and then moved east across a northern tropical corridor until reaching Europe. As temperatures cooled, the migrating Malpighiaceae moved south to central Africa where they can be found today. Other disjunct populations may have migrated later as long-distance dispersal events, but it is currently unknown how or when these most unlikely events would have occurred. While in the New World, oil-gathering bees have had a long-standing relationship with the Malpighiaceae. The disjunct populations of organisms in the Old World quickly morphed to adjust to the locally available types of bees. This demonstrates the genetic variation and morphological fluidity of this family and its ability to rapidly adapt to new circumstances. An example of this can be seen in the glands on the flowers of these species shifting from solely producing oil, to a mixed function strategy by which some glands produce oil, while others produce sugar. This has allowed the attraction of multiple potential pollinators to help ensure successful reproduction.

Early Encounters with Plant Synergies

Evidence shows early human inhabitants of South America combined tryptamine-rich seeds of the tree (Anadenanthera peregrina) with the beta-carboline-containing vine (Banisteriopsis caapi) to achieve synergistic effects analogous to the modern concept of ayahuasca (see Torres 2018). This could have happened very early in the migration process, because humans entering northern South America through the Orinoco river valley would have traversed large savannahs full of Anadenanthera peregrina, while B. caapi vines could be found growing at the edge of the zone where the savannah overlaps with the forest. It is reasonable to assume that in the search for food, both plants would have been an attractive source of nutrition for humans:  water (vine) and calories (legume endosperm). Presently, some people of the Orinoco are known to chew raw caapi stems. In fact, the Piaroa, an Orinoco-based culture, still insist upon the use of Anadenanthera combined with B. caapi for the strongest effects (Rodd 2002). Cultural and ecological context would shape the recipe and method of consumption (Rodd 2008). Over time, methods have evolved, leading to the development of preparations that produce various states of consciousness associated with each respective context. 

Ultimately, the use of B. caapi combined with more than one hundred potential admixture plants, became common across the eastern Andes from Bolivia, north to Colombia, and Venezuela, following the Amazon and its tributaries eastward across much of north and central Brazil. “Caapi” or “Cabi” are two of the more common names for referring to related vines across most of northern South America.  B. caapi is considered by many groups of these regions to be a kind of driver of ecological ingenuity. It is the fundamental master medicinal plant teacher around which all other plants revolve.

Considering that the bulk of the vine speciation likely has occurred as a result of Andean mountain-building giving rise to novel microclimates, gravity and the physical barrier created by tall mountains would impose directionality to the spread of these species. Consequently, most migrate downstream from west to east. In Brazil, there are no verifiable occurrences of endemic Banisteriopsis relatives associated with traditional human use. For these reasons, the epicenter of the human-yagé-complex relationship is likely to be found in the upper Amazon basin at the source of the watershed.

The West Meets Caapi

For 15 years (1849 – 1864) English botanist Richard Spruce traveled upriver from the mouth of the Amazon beginning in Para, Brazil. He arrived at the upper Amazon basin (year ~1852) and traveled up the Río Negro as far north as the Orinoco (where he witnessed the chewing of caapi stems) and penetrated deep into the Río Vaupés observing and documenting the indigenous cultures (Guahibo, Tukano, and others) he encountered. From a garden plot, he collected and described Banisteria caapi (the genus later re-named Banisteriopsis) in addition to the cultural uses, rituals, etc. surrounding it. He collected a distinct variation of B. caapi with elongated swollen nodes. Spruce’s description of ayahuasca’s effects is different from modern descriptions in terms of onset and duration. The brew he encountered consisted (as far as we know) of caapi mixed with the slender lateral roots of a plant he believed was from the Apocynaceae (Iboga family), called caapi-pinima (painted caapi), a reference to the red-colored veins running through its leaves. Spruce first identified this admixture plant as a species of the genus Haemadictyon, later reclassified as Prestonia amazonica. While Spruce insisted the plant was of Aponcynaceous origin, the leaves he describes (sans red pigment) have an uncanny resemblance to Diplopterys cabrerana leaves, whose slender lateral roots combined with B. caapi stems are consumed as a decoction by the Witoto people. Not long after Spruce’s departure from South America, the rubber boom would begin, ushering in a new era of ecological degradation, cultural exploitation, and more western explorers looking for new natural resources to feed industry.

Schultes’ Enigma

Approximately 80 years after Spruce, economic botanist Richard E. Schultes was sent to the Río Vaupés to study arrow-poisons and collect new sources of rubber for industries supporting the war effort. He documented many important plants and ultimately inspired many people to become interested in ethno(sic)botany and help with the Amazonian cause. He documented and collected 2 different yellow-flowered, Malpighiaceous vines belonging to the caapi complex. Both B. martiniana (Isotype of Banisteriopsis martiniana (A.Juss.) Cuatrec. var. subenervia Cuatrec.) and the type collection of B. cabrerana (syn. D. cabrerana) were procured from tributaries of the Río Vaupés. Schultes made an effort to identify the painted caapi (Prestonia amazonica). Ultimately, he eliminated Prestonia amazonica (or any Apocynaceae) from the list of possible candidates of important admixtures to the caapi brew. However, he was unable to definitively ID Spruce’s painted caapi, ascribing this moniker to a species of Tetrapterys instead. He referenced at least 30 kinds of (known) named varieties of caapi in the NW Amazon. However, Schultes was baffled by the local indigenous people’s ability to identify different varieties of B. caapi consistently, even at a great distance without touching, smelling, or tasting the vine, whereas he was unable to distinguish them. This has been dubbed “Schultes’ Enigma”. 

“This aspect of ethnobotanical studies certainly requires much more intensive and interdisciplinary field research. Are these kinds, different age forms; are they due to hardly perceptible soil or other ecological factors; are they the result of growing in semi-open or secondary situations, as opposed to the dense forest; are the specimens taken from various parts of the liana, are the cultivated specimens specially selected clones with varying chemical composition and, consequently, varying physiological effects; or are they chemovars?” (See Schultes, 1986)

Regional Origins of Plant-based Tryptamine + Beta-carboline Synergies and Migration Patterns for 3 Key Species of the Yagé Complex
Regional Origins of Plant-based Tryptamine + Beta-carboline Synergies and Migration Patterns for 3 Key Species of the Yagé Complex

Origins of the Modern Brew 

Some of the writings by Schultes and other researchers, as well as herbarium collections from eastern Ecuador reference the Payaguaje family lineage (and related branches, see Payaguaje 1990 and 2007). They are amongst many notable aboriginal families of the region. When researching the roots of the ayahuasca tradition, all indications seem to converge upon the area between the Río Aguarico and the Río Putumayo as a major region of diversity. The Tukanoan cultural areas on the upper Río Negro in Colombia would be another epicenter of diversity. Additionally, researcher Gale Highpine, places the origin of ayahuasca (in the popular form known today) in the Northwest Amazon where the Río Napo meets the Amazon River.

Ayahuasca = Banisteriopsis caapi (Photos and Illustrations: N. Logan), 1 – Banisteriopsis caapi var. ourinho from Brazil, 2 – Banisteriopsis caapi var. cielo flowers, 3 – Banisteriopsis caapi immature fruit, 4 – Banisteriopsis caapi var. DaVine fresh flowers, 5 – Banisteriopsis caapi trunk bark, 6 – Banisteriopsis caapi var. tukunacá from Hawaii, 7 – Banisteriopsis caapi var. DaVine close-up of flower

Due to a host of factors that are political, ecological, and cultural, for the last several decades it has been relatively easy for western explorers to access Ecuador. Since the vines cared for by these Ecuadorian indigenous families (who have a long-standing, well-established relationship with these plants and have handed them down person to person over many generations), they can be seen as a kind of reference standard against which other vines can be compared. Consider the northwest Amazon basin nestled up against the eastern Andes as the epicenter with spokes radiating mostly to the east and south of that point. The logic here is that the discovery and refinement of the technology we know today as modern yagé or ayahuasca, was born in this epicenter and then slowly spread downriver and traversed the eastern slopes of the Andes. The implication is that most vines found further away from this region are derivations of the legacy vines and their hybrids originating at the epicenter. By cataloguing the attributes of legacy vines and their ethno-categories, a reference can be built for determining the pedigree of any vine of The Yagé Complex, a term that can be used to refer to the numerous named cultivated varieties of Banisteriopsis caapi and related Malpighiaceous vines incorporated in yagé/ayahuasca preparations with analogous effects. B. caapi members of The Yagé Complex can be categorized according to four fundamental morphological features of these related plants: they have either smooth or swollen nodes; they grow as either low bushes or high climbing vines. There are many hybrids that intergrade within these four features, sharing characteristics that result in new cultivars. 

Tara = Banisteriopsis caapi var. tara (Photos: N. Logan), 1 - abaxial leaf glands flanking petiole at base of lamina, 2a - trunk bark, 2b – branch, 3a - fresh flower, 3b - mauve (#E0B0FF) flowers that fade to white, 4 - leaves with complex venation (twice divided)
Tara = Banisteriopsis caapi var. tara (Photos: N. Logan), 1 – abaxial leaf glands flanking petiole at base of lamina, 2a – trunk bark, 2b – branch, 3a – fresh flower, 3b – mauve (#E0B0FF) flowers that fade to white, 4 – leaves with complex venation (twice divided)

The Payaguaje Collection of Legacy Vines

Flower color and structure are important macroscopic features for identifying cultivars of B. caapi. Ayahuasca typically has flowers with pink petals that fade to white or creamy yellow when old, yet great variation exists. From the Río Aguarico of Ecuador has come a very special collection of vines that serve as a reference for The Yagé Complex. E. Jean Langdon’s work describes the people from this region who identify as Siekopai and speak the Paicoca language. Linguistic evidence links three of these legacy vines (tara, tzinca and wai yagé) to this region of Ecuador in Sucumbíos Province. The tara vine (which means bone in Paicoca) has long straight stem growth, smooth nodes and a flower with mauve petals that fade to white. The name may be a reference to the long slender portion of a human bone (diaphysis). According to Jonathon Miller Weisberger (in an accompanying Microcosms article), when tara yagé is prepared, the stems are pounded until the outer bark is completely removed and what remains resembles the inner part of the bone. According to Weisberger, tara yagé is so powerful that it is both cultivated and prepared far away from the community following strict protocols. The tzinca vine has large swollen nodes and white flower petals with a pink splotch running through the middle. It is also known for producing strong physical effects in those who drink it such as shaking and purging. Tzinca in the Paicoca language refers to the bulbous ends of a human long bone (epiphysis) alluding to the large swollen nodes of this vine. Wai yagé grows as a mounded shrub with flowers,  similar to “Tzinca”. Weisberger relates that the word “Wai” refers to meat, fish or game in general. This vine is prepared and ingested close to home, sometimes uncooked without additional admixtures (elaborated in a way similar to how kavakava is prepared in the Pacific islands). Wai yagé is consumed for the purpose of tracking the activities of animals. Branches and leaves of “yagé oco” are often added to one or more of the previously mentioned vines to produce “yagé”. The Payaguaje legacy vines, along with many related medicinal plants were collected with permission and encouraged to be spread and consumed. Various parts of the collection have made their way to the US mainland and Hawaii and are now grown across the southern US. The clearest message disseminated with this collection (across time and cultures) is, “keep drinking”. None of the plants in this collection are for sale, and each plant has been shared lovingly from the hands of one gardener to another the way it has been for millennia. It is in this spirit that confocal images of these plants from The Yagé Complex appear in this ecodigital repository that constitutes Microcosms: A Homage to Sacred Plants of the Americas.

Wai Yagé - Banisteriopsis caapi var. wai yagé (Photos: T. Baldwin and N. Logan), 1 - Leaf with abaxial glands around the margin, 2 - vine in habit, 3 – Flowers, 4 - stem cross section, 5 - swollen stems with short distance between nodes
Wai Yagé – Banisteriopsis caapi var. wai yagé (Photos: T. Baldwin and N. Logan), 1 – Leaf with abaxial glands around the margin, 2 – vine in habit, 3 – Flowers, 4 – stem cross section, 5 – swollen stems with short distance between nodes
Wai Yagé – Banisteriopsis caapi var. wai yagé, rare to see in flower, here pictured growing on the big Island of Hawaii, photo Neil Logan

Caapi by Any Other Name…

Most westerners understand ayahuasca as simply orally-activated dmt, with the vine merely serving to supply this function. Westerners tend to look for and expect certain effects from encounters with “psychedelics” (of which yagé is considered a member). For this reason, there is a focus on the dmt-containing plants. However, it’s important for western enthusiasts of ayahuasca to remember that, regardless which of the more than a hundred potential admixture plants are added to the brew, it’s still referred to by the name of the vine called ayahuasca or yagé. The name of the brew thus reflects its primary ingredient. Spruce’s notes demonstrate there were different recipes for the brew for different purposes and by different people. Documentation of those early encounters by westerners consistently report B. caapi as the principal ingredient. 

Resolving the Enigma

The original materials that best exemplify a species concept are referred to as the type and lectotype. Brazilian botanists working on Banisteriopsis caapi and its ethnotaxonomic varieties have only recently resolved these fundamental elements of species taxonomy (See de Oliveira et al and de Souza et al). Furthermore, vines from many genera of the neotropical Malpighiaceae are known to be used by people for traditional medicine and/or known to contain bioactive compounds. Examples of these genera include: Alicia, Bronwenia, Hirae, Tetrapterys, Banisteriopsis, Diplopterys, Callaeum, Mezia, Heteropterys, Glicophyllum,  Stygmaphyllon, and others. The neotropical Malpighiaceae have been in taxonomic revision since the 1980’s and are expected to continue being researched and assessed for some time to come. 

Tzinca = Banisteriopsis caapi var. tzinca (Photos: T. Baldwin and N. Logan), 1 – leaf, 2 - vine in habit displaying closely spaced swollen nodes 3 – flowers, 4 - leaf gland, 5 - leaf gland on base of lamina
Tzinca = Banisteriopsis caapi var. tzinca (Photos: T. Baldwin and N. Logan), 1 – leaf, 2 – vine in habit displaying closely spaced swollen nodes 3 – flowers, 4 – leaf gland, 5 – leaf gland on base of lamina

The difficulty of segregating these vines was, precisely, the enigma faced by Schultes. He was a botanist who collected and correctly identified thousands of plants in hyper-diverse tropical rainforests and yet these particular vines still confounded him. Botanists (Anderson and Gates) only recognize B. caapi as a single taxon with no botanically-valid varieties. Indigenous cultures and academics and preparers affiliated with the Santo Daime church in Brazil (see Monteles) have named varieties that number in the dozens. To segregate the two main varieties tucunacá (smooth nodes) and caupuri (swollen nodes) from one another, scientists have resorted to using light microscopes to peer into palisade parenchyma cells and vascular bundles. These botanists are only surveying morphological features such as flowers, leaves, bark, growth habit, microscopic cellular structure, etc., whereas the other groups (indigenous cultures and entheogenic churches in Brazil) have more experiential ways of knowing and categorizing that, in addition to morphology, can include sap color, number of lobes in the cross section of a stem, flavor, scent of leaves, physical and psycho-spiritual effects, amongst other characteristics. According to Schultes, their identity “depends on the conjunction of botanical features, chemical effects of the mode of preparation and cultural suggestions in the visions experienced.”  Each cultivar is known to have their own unique effects and context for use, which are often intertwined with their respective rituals.

“Each plant has a spiritual guardian and a shaman owner, and shamans often trade kinds. Furthermore, if a shaman finds a wild liana in the forest, he will prepare a drink to ascertain its worth for inclusion in his own repertoire, especially in regard to what visions it can induce; if he takes a cutting, he will then and there name and classify it [….] Further exploration between this conjunction of botany-chemistry-culture warrants further investigation [….] It is still an enigma.” (Schultes 1986)

Yagé oco = Diplopterys longialata var. huambisa (Photos: T. Baldwin and N. Logan) 1 – cross section of petiole, 2 – large nectaries at the base of the lamina, 3 – vine in habit, 4 – multiple meristematic shoots per node, 5 – flowers, 6 – stem cross section, 7 – trunk with deep vertical inclusions, 8 – mature leaf and fruit

All-in-One Vine

It has long been hypothesized there may have been an original proto-vine that contained beta-carboline and tryptamine alkaloids all in a single, easy-to-consume-plant (something akin to Psilocybe mushrooms). During his search for caapi-pinima, Schultes consumed a cold water extraction of bark scrapings from Tetrapterys methystica and collected samples of the plant source. Much of his collection was lost but some was salvaged. The fragments that are left seem to indicate another epithet: Glicophyllum stylopterum (A.Juss.) R.F.Almeida. Little is known about this species from modern research. However, in Brazil, a closely- related species that is considered another kind of cabiT. mucronata, recently has been investigated because Brazilian churches there are currently using it. The chemistry is such that it could be used as the sole ingredient in an ayahuasca-like preparation. The presences of 5Meo-DMT, 5Meo-n-methyl-typtamine, bufotenine, and 2-methyl-6-methoxy-1,2,3,4-tetrahydro-β-carboline have been detected in this species. It is considered to be something only for specialists because it is potentially very dangerous due to possible cardio-activity (Queiroz 2013). 

Diplopterys cabrerana vs. D. longialata (Photographs by N. Logan with permission from the NYBG.)1a - D. cabrerana fruit, 1b - D. cabrerana type collection: Schultes and Cabrera 17459 Rio Pira Paraná , Colombia, Sept. 10th 1952, 2a - D. longialata var. Huambisa fruit, 2b - D. longialata collected by Limbach, M.D., C.F., No. 148, Morona Santiago, Ecuador, March 1, 1990.
Diplopterys cabrerana vs. D. longialata (Photographs by N. Logan with permission from the NYBG.) 1a – D. cabrerana fruit, 1b – D. cabrerana type collection: Schultes and Cabrera 17459 Rio Pira Paraná , Colombia, Sept. 10th 1952, 2a – D. longialata var. Huambisa fruit, 2b – D. longialata collected by Limbach, M.D., C.F., No. 148, Morona Santiago, Ecuador, March 1, 1990.

Diplopterys cabrerana Confusion

Another candidate for the all-in-one brew would seem to come from B. rusbyana (syn. D. longialata). This vine has long been conflated with Diplopterys cabrerana and appears to be the more commonly-employed admixture of the two in modern brews. There are herbarium collections of this species indicating that the trunk can be used to prepare a beverage (See Velarde-Núñez). Phytochemical analysis of this species found dmt in the leaves and bark as well as 2-methyl-tetrahydro-beta-carboline in the branches and trunk bark. Experience with this brew (where all parts of this vine are used) indicate the flavor is putrid and undrinkable, leading to the hypothesis that someone, somewhere along the way, figured out that the leaves of this vine (D. longialata) could be mixed with the bark that is relatively sweet-tasting (at least in comparison to that of B. rusbyana bark) of B. caapi, to produce a palatable tea. Might this explain how the modern yagé brew was born? This major technological advancement could have catalyzed the recent usage of caapi since a wide range of people could accept the flavor of this brew. Additionally, the National Cancer Institute (USA) funded a project in Ecuador led by C. F. Limbach in which two of their collections (“natem” B. caapi and “yaji” D. longialata) brewed together and reduced to a concentrated liquid extract is consumed to treat “various severe illness, incl. TB, malaria, yellow fever, and symptoms resembling female genitourinary carcinomas and basal cell carcinomas” (See Limbach, herbarium specimen, NYBG).

The strong morphological similarities between D. longialata and D. cabrerana and their ethnomedicinal uses have made proper collection and identification of the two very difficult. Their frequent usage keeps them in a near perpetual state of vegetative growth. For this reason, the vines rarely flower or reproduce, making their identification next to impossible.

Other vines to know part 1 (Photos: N. Logan), 1a&b - purgahuasca = Alicia anisopetala flowers and leaves, 2 - mii = Banisteriopsis muricata leaves, 3a,b,&c - Neidenzuella stannea - easily confused with desirable admixtures - flowers, trunk, leaves, 4 - huilca bejuco = Diplopterys lutea leaves
Other vines to know part 1 (Photos: N. Logan), 1a&b – purgahuasca = Alicia anisopetala flowers and leaves, 2 – mii = Banisteriopsis muricata leaves, 3a,b,&c – Neidenzuella stannea – easily confused with desirable admixtures – flowers, trunk, leaves, 4 – huilca bejuco = Diplopterys lutea leaves

Other Vines to Know

The pressure due to overharvesting of traditional B. caapi is now so great that alternative (back up) sources are being sought. D. pubipetala has become popular in recent times as an analogue of B. caapi. Its bark is considered a functional source of harmine and the plant produces compounds in the leaves that are being studied for their ability to treat cancer. Alicia anisopetala known as purgahuasca is used (like “snake head soup” made from B. caapi leaves) as a pre-ceremony cleanse. There is also a powerful vine with blue flowers (species unknown) and the “white ayahuasca” aka “Yawarpanga” which appears to be from the genus Aristolochia – in a completely different family (Aristolochiaceae) from yagé. This vine is used as a ritual emetic before ceremonies that are focused on healing drug addiction. Then there is the look-alike vine Neidenzuella stannea with leaves that could be confused with Diplopterys cabrerana and D. longialata or with Banisteriopsis muricata with shiny two-toned (discolor) leaves. This vine contains MFA (mono floro-acetate), a non-volatile compound that doesn’t boil off during the brewing process and acts as a respiratory suppressant known to kill cows! To add to the mix, R.E. Schultes wrote, “The plant Hawkesiophyton ochraceum (Cuatrec.) A.Orejuela & C.I.Orozco (syn. Juanulloa ochracea) (Solanaceae), which contains the alkaloid parquina is called Ayahuasca in the Colombian Putumayo, and is added to Banisteriopsis drinks.” Finally, Mansoa alliaceae., (Bignoniaceae), known locally as ajosacha (wild garlic), is another vine commonly added to caapi brews. Its leaves smell like garlic and are sometimes mistaken for Diplopterys cabrerana leaves. The roots are used to cleanse the body of parasites and color the brew yellow.

Other vines to know Part 2 (Photos: N. Logan), 1 – ajo sacha = Mansoa alliacea leaves, 2 – white ayahuasca aka Yawarpanga = Aristolochia sp. leaves, 3 – caabi = Callaeum antifebrile, 4 – Diplopterys pubipetala leaves, 5 – ayahuasca = Hawkesiophyton ochraceum flowers

Supporting South American Indigenous Cultures

What is the meaning of these legacy vines outside of their cultural and ecological contexts? The situation in the Amazon is much more dire than is reflected in the media. Friends in the front-line trenches of reforestation in the Amazon and Cerrado regions of Peru and Brazil report there is only ~30% of the Amazon left intact, and only 20% of the Cerrado! Some organizations in Ecuador claim there could be complete deforestation there by 2025. The best line of defense against deforestation is to support the forest-based cultures whose identity and livelihoods are intimately intertwined with the ecosystem within which it is embedded. To his credit, rather than continuing to exact more pressure upon wild collected resources, L. Miller did plan to cultivate the vine to supply industry, which was potentially a good thing. However, patenting a culturally significant species (as his own) is certainly not appropriate. Moving forward will require shifting the current unsustainable approach to one that is more equitable and that duly honors the worldview of indigenous peoples. What’s at stake is more than any single species. With the loss of biological and cultural diversity, we collectively lose resiliency in the face of an ever-changing world. Indigenous experience points to these vines as cross-kingdom, communication technologies, instrumental to understanding and integrating with ecosystems. Tools of this kind will help us navigate the ecological catastrophe that humanity (collectively) has been creating over the past several hundred years.

Growing caapi (Photos: N. Logan), 1, 2 & 3 caapi var. ourinho growing on a rebar dome with chacruna beneath *note the leaf litter deposit, 4. Teepee of wooden poles for trellising caapi vines = safe and responsible (Illustration by N. Logan), 5. Sweet caapi growing on a native tree in Hawaii = dangerous irresponsible – will accelerate tree fall *if using trees for trellis, plant vines on the upwind side

Yagé is not only a miraculous plant teacher. The cultivation of B. caapi can also help regenerate forest ecosystems. Rather than allowing vines to grow haphazardly, wreaking havoc on the new ecosystems into which they are introduced, instead they can be trellised on domes with chacruna (Psychotria viridis) growing underneath. Planting vines in a system that is well managed has the potential to regenerate soil and bring back the forest. Using longstanding traditions of agroforestry, together, we can develop regenerative agroecosystems that produce raw materials to feed our supply chains. This will slow the need to further deplete intact forest ecosystems and empower indigenous people to manage their natural resource base in a manner that honors their heritage.

Tara = Banisteriopsis caapi var. tara (Photos: N. Logan), 1 - abaxial leaf glands flanking petiole at base of lamina, 2a - trunk bark, 2b – branch, 3a - fresh flower, 3b - mauve (#E0B0FF) flowers that fade to white, 4 - leaves with complex venation (twice divided)
Tara = Banisteriopsis caapi var. tara (Photos: N. Logan), 1 – abaxial leaf glands flanking petiole at base of lamina, 2a – trunk bark, 2b – branch, 3a – fresh flower, 3b – mauve (#E0B0FF) flowers that fade to white, 4 – leaves with complex venation (twice divided)


Vines of The Yagé Complex play an important ecological and cultural role in the lives of people from the Amazon basin of South America. Shaped by the forces of continental drift, subsequent mountain building and human selection, these vines contain great diversity of form and function – a caapi for every occasion. As these lianas spread out across the continent from their point of origin, many new hybrids have been created that complicate identifying the pedigree and therefore application of unidentified vines. The morphological similarities between related taxa have perplexed even expert botanists. In recent decades, that confusion has been exploited, resulting in a patent awarded to a non-indigenous person with no acknowledgement given to the people responsible for introducing the west to these organisms in the first place. Over-exploitation of wild natural resources and deforestation have become undeniably serious threats to ecosystems and cultures who have coexisted and thrived together in the Amazon for millennia. Western culture must rectify its relationship with indigenous cultures on the basis of equality and respect in order to then integrate the wisdom of yagé to avoid global ecological catastrophe. 


Diplopterys cabrerana “Yagé ocó” photo by Jonathon S. Miller Weisberger
Diplopterys cabrerana “Yagé ocó” young leaves, by Jonathon S. Miller Weisberger
Diplopterys longialata var Huambisa “Yagí” by Jonathon S. Miller Weisberger
Diplopterys longialata var Huambisa “Yagí” young leaves and extra floral nectaries, photo by Neil Logan


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About the Author

Neil Logan is the Innovations Officer for AgroforestryX and co-creator of the AgroforestryX design tool. AgroforestryX assists farmers, land managers, and conservation project planners to assess, design and manage dynamic multistory agroforestry systems. He is personally passionate about agro-successional restoration systems that produce medicinal, timber, and food crops to offset the costs of regenerating ecosystems. In addition to his work on Malpighiaceae, he has done extensive research on Prosopis, a summary of which can be read in the Microcosms Plant Index.