Greetings from Santa Marta, one of the coastal cities of the Colombian Caribbean and the capital of the Sierra Nevada territory.
One of the missions of my journey is to research the Indigenous cultures of the Sierra and their relationship with the natural environment. I believe we can learn a great deal from these wise men and women who have lived in harmony with the land and its beings for centuries.
Within this territory, four main Indigenous communities coexist: the Kogui, Wiwa, Kankuamo, and Wíntukua, descendants of the Tayrona (900 AD). They all share the same cosmogony, in which a Mother and a Father create and sustain reality:
"The Mother of all our seeds gave birth to us in the beginning. She (Ati Seynekun) is the mother of all lineages. She is the mother of thunder, of rivers, of trees, and of all things. She is the mother of songs and dances. She is the mother of the world and of stones, of the elder brothers… of the dance utensils and ceremonial houses. She is the only mother we have.”¹
Serankua, the creator of the world, is the one who "gave a spiritual guardian to every stone, mountain, and river of the Sierra."¹
All these Indigenous communities follow the Law of Origin, a legal system aimed at maintaining harmony in the universe. They understand that all living elements are important, so they must learn from them and ensure their continuity. They have sacred sites that span the entire Sierra Nevada. The path connecting these places of power is known as the Black Line, a bridge between the material and spiritual world for the Sierra communities.
This belief system is materialized through Pagamentos, rituals in which they express gratitude to the land for its generosity and resources, ask for permission, and offer something in return—essentially, repaying a debt. It is a matter of reciprocity, a relationship where one both gives and takes.
"In any activity we undertake, such as cutting down a tree, hunting an animal, planting, harvesting, building a house or a bridge, we must perform Pagamentos to ask permission from the spiritual owners. If we don’t, the consequences are severe: illnesses, conflicts, droughts, floods, landslides, or fires…Our sacred sites cannot disappear, they cannot be violated. Without them, there is no foundation, no laws or norms to guide us."¹
Another crucial aspect is learning through observing the land. They believe that many vital lessons can be read in animals, plants, winds, and rivers. They create stories, dances, and melodies inspired by each being or element they learn from, to remember this knowledge and pass it down from generation to generation.
A fundamental figure in the community is the spiritual leader, known as Mamos (men) and Sagas (women). They act as intermediaries between nature and the community, chosen by the Earth to convey its messages directly and thus guide human actions in harmony with it.
Once selected in childhood, Mamos are secluded in ceremonial houses (Kankuruas) to receive deep training that enables them to read the signs contained in stones, lakes, and plants. Their main roles include guiding rituals related to sexual maturity, marriage, death, and seeking orientation, as well as determining which Pagamentos are required for each occasion.
To achieve concentration and vision, the Mamos—and men in general—use various sacred plants. They chew coca leaves (Erythroxylum novogranatense), combined with lime obtained by processing bivalve shells. This practice is called mambear: as they place coca leaves on one side of the mouth, they add the lime while rubbing a small wooden stick against the surface of a gourd called Poporo. They perform this action throughout the day, using it to connect with their spirituality and meditate. The Poporo is given to them when the Mamo considers that the boy has become a man. Its shape represents the womb (the container of lime), while the wooden stick represents the phallus that penetrates it. It is a symbol of unity and integrity for the communities of Santa Marta.
Poporo
However, the activity that truly weaves their culture together is textile making:
"At the beginning of time, the Mother was the only one who possessed the knowledge of textile art. She began to weave fabric but did not allow anyone to watch her... One night, her son Seizánkua pretended to be sick and asleep to observe the Mother through a crack. He saw how she set up the warp on the loom and wove. Seinzákua tried to imitate what he had seen and made fabric. When the Mother saw him, she exclaimed: ‘Who has been watching me?’ But by then, all men were already learning to weave..."²
Both men and women have a close relationship with weaving. As the legend states, men are responsible for the loom, producing fabric for clothing and bags. Spinning is an action that invites reflection and meditation on the importance of loved ones and nature.
Loom structure. 1
Women, on the other hand, work with the spindle to produce the traditional bags in which men carry their Poporos. The preferred fiber for these bags is Cabuya, obtained from fique (Furcraea species), which, along with cotton, is one of the most commonly used materials in Indigenous textile production in Santa Marta.
These past days, I have seen different plants used to dye fique, such as Ulda (Picramnia sellowii) and Achiote (Bixa orellana).
Ulda (or Unna) is a highly valued dye for its intense purple tone, which becomes visible when rubbed between the fingers and exposed to air. Many mochilas (traditional bags) are dyed with this incredible color. For the Kogui culture, purple represents the feminine aspect and life itself.
Achiote is a well-known dye used by Indigenous communities across South America. Its color can be extracted from its leaves, while its seeds produce a deep reddish hue, perfect for body painting. Red represents blood, circulating life, menstruation, and vitality.
I will continue to explore the culture of the Sierra Nevada de Santa Marta and its Indigenous communities through several interviews, which I will publish in podcast format. This has been a fascinating journey of regenerative learning and discovery of symbiotic colors.
Warm regards,
Sil
SOURCES
Museo del Oro Tairona, Santa Marta
Mythology of the Four Indigenous Peoples, compiled by Gerardo Reichel-Dolmatoff, 1952
Commentaires