• Awajún

    Communities

Awajún ~ Communities

Historical Context: The Awajún, the Term “Jíbaro,” and Ritual Warfare
When Spanish expeditions entered the northern Amazon in the sixteenth century, they encountered fiercely independent Indigenous societies occupying the forested river basins and mountain foothills of what is now northern Peru and southern Ecuador. Spanish sources from this period refer broadly to these peoples as “Jíbaros,” a term that was not a self-designation but an exonym applied by outsiders.

According to both historical accounts and Awajún oral history, the term Jíbaro likely derives from early encounters in which Indigenous informants used words such as Shiwara or Shiwag, meaning “enemy” or “outsider,” to describe hostile or opposing groups. Spanish chroniclers adopted and generalized this term, using it to label multiple related peoples who resisted colonial control. Over time, Jíbaro became a broad colonial category rather than an accurate reflection of Indigenous identity.

During the late sixteenth century, Spanish authorities attempted to establish settlements and missionary outposts within this territory. These efforts culminated in a major Indigenous uprising in 1599, during which several Spanish settlements were destroyed. Following this rebellion, colonial penetration into the region largely collapsed. For centuries afterward, the area remained effectively outside state control, and European, mestizo, and later republican authorities regarded the region as dangerous and inaccessible.

It was within this pre-state context of isolation, inter-group conflict, and territorial defense that some Jivaroan groups, including the ancestors of today’s Awajún, practiced ritual head-taking during periods of warfare. Anthropological research describes this practice as highly structured and symbolic. The ceremonial preparation of an enemy’s head was embedded in a complex spiritual system concerned with warfare, protection, social balance, and the containment of spiritual power, rather than indiscriminate or random violence. These practices were governed by strict cultural rules and were not part of everyday life.

Historical and ethnographic studies indicate that ritual head-taking declined rapidly during the late nineteenth and early twentieth centuries, as missionary presence, state expansion, and changing social conditions altered patterns of conflict and authority. By the mid-twentieth century, such practices had effectively ceased. Contemporary Awajún communities do not engage in ritual head-taking, and it is understood today as part of a historical period shaped by isolation, warfare, and pre-state social organization rather than a living tradition.

Understanding this distinction is essential. Much of what is popularly attributed to the “Jíbaros,” including warfare practices, reflects colonial-era generalizations rather than the lived history, values, or self-understanding of Awajún society today.



Awajún Communities: The Awajún are an Indigenous people belonging to the Jivaroan ethnolinguistic family. Today, the Awajún population in northern Peru is estimated at approximately 30,000 people. Awajún communities maintain strong cultural, spiritual, and historical ties to the Kampankis Mountains and the surrounding river basins.

Until the mid twentieth century, many Awajún families lived in dispersed settlements in upland and forested areas, often along smaller streams and tributaries. This settlement pattern reflected longstanding Awajún social organization, subsistence practices, and territorial use. Beginning in the 1940s and 1950s, and increasingly through the following decades, this pattern began to change. Missionary activity, state-led health and education initiatives, and shifting administrative policies encouraged relocation toward larger rivers and the formation of more concentrated villages.

In 1974, the Peruvian state formally recognized these settlements under national law as “comunidades nativas” or Indigenous communities, establishing fixed territorial boundaries and legal status. While this recognition provided certain protections and access to state services, it also marked a significant transformation in settlement patterns, governance structures, and daily life for many Awajún families.

The name Awajún itself began to appear in written records only in the early twentieth century, as ethnographers and Indigenous leaders’ distinguished specific peoples within the broader colonial category previously labeled “Jíbaro.”

Today, Awajún refers to a distinct people with their own language, territory, and cultural identity. Awajún communities strongly reject the term Jíbaro, which they associate with colonial misunderstanding and external stereotyping, and they have explicitly clarified this history to researchers working in the region.

Kampankis Mountains: Residents’ relationships with the Kampankis Mountains are based on a view of the world in which humans, animals, plants, and other elements of the landscape form groups that are linked to each other by shared networks of social relationships (kinship, alliances, competition, etc.). The mountains also represent a link with residents’ ancestors, as sites of visionary experiences in search of ajutap/arutam (spirit beings), and a source of spiritual inspiration and knowledge with which to face the future. In this way, the Kampankis Mountains are not only a biodiversity-rich cordillera but also a rich cultural landscape saturated with symbolic meaning for local residents.

Through a complex system local communities manage and protect the region’s natural resources with ancestral agreements, current cultural practices including small-scale agriculture and subsistence hunting and fishing, and a deep understanding of local biology and ecology.

Awajún Photos

Awajún in ceremonial dress
Awajun

Santa Maria de Nieva
Santa Maria de Nieva

Peter Lerche
Peter Lerche

Peter with Cacao plants
Peter Lerche with cacao plants

Nieva River tributary
Nieva River

Drying cacao in Bakants
Drying cacao in Bakants

Loading Cacao
Loading Cacao

River Crossing
river crossing

Awajún Village
Awajun Village

Kuas, the former head/chief of the community of Ugkum.
He died in 2017, victim of black magic.
Kuas, the former head/chief of the community of Ugkum. He died in 2017, victim of black magic.

Awajún children
Awajun children

Peter (left front) having lunch with friends
Peter Lerche

Awajún Woman with baby
Awajun woman with baby

Nieva River
Nieva River

Eduardo Weepiu river crossing with Martín Mayak
Nieva River

Marañón river at Imaza
Marañón river at Imaza

Carrying cacao through the jungle to the market
Carrying cacao through the jungle to the market

Don Eduardo Weepiu Daekat
Don Eduardo Weepiu Daekat

Awajún Village
Awajun Village

Photos © Peter Lerche

Myths, Legends & Music

Nieva River

   

Awajún Music

Nieva River is a tributary of the Marañón River in Peru. It flows south-to-north 150km through the provinces Bongara and Condorcanqui of the Amazonas Region on the west side of the Kampankis Mountains.

At the confluence with the Marañón lies the town of Santa Maria de Nieva, the capital of the province of Condorcanqui with a population of ~3000 residents. The majority of people who live in Santa María de Nieva are Awajún, but there are as well Huambisa and mestizo residents.

The traditional Awajún name for the Nieva River was Numpatkaim ‘blood colored’, referring to the appearance of the water.

Awajún settlers came to the Nieva River from the province of Barranca in the department of Loreto first settling in the upper Nieva in the 1940’s. Prior to that time, the Awajún avoided the Nieva River since they considered it to be swampy land, full of caimans, anacondas and thick vegetation.

East of Sawi Entsa the Cachiaco River flows to a large mesa-like mountain called Iwanch Ujagmamu ‘Devil Song Mountain.’ According to legend, the mountain is the site where the Iwanch, a malevolent spirit, sang an ujagmámu, a special song that was traditionally sung after taking head trophies (tsántsa).

Awajún myth: According to an Awajún myth, originally all the animals and plants used to be human beings. These plants, animals, mountains, objects, have “WAKAN” - “soul”; it is a living world, all, not only humans, have spirit/soul. Having vision, the souls meet and it is possible to communicate with them.
The Awajún belief system is based on different spirits, for example spirits of the forest, lakes, rivers, ground, plants and animals. These spirits can, for example, protect nature and help cure sick people.
Traditionally, the Awajún believe that there is a creator, Ajútap, but that this creator does not take part in the life of the people. In the underworld lives Tsugki, which takes the form of a boa and is the shamans’ source of power. Between these two worlds is the world of human beings, animals, plants and some supernatural beings.

In Awajún culture, only men are allowed to play musical instruments. Traditional Awajún instruments consist of three flutes: pinkui, peém and pijun; two string instruments: tumag and kitag; and two percussion instruments: tampug and tuntui.

Pinkui is a transverse flute made of a reed called kugki. The structure of pinkui is very simple, with one embouchure hole on one end, and two finger holes on the other. The holes are burnt to the reed with a hot nail. Pinkui is used in every-day situations, for example at home for personal pleasure or in celebrations to accompany traditional dancing.
The second flute, Peém, is not mentioned in the literature about Awajún instruments, but some people in Supayaku are familiar with it. Peem is used at home. By playing peem, a man can communicate with his wife. Pijun is usually not played in public events, but a man can play it with his family or close friends.

Tumag is a plucked instrument with one string tightened between two ends of a flexible wooden stick. The string is traditionally made from palm tree fibre/fiber. When playing, the player puts one end of the instrument into his mouth, with the mouth only touching the wooden part. The string is plucked with the index finger. Tumag is used to send messages or communicate emotions to people who are far away, mostly to a wife or to one’s enemies. A man gives a message to an animal, for example to a bird or a monkey, in the form of a song. When the person receiving the message hears that particular type of bird singing or monkey howling, he or she will feel the thoughts sent by the man. Tumag is a sacred instrument that cannot be played in celebrations or other public events.

Kitag is an instrument remotely similar to the violin. Kitag has two strings, and it is played with a bow.

Tampug is a small drum, made of wood and animal skin, used at celebrations to accompany singing and dancing. The other percussion instrument, tundui, is a big drum made of a tree trunk used to send messages to faraway places such as neighboring villages.

Our Kampankis Project is the first of a documentary series exploring Awajún life;
their customs, language, traditions and, importantly,
their commitment to protecting the wildlife and the future of their ancestral lands.



If you represent a conservation organization, research team, or institution seeking ethical access support, local coordination, or a trusted on-the-ground partner in northern Peru, we welcome serious inquiries.

Davarian