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Acaterpillar A little mad... Registered: 06/09/07 Posts: 18,693 Loc: Down the rabbit Last seen: 5 months, 14 days |
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A recent acquaintance I have made comes from the country Togo located near Nigeria along the coast of west Africa.
Here's a picture for an idea: He says he is going back to Togo possibly this summer and since I have taken a good interest in his country he's been nice enough to extend an offer to me to come with him. We would be staying on the coast, he says it's a very tropical climate, with rain forest and jungle. There are shamans in his tribe and while I would love to experience their form of shamanism. I also would be greatly curious in the mushrooms occupying the western coast of Africa. I have never heard of the consumption of mushrooms in Africa, it has always seemed to be more foreign plants that I know little about. While I'll be researching these plants to know what I am consuming, I would love to find exotic mushrooms that I'll never have the chance to get while in the Americas. If anyone knows of any good articles, or just the general species that are common that would be wonderful. I hope there are even psilocyben mushrooms residing there as I don't see anything on 'mapping the mycelium network'. I've also thought to bring the shamans gifts from the Americas. My thoughts were to bring DMT, possibly the ingredients to make ayahuasca, and HWBR. Thank you for any help given. -------------------- Aaa...E I O Uuu...A E I O Uuu..A E I O uh Uuu.. *Cough* *Cough* Ooo...U E I O Aaa...U E I Aaa..A E I O Uuuuu... At first sight, The Perfection of Wisdom is bewildering, full of paradox and apparent irrationality.
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Alan Rockefeller Mycologist Registered: 03/10/07 Posts: 48,355 Last seen: 11 hours, 56 minutes |
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This document includes the psilocybin mushrooms recorded in Africa:
http://www.shroomery.org/8461/Wh If it is jungle, you won't find many mushrooms in directly in the jungle. They will probably be on animal dung in fields, probably P. cubensis, Copelandia species, and maybe Panaeolus africanus. There may be interesting mushrooms in the interface zones between the jungle and other habitats, or interesting mushrooms in the grasslands, or good edible mushrooms growing from underground termite nests.
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Acaterpillar A little mad... Registered: 06/09/07 Posts: 18,693 Loc: Down the rabbit Last seen: 5 months, 14 days |
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Thanks for the info Alan. I was waiting for you or Cactu to chime in! I'll make sure to have a camera and to document any interesting things I find!
-------------------- Aaa...E I O Uuu...A E I O Uuu..A E I O uh Uuu.. *Cough* *Cough* Ooo...U E I O Aaa...U E I Aaa..A E I O Uuuuu... At first sight, The Perfection of Wisdom is bewildering, full of paradox and apparent irrationality.
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cactu culture and magi Registered: 03/06/06 Posts: 3,913 Loc: mexicoelcentrode |
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i was lost in space but here iam there is some study about many supost hallucinogenic mushrooms in africa, let me see if i can find it, it mentiont some species that chaman use there some being like trufle other like poliporus, and other tipes of mushrooms
http://redalyc.uaemex.mx/redalyc this is not the article but can be intersting Further evidence in support of the idea that the relationship between Man and hallucinogens ? in this case mushrooms is indeed an ancient one comes from the ancient populations of the Sahara desert who inhabited this vast area when it was still covered with an extensive layer of vegetation (Samorini, 1989). The archeological findings consist in prehistoric paintings which the author personally had the opportunity to observe during two visits to Tassilli in Algeria. This could be the most ancient ethno-mycological finding up to the present day, which goes back to the so-called "Round Heads" Period (i.e. 9.000 ? 7.000 years ago). The centre of this style is Tassili, but examples are also to be found at Tadrart Acacus (Libya), Ennedi (Chad) and, to a lesser extent, at Jebel Uweinat (Egypt) (Muzzolini, 1986:173-175). Central Saharan rock art, apart from extensive concentrations of incisions, near the sites of ancient rivers, and rock-shelter paintings among the large promontories or high plateau which reach an altitude of some 2,000 metres, cover a period of 12,000 years, generally divided in 5 periods: the "Bubalus antiquus" Period, the works of which were produced by the Early Hunters at the end of the Pleistocene period (10.000 ? 7.000 years B. C.) ? characterized by representations of large wild animals (Mori, 1974); the "Round Heads" Period, in turn divided into various phases and styles, associated with the epipaleolithic populations of the Early Gatherers (7.000 ? 5.000 years B. C.), whose works of fantasy have quite rightly become world famous; the "Bovidian" or "Pastoral" Period (starting 5.000 years B. C.), a population of animal herders and breeders whose art is predominantly concentrated on these activities and, after these, the "Horse" Period and, lastly, the "Camel" Period, the art works of which are stereotyped and of a lower quality. Some rock art experts have already produced evidence supporting the idea that the art of the Round Head Period could be influenced by ecstatic or hallucinogenic states. According to Anati (1989: 187), this art is produced by the Early Gatherers during the end of Pleistocene and the beginning of Holecene periods. Analogous works dating back nearly to the same period are to be found in various sites around the world (Sahara Desert, Tanzania, Texas, Mexico etc.). These areas were later to become arid or semi-arid when the lakes and rivers dried up. From the many works of art these peoples have left us we learn what were gatherers of wild vegetal foods: "people who lived in a sort of garden of Eden and who used mind-altering substances". Sansoni too (1980) is of the opinion that "it might be that (the works of art of the Round Heads Period) are the works of normal consciousness or the results of particular ecstatic states associated with dance or the use of hallucinogenic substances -The context, or rather the "motivations" behind Round Heads art, just as with all the other periods of Sahara rock art, are generally of a religious and, perhaps, initiatory nature. Fabrizio Mori, discussing Acacus, stressed "the close relationship which there must have been between the painter and that figure so typical in all prehistoric societies whose main role is that of mediator between earth and sky: the wizard-priest" (Mori, 1975). According to Henri Lohte, the discoverer of the Tassili frescoes, "it seems evident that these painted cavities were secret sanctuaries" (Lhote, 1968). Images of enormous mythological beings of human or animal form, side by side with a host of small horned and feathered beings in dancing stance cover the rock shelters of which there are very many on the high plateau of the Sahara which in some areas are so interconnected as to form true "citadels" with streets, squares and terraces. One of the most important scenes is to be found in the Tin-Tazarift rock art site, at Tassili, in which we find a series of masked figures in line and hieratically dressed or dressed as dancers surrounded by long and lively festoons of geometrical designs of different kinds. Each dancer holds a mushroom-like object in the right hand and, even more surprising, two parallel lines come out of this object to reach the central part of the head of the dancer, the area of the roots of the two horns. This double line could signify an indirect association or non-material fluid passing from the object held in the right hand and the mind. This interpretation would coincide with the mushroom interpretation if we bear in mind the universal mental value induced by hallucinogenic mushrooms and vegetals, which is often of a mystical and spiritual nature (Dobkin de Rios, 1984:194). It would seem that these lines ? in themselves an ideogram which represents something non-material in ancient art ? represent the effect that the mushroom has on the human mind. The whole scene is steeped in deep symbolic meanings and is a representation of a cultural event which actually happened and which was periodically repeated. Perhaps we are witnessing one of the most important moments in the social, religious and emotional lives of these peoples. The constant nature of the physical nature of the dancers and their stances reveals a coordinated will towards scenic representation for collective contexts. The dance represented here has all the indications of a ritual dance and perhaps, at a certain stage, this rite became ecstatic. In the various scenes presented, a series of figurative constants lead us to imagine an accompanying conceptual structure associated with the ethno-mycological cult described here. Matalem-Amazar In-Aouanrhat Evident examples of such constants are the two remarkable southern Tassili figures (sites: Aouanrhat and Matalem-Amazar). Both are approximately 0.8 metres tall, they wear the typical mask of this pictorial phase and a typical gait (legs bent inwards and arms bent downwards). Another common feature is the presence of mushroom symbols starting from the fore-arms and thighs; others are hand held. In the case of the Matalem-Amazar figure, these objects are scattered over the entire area surrounding the body. This mushroom symbol was first interpreted by researchers as an arrowhead, an oar (Mori 1975), a vegetal, probably a flower (Lhote, 1973: 210 and 251), or as an undefined enigmatic symbol. The form which most closely corresponds to this cult-abject is that of a mushroom, most probably of a psychotropic kind the sacramental and socialized use of which is represented in gathering and offering scenes and in the expressive ritual dances, in phosphenic geometrical patterns and in Tassili visionary works. Thus, these two figures could be interpreted as images of the "spirit of the mushroom", known to exist in other cultures characterized by the use of a mushroom or other psychotropic vegetals. In a shelter in Tin-Abouteka, in Tassili, there is a motif appearing at least twice which associates mushrooms and fish; a unique association of symbols among ethno-mycological cultures. Two mushrooms are depicted opposite each other, in a perpendicular position with regard to the fish motif and near the tail. Not far from here, above, we find other fish which are similar to the aforementioned but without the side-mushrooms. In the same Tin-Abouteka scene, yet another remarkable image could be explained in the light of ethno-mycological enquiry. In the middle we find an anthropomorphous figure traced only by an outline. The image is not complete and the body is bending; it probably also has a bow. Behind this figure, we find two mushrooms which seem to be positioned as though they were coming out from behind the anthropomorphs. If the mushrooms in question are those which grow in dung, the association between these mushrooms and the rear of the figure may not be purely casual. It is known that many psychotropic mushrooms (above all, Psilocybe and Panaeolus genera) live in dung of certain quadrupeds and in particular bovines, cervides and equines. This specific ecological phenomenom cannot but have been taken into account with regard to the sacramental use of psychotropic mushrooms, leading to the creation of mystico-religious relations between the mushroom and the animal which produces its natural habitat. Furthermore, the dung left by herds of quadrupeds were important clues for prehistoric hunters on the lookout for game, and the deepening of such skatological knowledge probably goes back to the paleolithic period (the long period of the hunter of large game). Thus we have a further argument in favour of the version of events that would have it that there have been mythical associations, with religious interpretations, on different occasions, between the (sacred) animal and the hallucinogenic mushroom. The sacred deer in the Mesoamerican cultures and the cow in Indian Hindu culture (the dung of which provides a habitat for Psilocybe cubensis, a powerful hallucinogen still used today) could be interpreted in this zoo-skatological manner (Wasson, 1986:44; Furst, 1974; Samorini, 1988). In a painting at Jabbaren ? one of the most richly endowed Tassili sites ? there are at least 5 people portrayed in a row kneeling with their arms held up before them in front of three figures two of which are clearly anthropomorphous. It could be a scene of adoration in which the three figures would represent divinities or mythological figures. The two anthropomorphous figures have large horns while the upper portion of the third figure, behind them, is shaped like a large mushroom. If the scene is indeed a scene of adoration, it is an important testimonial as to Round Heads mystico-religious beliefs. This scene would thus be the representation of a "Holy Trinity" illustrated by a precise iconography. It is worth bearing in mind the fact that the upper part of one of the "trinity" figures in the adoration scene is mushroom-shaped. It could be related to the iconographic figure at Aouanrhat and Matalem-Amazar described above. But the more or less anthropomorphous figures with mushroom-shaped heads are to be found repeatedly in Round Head art, some with "hat-heads" of umboned or papillate form which on two occasions are of a bluish colour while others carry a leaf or a small branch. The occurrence of various data suggests the presence of a very ancient hallucinogenic mushroom cult with a complex differentiation between botanical species and related mythological representations. Indeed it would be remarkable to find out that, as part of the culture of the Late Stone Age which 7.000 to 9.000 years ago produced Round Heads rock art, we were in the presence of the oldest human culture yet discovered in which explicit representations of the ritual use of psychotropic mushrooms are to be found. Therefore, as the founders of modern ethno-mycology had already put forward ? and this is especially true of Wasson (1986) ? this Saharan testimony would demonstrate that the use of hallucinogens originates in the Paleolithic period and is invariably include within mystico-religious contexts and rituals. It is not easy to identify the mushrooms represented in Round Heads art. The biochemical characteristics of these mushrooms determine the action on the human mind and it either belongs to a flora which has disappeared or, retreated to the Saharan basin which later became desert. From the paintings it would seem there are at least two species one of which is small and topped with a "papilla" (a characteristic it would share with most known hallucinogenic Psilocybe) and the other of which is larger (like Boletus or Amanita). The colours used are white and probably the result of oxidation of the original colour). The Sahara Desert area has undergone periodic and significant climatic variations. At least three long humid periods have been identified since 20.000 BC, interrupted by three periods of drought, and it appears that the drought we know today is less severe than the two which preceded it. The semi-quantitative graph drawn up by Muzzolini (1982) presents the "Great Humid Holocemic Period" characterized by the presence of enormous lakes all over the Saharan basin (10.000 BC ? 5.500 BC). The generally accepted chronology of Round Heads art fits comfortably into this period. Pollen examination carried out at Tassili reveals that, during the Round Heads period, this area was vegetated by highland flora (2.000 m height) with the presence of coniferous trees and oaks (AA.VV., 1986: 97). It can be presumed that some of the mushrooms represented (the large ones) were indigenous to this wooded area in that they are intimately associated with these species of tree. Mushrooms are not the only vegetals to be found in Round Heads art. We often find figures in typical costume and in hieratic positions, dancing, and holding in their hands small branches or leaves (and in one instance roots). At least two species occur fairly frequently in the images found at Tassili and nearby Acacus. In fact, the interest which surrounds the hallucinogens is always represented within a context of general interest in vegetals and it is most likely that it is within these contexts, related to religious activity and initiation, that we find the origins of individual specializations within the communities of these people concerning the magical, therapeutic and culinary aspects of vegetals. This new piece in the ethno-mycological puzzle is even more significant if we consider it from the point of view of research into the use of hallucinogens in the immense African continent. Some progress has been made over the last few years as regards the study of this problem (see the work of e.g., Emboden, 1989; Hargreaves, 1986; Lehman & Mihalyi, 1982; Monfouga-Brousta, 1976; Wagner, 1991; Winkelman & Dobkin de Rios, 1989). Africa ? both because of an ignorance of the facts which has continued up to the present day and because of the wealth and extreme old age of the indigenous "animist" religions ? has still much to tell us concerning the human use of hallucinogens and the origins of such practice. References AA.VV., 1986, Arte preistorica del Sahara, Roma & Milano: De Luca & Mondadori. Anati E., 1989, Origini dell?arte e della concettualit༯i>, Milano: Jaca Book. Andritzky W., 1989, Schamanismus und rituelles Heilen im Alten Peru. Band 1: Die Menschen des Jaguar, Berlin: Clemens Zerling. Campbell C., 1958, Origin of the mescal bean cult, American Anthropology, vol. 60: 156-160. Campbell C., 1965, The Rock Paintings of the Chumash, Berkeley: University of California. Dikov N. N., 1971, Naskalnuie Sagadki Drevniei Ciukotki (Pietroglifui Pegtimelia), Moscow: Nauka. Dikov N. N., 1979, Origini della cultura paleoeschimese, Boll.Camuno St.Preist., vol. 17: 89-98. Dobkin de Rios M., 1974, The Influence of Psychotropic Flora and Fauna on Maya Religion. Current Anthropology, vol. 15: 147-164. Emboden W., 1989, The Sacred Journey in Dynastic Egypt: Shamanistic Trance in the Context of the Narcotic Water Lily and the Mandrake, J. Psychoact. Drugs, vol. 21: 61-75. Franch J. A., 1982, Religiosidad, alucinogenos y patrone artisticos Tainos, Bol. Mus. Hombre Dominicano, vol. X/1 7: 103-1 17. Furst P., 1974, Hallucinogens in Precolumbian Art, in M. E. King & I. R. Traylor (Eds.), Art and Enviroment in Native America, Lubbock, Texas: Texas Tech., :55-101. Furst P., 1986, Shamanism, The Ecstatic Experience, and Lower Pecos Art, in H. J. Shafer & J. Zintgraff, Ancient Texas. Rock Art and Lifeways Along the Lower Pecos, San Antonio: Texas Monthly, :210-225. Hargreaves B. J., 1986, Plant Induced "Spirit Possession" in Malawi, Soc. Malawi J., vol. 39(1): 26-35. HowardJ. H., 1957, The Mescal Bean Cult of the Central and Southern Plains: An Ancestor of the Peyote Cult?, Amer. Anthropol., vol. 59: 75-87. Hyder D. & Oliver M., 1983, Style and chronology in Chumash Rock Art, American Indian Rock Art, vol. 10: 86-101. Kaplan R. W., 1975, The sacred mushroom in Scandinavia, Man, vol 10(1 ): 72-79. LajouxJ. D., 1964, Le meraviglie del Tassili, Bergamo (Instituto Arti Grafiche). Lehmann A. C. & L. J. Mihalyi, 1982, Aggression, Bravery, Endurance, and Drugs: A Radical ReEvaluation and Analysis of the Masai Warrior Complex, Ethnology, vol. 21 (4): 335-347. Lewis-Williams J. D. & T. A. Dowson, 1988, The Signs of All Times. Entoptic Phenomena in Upper Palaeolithic Art, Current Anthropology, vol. 29(2): 201-245. Lhote H., 1968, Donn饳 r飥ntes sur es gravures et es peintures rupestres du Sahara, in E. Ripoll Perell?d.), Simposio de Arte Rupestre, Barcelona :273 :290. Lhote H., 1973, A la d飯uverte des fresques du Tassili, Paris: Arthaud. Mckenna T., 1988, Hallucinogenic Mushrooms and Evolution, Re Vision, vol. 10: 51-57. Monfouga-Broustra J., 1976, Phenom讥 de possession et plante hallucinogꮥ, Psychopat. Afric., vol. 12 (3): 317-348. Mori F., 1965, Tadrart Acacus: Arte rupestre del Sahara preistorico, Torino: Einaudi. Mori F., 1974, The earliest Saharian rock-engravings, Antiquity, Vol. 48: 87-92. Mori F., 1975, Contributo al pensiero magico-religioso attraverso l?esame di alcune raffigurazioni rupestri preistoriche del Sahara, Valcamonica Symposium ?72, :344-366. Muzzolini A., 1982, Les climats sahariens durant l?Olocene et Ia fin du Pleistocene, Travaux du L.A.P.M.O., Aix-En-Provence :1-38 Muzzolini A., 1986, L?art rupestre pr騩storique des massifs centraux sahariens, Oxford: BAR. Naranjo P., 1986, El ayahuasca en Ia arqueologia Ecuatoriana, America Indigena, vol. 46: 117-127 Pagan Perdomo D., 1978, Nuevas pictografias en Ia isla de Santo Domingo. Las Cuevas de Borbon, Santo Domingo: Museo del Hombre Dominicano. Polia M., 1987, Los petroglifos de Samanga, Ayabaca, Piura, Rev. Mus. Nac. Lima, vol. 48: 119-137. Polia M., 1988, Las lagunas de los encantos. Medicina tradicional andina del Peru septentrional, Piura, PerU: Cepeser. Reichel-Dolmatoff C., 1978, Beyond the Milky Way. Hallucinatory Imagery of the Tukano Indians, Los Angeles: Univ. Calif. Samorini C., 1988, Sulla presenza di piante e funghi allucinogeni in Valcamonica, Boll. Camuno St. Preist., vol. 24:132-136. Samorini C., 1989, Etnomicologia nell?arte rupestre Sahariana (Periodo delle "Teste Rotonde"), Boll. Camuno Notizie, vol. 6(2): 18-22. Samorini C., 1990, Sciamanismo, funghi psicotropi e stati alterati di coscienza: un rapporto da chianine, Boll. Camuno St. Preist., vol. 25/26:147-150. Sansoni U., 1980, Quando il deserto era verde. Ricerche sull?arte rupestre del Sahara, L?Umana Avventura, N. 11:65-85. Wagner J., 1991, Das ,,dawa" den mamiwata. Em m?cherweise phanmakologischen Aspekt des westafnikanischen Claubens an Wassengeisten, Integration, vol. 1: 61-63. Wasson R. C., 1979, Fly aganic and man, in Efnon D. H. (Ed.), Ethnophanmocologic Search for Psychoactive Drugs, New York: Raven Press, :405-414. Wasson R. C. et al., 1986, Pensephone?s Quest. Entheogens and the Origins of Religion, New Haven & London: Yale University. Wellmann K. F., 1978, North American Indian Rock Art and Hallucinogenic Drugs, J. Amen. Med. Ass., vol. 239: 1524-1527. Wellmann K. F., 1981, Rock art, shamans, phosphenes and hallucinogens in North America, Boll. Camuno St. Preist., vol. 18: 89-103. Winkelman M. & Dobkin de Rios M., 1989, Psychoactive Properties of !Kung Bushman Medicine Plants, J. Psychoact. Drugs, vol. 21:51-59. samorri is the answer.. http://web.archive.org/web/20060 from wikipedia [edit] Africa The best-known entheogen-using culture of Africa is the Bwitists, who used a preparation of the root bark of Iboga (Tabernanthe iboga).[2] A famous entheogen of ancient Egypt is the blue lotus (Nymphaea caerulea). There is evidence for the use of entheogenic mushrooms in Côte d'Ivoire (Samorini 1995). Numerous other plants used in shamanic ritual in Africa, such as Silene capensis sacred to the Xhosa, are yet to be investigated by western science the bwiti culture have some relation with mushrooms .... West african shrub, used as a stimulant and entheogen by the Bwiti cult. This entheogen is sacred to the syncretic Christian http://leda.lycaeum.org/?ID=257 enjoy and learn from those chaman , good, many plant around that area more that mushrooms , but remember most of africa is still unknow so surprise me please, all my best vibration in your trip please take million pictures. -------------------- cuando una rafaga del pensamiento nos pasa al lado se puede sentir que valio la pena haber vivido, y cuando ese pensamiento se convierte en sueño no paramos de soñar hasta realizarlo
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Workman 1999 Spore War Veteran Registered: 03/01/01 Posts: 3,601 Loc: Oregon, USA Last seen: 7 hours, 36 minutes |
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Make sure to collect and dry samples for later microscopy. At the very minimum collect sporeprints. You have a good chance of finding something undocumented.
-------------------- Research funded by the patrons of The Spore Works Exotic Spore Supply My Instagram Reinvesting 25% of Sales Towards Basic Research and Species Identification
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cactu culture and magi Registered: 03/06/06 Posts: 3,913 Loc: mexicoelcentrode |
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you may have good time to find any of the active panaeolus that Ola´h claim are active, panaeolus africanus, maybe is widely distributed, also you seen to be in a warn environment , more chances for dung lovers, as Alan said, if you get in areas of more than 1200meter with pine and oaks you may hit jack pot for ps. maire. good luck
-------------------- cuando una rafaga del pensamiento nos pasa al lado se puede sentir que valio la pena haber vivido, y cuando ese pensamiento se convierte en sueño no paramos de soñar hasta realizarlo
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