The use of plants called “entheogenic” as “Ayahuasca”, “Peyote”, San Pedro and others like them, plants leading to a modified state of consciousness, and allow, according to the etymology of hallucinogen, become God inside, being possessed by God, feel God, they have always been the subject of interest from painters poets and novelists. Artists also seek to deepen the limits that human beings move, knowing their gods and demons. Ayahuasca can penetrate the feelings, feelings, develop intuition and open the doors of imagination, enter the magical-religious spiritual world.
To approach this creative worldview during the decade of the fifties in the United States, some of the most representative writers of the literary movement called Beatniks, who sought to expand the boundaries of consciousness through Zen meditation, raided taking ayahuasca as another valid way to achieve that goal. In 1953, William Burroughs, author of Junkie, made a trip to Pucallpa where he experimented Ayahuasca and tried to increase his anticipatory dream sensitivity. Then, in 1960, his friend and compatriot, the poet Allen Ginsberg, also visited the Peruvian jungle and described his experience in these terms: “After an hour, I began to see or feel what was a “great being” or lake approached my mind like a big wet vagina”. Then emerging figures and feelings that made him realizing the overcoming of death. The description of these experiences, both writers, resulted in the book Letters Yagé. Being two well-known writers, their experiences with Ayahuasca, they were widespread and thus became known plant outside the restricted circles that this plant was consumed. Also, the Peruvian novelist Vargas Llosa described the native world in which the culture of the vine of the spirits is developed, the worldview of the Machiguenga ethnic group in his book “The Storyteller”. The poet Cesar Calvo, a native of Iquitos, tells in his novel: The three halves of Ino Moxo, flight, visions, the wizarding world, legends and fabulous stories of the Amazon through a wall Ayahuasca. This approach literary forms having helped to develop a growing interest in this master plan, and their greater knowledge of the general public.
Also, the graphic arts, sculpture and painting especially linked to the Ayahuasca have had a qualitative boom, the quality of works created in the Peruvian jungle in recent years. Moreover, also anthropologists, doctors, psychologists and ethnobotanical been conducted various experiments in collaboration with shamans, research on the healing properties of Ayahuasca. Thus, also contributes to the dissemination of this hallucinogen in broader scientific and social circles. It has attracted attention in the ancient indigenous cultures of Peru for hundreds of years shamans used ecstatic method, non-addictive, so that the patient, without losing lucidity, reached the bottom of its psychosomatic problems and from there back to health.
Ayahuasca produces a meeting between the conscious and the unconscious that leads to a state of dialectical clarity that this dialogue can be examined and examiner finding the root of the problems and conflicts affecting the individual. The native Shamanism for many years for being misunderstood different alternative form of medicine, which, however, has worked for centuries. This phenomenon also occurred with acupuncture and traditional chinese medicine, which after being criticized and marginalized today is fully accepted worldwide and maintains a close relationship and collaboration with Western medicine and modern science. Anthropologists have also tried to understand this phenomenon from different aspects and ideological positions without reaching definitive conclusions, then, Ayahuasca was involved, was part of a complex culture interesting spaces, through field research, for dialogue, debate and knowledge of the vine of the spirits, until today very misunderstood and almost unknown outside their own cultural sphere.