• Idioma: Khwedam
  • región: Northeastern Namibia
  • Colaborador(a): ǂGakaci Thaddeus Chedau, Ata Anita Maundu, Ue Gertrud Andreas, Willie Kamwanga Kasera
Tree, wood, medicinal plant
Árbol, madera, planta medicinal

Yii means trees, wood and medicinal plants. Yii as trees are crucial for finding the way in the bush and are our main food sources, yii as wood is essential for making most of our tools and instruments, and yii is also the name of our medicinal plants.

Until recently, children from an early age accompanied their parents on hunting and collecting parties in the bush. During these trips, they were taught to observe and remember the trees in order to be able to find their way back home. Trees, such as Manketti, Peeling Bark Ochna, Monkey Orange, Sand Apple and many others produce our most important bushfood.

Yii is also the wood from which we make our tools, such as the handle of the axes and hoes, the clapping wood instruments, the mortars and pestles; we also build our houses with yii.

Medicinal plants are also yii and because of that we call our healers yii khoe ‘yii people’ or yii kx’ao ‘powerful yii people’.

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  • I Newspaper reports from South Africa on Katrina Esau’s tireless efforts to preserve her indigenous click-rich language – N/uu
  • BBC Travel takes you on a journey to the Northern and Western Cape of South Africa, including to the !Khwa ttu San Heritage Centre. Learn more about our work on N/uu spoken in the Northern Cape here.

Tuuca Orodji

  • Idioma: Khwedam
  • región: Northeastern Namibia
  • Colaborador(a): ǂGakaci Thaddeus Chedau, Mbo
Rainwater pan
piscina de agua lluvia

The few thousand Khwe are one of the hunter-gatherer communities who until very recently lived by foraging in their ancestral hunting grounds in the north-eastern part of present-day Namibia. Some decades ago, these areas were declared a game reserve and since then the Khwe are no longer allowed to hunt; even the traditional gathering of bush food has been severely restricted. At the same time, farmers enter the former hunting-grounds of the Khwe with their cattle and destroy the natural resources – the water pans and the trees – both key to the livelihood of the Khwe community and the wild animals.  

In the semi-arid land of the Khwe, tuuca orodji ‘rainwater pans’ are the most important water resources in the bush. Members of the Khwe community share their insights and worldviews on them in Khwedam with Living-Language-Land. In the video, a Khwe elder talks about these pans and their significance for the lives of the community. He also describes the threats to the existence of these pans by massive in-migration of farmers and their cattle, who destroy many of these water resources, which were essential for the traditional livelihood of the Khwe and which are still vital for the survival of the elephants and other wild animals in this area.   

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  • Idioma: Mapudungun
  • región: Lago Budi, Territorio Mapuche, Chile
  • Colaborador(a): Fernando Quilaqueo, Asociacion Ambiental Budi Anumka
The tangible and intangible elements of the diversity of life
Los elementos tangibles e intangibles de la diversidad de vida
Haga clic para ver subtítulos en inglés y en español

ITROFILLMONGUEN: Conjunto de elementos tangibles e intangibles centrales para la vida Mapuche, incluyendo las energías espirituales o newen y el che o persona humana como partes indisolubles de la diversidad de vida que compone cada espacio Lof que habitamos.

Para nosotros como mapuche, todos los elementos de la naturaleza son vitales. En nuestra cosmovisión, todo está vivo: suelos, lagos, océanos, ríos, manantiales de agua, bosques, humedales, flora y fauna, y juntos nos permiten vivir en equilibrio y plenitud. El equilibrio de cada uno de estos elementos en la tierra está intrínsecamente ligado a la salud y desarrollo integral del mapuche en los aspectos terrenal y espiritual. La supervivencia de las generaciones futuras depende de continuar recreando y salvaguardando los medios de vida que coexisten con nuestro entorno natural; lo que concebimos como buen vivir o Kvmemongueleal. Esto nos permitirá contribuir a mitigar el cambio climático mientras nos adaptamos con resiliencia.

A view of Lake Budi, Chile, under blue skies
Lago Budi, Territorio Mapuche
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  • Idioma: Nehluen, Innu language
  • región: Nitassinan - a territory that spreads from the south-west of Quebec, to the north-eastern coast of Labrador, Canada
  • Colaborador(a): Marie-Emilie Lacroix (Missinak Kameltoutasset)
The inclusive ‘we’ - all as equals
El "nosotros" inclusivo: todos como iguales

We know that it is possible to learn a language using a dictionary, a grammar or by taking a course. As we dedicate more time, we learn words, a basic vocabulary and sufficient pronunciation to enable us to understand and speak. We all learned the mother tongue of our family when we were toddlers, but only very few of us looked for the meaning of this language, and of its importance in influencing our lives. To undertake this search is to embark on an exceptional journey which can transform our entire life. This is a journey I have lived in investigating the words of my own language, Nehluen.

This is the common language used throughout the Innu communities in the province of Quebec, Canada, from Lac St-Jean to Labrador, passing by the lower Côte Nord. The Innu alphabet is based on 11 consonants and 7 vowels. It is indeed a complex language to learn by a new student, but so rewarding because it is so pictorial. The words represent more than a simple concept; they create a picture, a scene, animate a thought, define a precise action linking it with the environment. The Innu words are very exact, descriptive, and full of life. 

The underlying reason is that there is one vocabulary adapted for village life and another one for the bush. These nuances are linked with the corresponding environment, which itself is indissociable from thought, and therefore the verbal expression. Since the landscape changes as we move from the South to the North, and from the East to the West, we also see it is reflected in the words used to designate the specific features of each place. It is in fact this precision of the words that enables us to understand the relationships which exist between the flora, fauna and the animals who live there. The human being must adapt to the decor, as he is a part of it. He is included in this big circle where interdependence prevails.

A pen and ink drawing showing the circle of life
À toutes mes relations, Mandala by Ghislain Bédard, all rights reserved

To better understand the base of the Innu language, we have to position ourselves in the context of circular thought. A human being and his environment are indissociable in this kind of thought. The pronoun ‘we’ will serve as an example to better understand the possible shades. If I wanted to speak of ‘we’ which includes me and you (singular or plural), then I would use ‘TSHINANU’. The prefix ‘TSHI-‘ corresponds to you in all its forms. If I wanted to speak about ‘we’ but in a way which is excluding you, whether singular or plural, I would say ‘NINAN’ (with the accent on the second N). Tshinanu – the inclusive form of we – invites sharing, community life, as there are no fences in the word tshinanu. It is a collective ‘we’, an open hand extended to others, inviting them to be a part of the circle. It also correspondingly tells a story, the story of the community of life of the person who speaks or writes. This word brings into relation the land, the animals, the plants and the peoples in the same pronoun.

The exclusive ‘we’ (NINAN) represents the person who is speaking about something, but without the listener or the group of listeners. Take, for example, a hunter who speaks about the moment when he was alone with the deer. He’ll say NINAN because, of course, the listeners weren’t there with him at that exact moment with the deer. The precision of the word thus conveys a very clear picture of the message, defining the role of everyone in the described scene.  Speaking a language is a lot more than using words, as it also defines identity and belonging. It draws a portrait of the person’s native origin.

To speak of the area in Quebec inhabited by the Innu peoples, we use the word Nitassinan (our land), which also speaks to our inside land, our roots. For the traditional land of our families in the bush we say Nutshimit. It represents the land of silence, the inside discourse, the place of personal discovery, without any pressure. When presenting oneself and giving the name of the person’s community, people have an idea of the individual through the territory, which in turn speaks of a particular culture and way of life of the people living there, whether nomadic or sedentary. 

When an Innu person is cut off from his/her territory, it deeply severs the bond to his/her identity. It means a loss of living roots, like becoming a stranger to him or herself. As a result, the words, loaded with context, lose their bearings in the new environment, there is no more silence, there are no roots. It is exactly this kind of broken bond, this deep wound that best describes placing indigenous peoples in reserves and residential schools, and healing will only be found by a return to the tradition. Let’s remember that the survival of our nations following these traumatic events rests on the shoulders of our elders who proudly protected our culture through the oral tradition. Our environment is the land, the forest, the plants, the insects, the animals, the water, the air and the human beings who are the stewards of the creator’s gift. An interdependent circle of life. From generation to generation, our teachings say that the earth doesn’t belong to us, but rather we belong to her, bearing in her our own distinctive roots.

Tshinashkumitin Iame

Missinak Kameltoutasset

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Map of Quebec First Nations communities
Map of Quebec and Labrador First Nations communities from https://www.quebecautochtone.net/en/


  • Idioma: Quechua
  • región: Andes peruanos
  • Colaborador(a): Las comunidades del Parque de la Papa Pisaq y el Parque del Maíz Chalakuy
The practice of barter and exchange
La práctica del trueque e intercambio

La practica de chalay (o chhalay) plasma el concepto y el valor Andino de reciprocidad. Representa un sistema ancestral de economía alternativa que valora personas, la tierra, y el carácter sagrado de los alimentos. Reciprocidad se encuentra al corazón de todas las relaciones, asi que hay intercambios entre las personas y la madre tierra, los apus, las plantas y los animales. 

Históricamente en los Andes, el intercambio no monetario ha estado ligado al ideal de complementariedad económica y ecológica, y aportaba a los fines de auto abastecimiento, no para fines de lucro. Aunque agricultores andinos ahora están integrados al sistema económico monetario moderno, chalay continua a proveer acceso a bienes y servicios importantes sin dinero. Los agricultores que hacen chalay hacen trueque entre alimentos, calculando el valor de los productos. En este caso, el valor no es equivalente a su valor monetario, sino considera el tiempo y esfuerzo para la producción, el transporte, y considera la relación social entre los que hacen el trueque, y las necesidades de los participantes. Fortalecen relaciones entre familiares y amigos entre diferente zonas agrícolas. Los alimentos y las semillas también son miembros de la familia. Cuando hacen intercambio de semillas, las nuevas semillas se hace la “nuera”. Hay que tratar estos nuevos miembros de la familia con mucho cariño para que produzcan bien.

Yo hago chalay de semillas de maíz. La variedad paracay hago chalay con otras mujeres de la comunidad de Rosaspata. Semillas de maíz de la variedad qello uwina hago chalay con mujeres de la comunidades Ccachin. Cuando hago chalay intercambio información de como criar las semillas, los adoptamos en nuestra familia, esto ayuda a que las semillas de otros sitios se adapten bien a la tierra de mi comunidad, asi sacamos buena cosecha de maíz.

Basilia Quispe Fernández

Gente que viven en la zona media, donde hay maíz, trigo y habas, el cultivo de papa es escaso, y en esos lugares desean la papa deliciosa de las alturas, y su chuño y moraya (dos tipos de papa deshidratada). Los de altura anhelan la rica diversidad de maíz de la zona media. De esas dos zonas, también pueden intercambiar para plantas aromáticas, frutas y verduras del valle. De esa manera, las familias de las tres zonas intercambian sus productos para diversificar y balancear la dieta diaria, y mejorar la nutrición de sus hijos. 

Chalay respeta el carácter sagrado de los alimentos. El maíz y la papa son sustento de la vida. Son para el consumo, para vender, para intercambiar con otros productos, para trabajar en las chacras. Para llevar las semillas al mercado u otro lugar, lo sahúman de manera ritual, invocando a la Pachamama, pidiendo que no se lleve su ánima del maíz, que se permanezca en la comunidad. Al traer nuevas semillas, ofrecen hoja de coca y las rocían con chicha para dar la bienvenida al nuevo hogar. El intercambio en chalay se ve como un elemento importante en los trayectos de vida de las semillas. 

Nuestro Apu, montaña sagrada, es el nevado Ccolque Cruz, con quien hacemos chalay el mes de agosto, que es carnavales para nuestro animales, para la vaca, alpaca, llama. Le hacemos ofrenda al Apu como chalay, para que ayude a cuidar nuestros animales, para que no se enfermen. Estos tiempos ha aparecido una enfermedad que esta matando a nuestros animales. Antes teníamos mas animales en este sector de Mapaccocha, muchas alpacas, llamas ovinos, y silvestres como la llullucha, ahora hay poca llullucha y menos animales.

Saida Juares Mamani del sector Mapaccocha

En los mercados de trueque (Chalayplaza), antes la gente traían muchos productos diferentes, incluido carne de alpaca seca, lana, cuero, y productos de cerámica o fiero, pero las condiciones están cambiando. Algunos productos, como sal y azúcar, están casi completamente integrados al mercado monetario. Algunos revendedores de alimentos participan en los mercados de trueque, y intentan explotar o engañar a los agricultores. En estos casos, el intercambio a veces ya no es respetuoso o justo. 

ANDES y las comunidades indígenas de Lares reconocen la importancia del chalayy están haciendo una investigación comparativa para ver la evolución de los chalayplaza en los últimos 20 años. Durante la investigación, miembros de las comunidades locales manifestaron su interés en proteger y promover la practica de chalay. Un resultado es que el 15 de junio, 2021, una ordenanza municipal ha sido aprobado por el gobierno municipal de Lares para reconocer la importancia de los mercados de Trueque. El texto, indica la intención de: 

“Declarar la Practica del ‘Chalay’ o Intercambio Tradicional de Cultivos y Semillas Realizada en los Mercados del Campo Ferial de Hinopampa, C.C. Choquecancha, C.C. Q’achin y C.C. Huacahuasi, como una Expresión del Patrimonio Cultural Inmaterial del Distrito de Lares, que contribuye a la conservación de la Agrobiodiversidad y Seguridad Alimentaria de la Población Local”

Ordenanza Municipal No004-2021-MDL, Lares, 15 de junio del 2021

Otra reflexión del interés en proteger los mercados de trueque es una nueva colaboración entre dos Territorios de Patrimonio Biocultural, El Parque de la Papa en Pisaq y El Parque Chalakuy de Maíz en Lares. Miembros de los dos Parques, junto con la Asociación ANDES, están trabajando para preservar el conocimiento y las practicas ancestrales relacionados al paisaje y los sistemas alimentarias, incluido el chalay

Yo hago chalay en el mercado de Choquecancha, aquí siempre realizamos chalay desde mucho antes. Yo he hecho chalay desde cuando era joven. Chalay es muy importantes para intercambiar producto alimenticios, para balancear nuestra alimentación, no usas dinero y eso ayuda mi economía. Yo estoy muy contenta por que ahora viene mas gente a hacer trueque. Como las comunidades del Parque de la Papa, quiero que el chalay sea más frecuente.

Simeona Huillca Betancurt

Lista completa de colaboradores

Asociacion ANDES

Tammy Stenner

Parque de la Papa

Jhon Ccoyo Ccana 

Ricardina Pacco Ccapa

Aniceto Ccoyo Ccoyo 

Nazario Quispe Amao

Lino Mamani Huarka

Mariano Sutta Apocusi

Ciprian Ccoyo Banda

Bacilides Jancco Palomino

Daniel Pacco Condori

Parque Chalakuy

Ricardo Pacco Chipa 

Juan Víctor Oblitas Chasin

Alberto Condi Durian

Saida Juares Mamani

Alfredo Hancco Santacruz 

Maritza Churata Ttito

Basilia Quispe Fernández

Simeona Huillca Betancurt

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  • Idioma: Gaelic
  • región: Western Scotland
  • Colaborador(a): Malcolm Maclean

Our understanding of the world is shaped by the language we use to describe it.

Aibidil is the Scottish Gaelic word for ‘Alphabet’. The Gaelic Aibidil has 18 letters and each letter is represented by a tree. The oldest living thing in Western Europe is a 2,000 years old Scottish Yew tree in Fortingall. 

Gaelic is one of the oldest languages spoken in Europe today. It is more than a thousand years older than English and still spoken in Scotland and Ireland.

This ancient affinity between the Gaelic word and the tree embeds a deep association between language and landscape in the original roots of Gaelic. It gives an ecological substance to the alphabet – the foundation of all literacy – a language we can learn by looking at the landscape.

The Aibidil appears in numerous historic contexts from illuminated Celtic manuscripts to Dwelly’s seminal illustrated Gaelic Dictionary. 

It continues to inspire 21st Century artists such as Alasdair Gray, Donald Urquhart and Jon Macleod.

Irish artist Katie Holten’s long-term research into Ogham runic script has led her to develop a coherent, beautiful and downloadable Tree Font.

Forester, Boyd Mackenzie, has spent 30 years planting and nurturing all of the trees of the Aibidil on his Hebridean croft. He has created a living conceptual artwork – an alphabet we can walk through.

A pine seedling growing in collaboration with a mycorrhizal fungus. Image from David Read, author of Mycorrhizal Symbiosis.


  • Malcolm Maclean – Director
  • Ged Yeates – Editor
  • Richard Davis – Aerial film
  • Sam Maynard – Camera
  • Flora MacNeil – Music – Craobh Nan Ubhal (The Apple Tree)
  • Anna Mackenzie – Voice
  • Ria Maclean – Voice
  • Eve Maclean – Voice

Featured artists:

Thanks to:

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  • Idioma: Asháninka
  • región: Junín Region, Peruvian Amazon
  • Colaborador(a): Yessica Sánchez Comanti
Those born in the Rio Tambo
Los nacidos en el Río Tambo
In the video, Yessica speaks in the Asháninka language; translations in English and Spanish are given below.

The meaning of Tamposati, in English

My father says that Tamposati means that we are those born in the Tambo River, guardians and caretakers of our nature. For me, Tamposati is my home, I lived my childhood there, I had the joy of enjoying everything that nature provides.

Since I was a child, my parents taught me to sing. Today I reaffirm my cultural identity as an Asháninka woman singer and I make myself visible through my cultural expressions such as my clothing, my customs and my language, raising up our culture.

Detaching myself from my community was difficult. For this reason, every time I return, I try to attract tourists by doing free events to help us spread our customs. When I am within my community, I help with chores like cooking food from our fields such as yucca and cacao, fish from the river and many others.

Our culture is alive and so is our technique. I am proud to carry this legacy with me and to be able to share the beauty of our culture with the world. Preserving our language is important for future generations to enjoy our cultural richness.

El significado de Tamposati en español

Cuenta mi padre que Tamposati significa que somos los nacidos en el Río Tambo, guardianes y cuidadores de nuestra naturaleza. Para mí, Tamposati es mi casa, viví mi infancia ahí, tuve la dicha de disfrutar todo lo que la naturaleza provee.

Desde niña mis padres me enseñaron a cantar, de esa forma hoy yo reafirmo mi identidad cultural como mujer cantante Asháninka y me hago visible a través de mis expresiones culturales como son mi vestimenta, mis costumbres y mi lengua, dejando en alto el nombre de nuestra cultura.

Despegarme de mi comunidad fue difícil. Por eso, cuando regreso me preocupo por intentar atraer turistas que nos ayuden a difundir nuestras costumbres haciendo eventos gratuitos. Cuando estoy dentro de mi comunidad ayudo en los que haceres como cocinar los alimentos de las chacras como la yuca y el cacao, del río los pescados y muchas otras más.

Nuestra cultura se mantiene viva y nuestra técnica también. Estoy orgullosa de llevar conmigo este legado y poder compartir con el mundo la belleza de nuestra cultura. Conservar nuestra lengua es importante para que las siguientes generaciones gocen de nuestra riqueza cultural.

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  • Idioma: Mysk kubun
  • región: Colombia Central
  • Colaborador(a): Nicolás Acosta, Cesar Sanchéz León, Diana Castillo, Stefanny Contreras, Michael Ramírez
world; town; story; region
mundo; pueblo; historia (narración); región
Subtitles available in English and Spanish

The poem of Kyká, by Nicolás Acosta

The myth is recreated in the everyday, in the day to day, giving meaning to existence while walking.

Our people once again raise their houses, raise their spirits, their voices. In the infinite gaze that meets the glow of the sky at dusk and becomes breath the next morning. When the sun struggles to penetrate the multiform droplets of fog and smoke crawling through the straw of our ceremonial houses.

To be the hope of a people that walks the roads in daily activity, surprise filling every step in the amazement of another life that crosses the road, showing its colours of flight.

And in the cold kiss of the mother, it finds the cascade of illusion in the memory of the Grandmother, who greets and is recognised in the transcendence of her toothless smile.

It is our story that is also a song, raised in the humidity that shelters in the leaf litter that caresses the earth with its thick hands, but does not impede the sensitivity of the caress, the solidarity in the embrace.

The good thought and flirtatious smile that hides the food for the mother to multiply it in her life-creating action.

The territory feeds on hopes for the future. It asks for medicine to heal the people, the lake asks for water to bring babies, the stone asks for strength in thought. The river that flows with the freshness of life. Possums, foxes, rabbits, weasels, crabs and armadillos protect their existence in the underground that provides the raque tree, the myrtle, the hayuelo, the fern, the arboloco, and the frailejón plants.

While the prayer wakes the guard with all the grandparents and grandmothers, siblings, who in their resting place, feed their bones with the glow of the stars, radiating the feeling of our footprint on the hill.

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  • Idioma: The Doric
  • región: Northeast Scotland
  • Colaborador(a): Arthur Watson
brushwood or undergrowth; stunted or crooked bush or tree
maleza; arbusto o árbol atrofiado o torcido

Stories are living beings, they grow, they develop, they remember, they change not in their essence, but sometimes in their dress. They are shared and shaped by the land and the culture and the teller…

Robin Wall Kimmerer

Robin Wall Kimmerer in ‘A Note on Indigenous Stories’ in her book, Braiding Sweetgrass, makes a cogent point about her people, originally from the Great Lakes. However it is equally pertinent to the oral culture of Scots travellers.

Here I will, with digressions, focus on a particular ballad sung within a family of settled travellers, some of whom I knew well when I was younger. The ballad, Johnnie the Brine was learned from a recording made by my colleague, the late Peter Hall. There are versions spread across Scotland and into England but only the Robertsons identify the protagonist as Johnnie the Brine. It displays characteristics of many songs beloved by travellers – transgressive, out with societal norms and reflective of older ways that are no longer conducive to a ‘modern’ lifestyle.

Listen to Arthur Watson singing the ballad of Johnnie the Brine

Continue reading “Scrogs”

Creating the story of |Xau

Read the full post about the word |Xau

Selection of artist works from the film of |Xau

Virginia MacKenny

Ndaya Ilunga

Margaret Courtney-Clarke

Contributors to the film

  • Prof Sylvia Vollenhoven – Script, Concept & Editing
  • Ryan Lee Seddon – Cinematographer
  • Kutelani Rasikhuthuma – Online Editor
  • Prof Virginia MacKenny – Concept and Main Artworks: Of Holes and Things, Woodrose Explosion y Sharp Edged Grains
  • Ndaya Ilunga – Word and Graphic Art: It’s Only Words y Playing with Empty Words
  • Hilton Schilder – Music: Kalahari Thirst, Alter Native y eMail to the Ancestors
  • Basil Appollis – Voiceover artist
  • Bradley van Sitters, aka Danab ||Hui !Gaeb di !Huni!nâ !Gûkhoeb – Khoekhoegowab voiceover artist

Español de Colombia