Brother in the broader Pemon-Macuxi-Kapon shared frame; less narratively-detailed in surviving recensions than Makunaima but semantically central. The name "Pia" overlaps with two distinct attestations: (1) the Macuxi tradition records "the trunk – Piai – of the Wazacá tree," in which Piaí names the trunk of the Tree of Life that Makunaima chopped through, suggesting a structural connection between Pia and the Wazacá-tree axis-of-the-world; (2) in the broader Pemon-Carib semantic field, piaí (Pemón) / piai (Carib) is the term for shaman or medicine-person, connecting Pia/Piaí to the continuing Pemon-Macuxi shamanic-power semantic register and the contemporary piaí-practice of healing-songs (tarenpokon) and parixara-dancing-against-evil-spirits. The 19th-century Hallelujah religious movement that swept Pemon territory blended piaí-shamanic practice with syncretic Christian-Pemon elements; the figure of Pia is among the lineage-ancestors of this practice. In Mário de Andrade's 1928 modernist novel Macunaíma, "Piaimã the Giant, eater of men" appears as antagonist-figure — semantic descendant of the Pia/Piaí name carried into Brazilian-Portuguese literary reception via Koch-Grünberg's ethnography. The Pemon-five-brother form (de Cora 1957) and the Macuxi-three-brother form (continuing oral erenkon) are both recognized in the registry under the unified Pemon-Macuxi-Kapon shared cultural-religious frame.