On October 12, 2013, nearly 300 women from seven different indigenous tribes of the Ecuadorian Amazon embarked on a 219 km march to the country's capital to ask the central government to spare their ancestral lands from its aggressive oil and mining policies. Several days later, the women arrived in Quito carrying their toddlers, their faces painted with natural dyes in beautiful patterns and symbols, with the same determination with which they departed.
While women have always played an active role in a number of historical marches that punctuate the struggle for indigenous rights in Ecuador, this was the first march that was organized and spearheaded by women. As female givers of life, the women from the Amazon have felt a responsibility to lead the fight against impending oil drilling and the destruction of the pacha mama, or life-giving mother earth. Although Ecuadorian public opinion overwhelmingly praised the bravery of the marching women, President Rafael Correa refused to meet with them.
On November 28, a smaller delegation of women arrived in Quito to peacefully protest during the 11th Oil Licensing Round, an auction of six million acres of indigenous ancestral lands for oil exploitation. The demonstration got heated when oil executives and politicians came outside and protestors scolded them, accusing them of being complicit in ethnocide. President Correa took advantage of this situation to publicly portray all indigenous protestors and the NGOs that supported them as violent, subsequently closing Fundación Pacha Mama, one of the most reputed environmental NGOs in the country, and indicting 10 indigenous leaders, who are currently facing charges of terrorism.
Amazonas: Guardians of Life aims to document the struggle of the indigenous women defending the Ecuadorian Amazon from oil exploitation through a series of images combining portraiture with their written testimonies and artistic expressions. The words written on the images are self-reflections of the women's lives, culture, history, and traditions, and their statements explain their reasons for fighting against oil extraction in their ancestral lands. The traces around the portraits use the same natural dyes with which they decorate their faces to draw the symbols and patterns that reflect their personalities and their struggle.
My name is Ena Santi. I’m from the community of Sarayacu. I’m a woman who has fought against oil exploitation. In 2002, an oil company came into Sarayacu territory to destroy the Amazon jungle. The women in this community worked side by side with our children, youth, adults, and elders to resist. Even our schools shut down during our struggle against the oil company. We formed groups and divided the tasks to be able to hold out in our struggle. The women mostly prepared the chicha and the food for the men who were out in the jungle. The women of Sarayacu have the dream of continuing to fight to preserve our territory, our jungle, our river, and our air free of pollution. We also fight against violence against women in the community. Let’s stand up. It’s time to open our eyes. It’s time to come together in one heart, pure and strong. It’s time we rise again.
About the Author : Felipe Jácome is a documentary photographer born in Ecuador. After finishing his studies at the Johns Hopkins University and the London School of Economics, his work has focused on issues of human mobility and human rights. In 2010 he won the Young Reporter Competition of the International Committee of the Red Cross (ICRC). Jacome’s photos have appeared in publications such as Foreign Policy Magazine, The Guardian, Vice Magazine, CNN Photo Blog and the Miami Herald. His piece entitled “The Vertical Border” which documents the human rights violations of migrants in Mexico, accompanied the 50th Annual General Meeting of Amnesty International in San Francisco. His most recent work aims to document the work of female activists around the world through the creation of “visual testimonies,” which combine his portraiture with the women’s written testimonies and artistic expressions, allowing them to re-appropriate their images and narratives. Jacome’s work has also been exhibited in London, Geneva, Amsterdam, Quito, and Washington DC.
No comments:
Post a Comment