Haurralde Foundation

Awareness

Tribute to Yoaquina

Details: Published on 12 October 2010

Haurralde Note: Yoaquina is one of those children / as contained in the gruesome statistics of deaths from malnutrition and preventable diseases in the Third World. Crossed our path and at a glance we marked the heart. This note is a tribute to Yoaquina, his short life full of hardships, and to all her children as contained in these statistics. Numbers after which there is always a name. Patricia transcribe the note he found on his visit to Yoaquina village Nhamatsane in the city of Chimoio, Mozambique.

A princess named Yoaquina
(1998 - September 27, 2010)

His name was Yoaquina, Yoaquina Pedro, the name was that of his father he never knew, was his paternal grandfather. He put his mother, who was not Yoaquina to dry.
He was 12 when we met her, tall and big eyes.
Never knew what it was a toy, or a new dress, or all those pleasures that the world reserves a few / few.
Yoaquina worked since childhood, collecting waste in landfills and hauling water to the hut of mud and straw, his hometown.

His body was weak and was marked by years of malnutrition and disease. I could barely move in his small room on a humble blanket.

I do not know if you ever had a dream, do not know if Yoaquina imagined a better world.
I know a sad evening in Mozambique, looked at me with big eyes,
and said goodbye ... so without much fuss, hardly breath.
We put him among the first new dress ... but she did not see,
Princess for a day princess for eternity!!

Then I thought the world should know that you died Yoaquina hungry, that you wanted help not arrived on time.
Let your body skin and bones, got bigger and outgoing these, your huge black eyes!
Let everyone know Yoaquina, who arrived on time, to cure your hunger for years, give you a toy .....
Everybody knows your name Yoaquina, Yoaquina Peter, you had 12 years and who killed you .. poverty, hunger .. the injustice of the modern world.

Yoaquina living in Chimoio:

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Collection of African masks Haurralde

This collection offers a wide variety of wooden masks and some iron that shape human figures, animals, dolls with hair braided by ethnicity or region, touched female masks that reveal the rite of passage from girl to woman, generally masks that were used and are still used in celebrations, initiations, crop demands. Most represent a spirit and there is a strong belief that the spirits of the ancestors possesses the wearer.
Anthropologically the word "art" understood in the European context does not exist in many African languages, the manufacture and use of masks is assumed that Africa is part of the experience of everyday life.
The concept of "art for art's sake" does not exist as such, it is failing activity (the creation of masks, face paints, fabrics, batik) to shape and embellish everyday life, and give significance to certain events such as the already mentioned: rites of passage, weddings, banquets, war ... and others.
Some artists of the last century such as Picasso, Vincent Van Gogh, Modigliani have been inspired by this "art" African for his paintings.
If we delve further into the anthropological vision of "art" African, we recommend the following from Jacques Maquet, which we review below and also the article by Ramon Sarro i Maluquer, "Object and context. The status of African artwork "

The aesthetic experience. The eye of an anthropologist on the art
Jacques Maquet Celeste / University, Madrid 1999
Is art just a beauty to the eye of the beholder? What happens to objects such as an African mask or an Etruscan sarcophagus or an Olivetti typewriter become "art by metamorphosis" and have their place in a museum or gallery with works of art by destination? What aspects of the art objects are essentially relevant? Aesthetic experience is it universal? Is it the same universal art and recognizable as such in different cultures?.