Johis Alarcón

Saitamy Congo, a young dancer from “Con Alma Africana” dance group, bathes in the water spring of the Caminos a la Libertad neighbourhood, located in the northwest of Quito. This spring used to be a ritual and celebrations spot for the Afro population, now, it is a space for recreation and family. Quito, 2018 ©Johis Alarcón

September’s featured photographer is Johis Alarcón

Johanna Alarcón is a freelance photojournalist and educator currently based in Ecuador.

Her work focuses on human rights, socio-cultural and gender-related issues. She is a Member of Fluxus Foto Collective. Her work has been published in: The New York Times – Lens Blog, Bloomberg, Courrier Magazine, Huck Magazine, AJ+ Español, Folha Sao Paulo International, El País, and Bex Magazine.

Johanna was selected for the World Press Photo – 6×6 Global Talent South America and attended The New York Times portfolio review in 2019. Other recognitions include; the Everyday Projects Mentorship Award, Afroamericanos Award (Ecuador), and the Juan Antonio Serrano photojournalism Award. She received an Honourable Mention in the photobook competition RM.

Cimarrona

In Ecuador, the daughters, granddaughters and great-granddaughters of African slaves, keep the legacy in their spiritual beliefs. The ancestral practices of the diaspora, such as rituals, and how they were adapted in their new homeland have become an instrument for the reaffirmation of black identity in the new generations. The “Cimarronas” are rebellious women activists who have led Afro-diasporic liberation since their arrival to the South American country in the 16th Century. The black communities were located in Esmeraldas and El Chota, territories with more than five centuries of resistance that today face illegal mining, logging and mercury contamination.

Currently, 8% of Ecuadorians are Afro-descendants, of which half are women. According to the latest census, 72 out of every 100 Afro-descendant women have suffered some type of violence due to their race and social background. With the risk that their ancestry will be lost due to globalisation, modern influences, and migration to cities, the Afro-descendant identity lives on as a legacy for a new femininity. Despite the fact that “Cimarronas” story is told from the point of view of poverty, hypersexualization and social exclusion, black identity, both; in terms of struggle and cultural revitalisation, is at the heart of it.

Karen Villa, an anthropology student and leader of the Afro Descent group “Con Alma Africana”, turns on the television while her mother, sister, and cousins spend time together in their living room. Quito, 2018. Johis Alarcón©Johis Alarcón
Karen Villalba, 23, anthropology student and an activist at Addis Abeba, representing Elegua, a major Orisha deity in African culture. Quito, 2018 ©Johis Alarcón
Guests at a wedding reception. Juncal, Ecuador, 2018. ©Johis Alarcón
Alba Pavón poses for a portrait in her living room while representing Yemanyá who is the mother of African Orishas. She is a community leader at “Caminos a la Libertad”, a neighbourhood in the northwest of Quito. Alba feels identified with Yemayá because the memories of her ancestors and territory are linked with water. Quito, 2018. ©Johis Alarcón
Family members and friends are dancing at the Chalá-Pavón marriage. Juncal, 2018. ©Johis Alarcón
A woman carrying a statue of the Virgin of Mercy during a pilgrimage of Afro-Ecuadorians whose beliefs
blend Catholic and African ancestral rituals. Quito, Ecuador, 2019. ©Johis Alarcón
Family and community members pray during the novena of “La Tía Fabiola”. Traditionally, they celebrate an afro mass for nine days in the house of the deceased person where families build an altar to share prayers and songs asking for the rest of the person’s soul. Quito, 2019. ©Johis Alarcón
Afro-Ecuadorian women are celebrating La Virgen de la Merced, with songs and candles during the afro religious mass in Playa de Oro. Ecuador, 2019. ©Johis Alarcón
Afro-Ecuadorian women are celebrating La Virgen de la Merced, with songs and candles during the afro religious mass in Playa de Oro. Ecuador, 2019. ©Johis Alarcón
Holy Week, the ritual celebrating the descent of Jesus Chris, takes place every year in the church of El Juncal. The men in white are in charge of carrying Jesus Christ down from the main altar and taking him to the procession. The statue is carried around the town streets among songs, candles and prayers. Juncal, 2018. ©Johis Alarcón
Ruth Ayoví, 42 -year. Ancestral singer of Playa de Oro. Women are guardians of ritual songs, their voices are listened around the Pacific coast. Playa de Oro, 2019. ©Johis Alarcón

To see more of Johis’ work, here

La fotógrafa del mes de Septiembre es Johis Alrcón

Johanna Alarcón es una fotoperiodista independiente y educadora que actualmente vive en Ecuador.

Su trabajo se centra en temáticas sociales, culturales, derechos humanos y de género. Johanna es miembro del colectivo Fluxus Foto. Su trabajo ha sido publicado en: The New York Times – Lens Culture, Bloomberg, Courrier Magazine, Huck Magazine, AJ + Español, Folha Sao Paulo International, El País y Bex Magazine.

Johanna fue seleccionada para World Press Photo – 6×6 Global Talent South America y asistió a la revisión de portafolios The New York Times en 2019.

Los reconocimientos de Johanna incluyen el premio; Everyday Projects Mentorship Award, el premio Afroamericanos (Ecuador) y el premio de fotoperiodismo Juan Antonio Serrano. Recibió una Mención de Honor en el concurso de fotolibros RM.

Cimarrona: Mujeres Libres, Pueblos Libres

En Ecuador las hijas, nietas y bisnietas de mujeres sobrevivientes de la esclavitud, guardan el legado de África en su espiritualidad. Las prácticas ancestrales de la diáspora y su reconfiguración cultural migratoria se adaptaron a sus nuevos territorios y se han convertido en un instrumento para la reafirmación de identidad negra en las nuevas generaciones. Las “Cimarronas” son mujeres rebeldes y estrategas que lideran la liberación afro-diaspórica desde su llegada en el siglo XVI. Las comunidades negras se ubicaron en Esmeraldas y El Chota, territorios con más de cinco siglos de resistencia que hoy se enfrentan a la minería ilegal, la extracción de maderera y la contaminación por mercurio. Las mujeres negras fueron quienes idearon estrategias de escape que se transmitieron en sus expresiones culturales y prácticas espirituales.  Aunque hoy se han combinado con el sincretismo religioso permanecen como piezas claves para revertir su obligada desterritorialización.

Actualmente, el 8% de los ecuatorianos son afrodescendientes, de esta cifra el 50% son mujeres. Según la última encuesta nacional, 72 de cada 100 mujeres afrodescendientes han sufrido algún tipo de violencia debido a su raza y condición social. Con el riesgo de que su ancestralidad se pierda absorbida por la globalización, la llegada de nuevas influencias culturales y la migración masiva de las nuevas generaciones a la ciudad, la identidad afrodescendiente vive como un legado para una nueva feminidad. A pesar de que la historia ha sido contada desde la pobreza, hipersexualización y exclusión, la identidad negra y sus aportes son un referente de lucha y revitalización cultural para todo el mundo.

Para saber más de los proyectos de Johis, aquí