{"id":8537,"date":"2015-03-12T13:47:02","date_gmt":"2015-03-12T13:47:02","guid":{"rendered":"https:\/\/bethmoyses.com.br\/site\/portfolio\/semear-no-corpo-2\/"},"modified":"2026-11-08T23:10:48","modified_gmt":"2026-11-08T23:10:48","slug":"212-republica-dominicana","status":"publish","type":"portfolio","link":"https:\/\/bethmoyses.com.br\/site\/portfolio\/212-republica-dominicana\/","title":{"rendered":"212 (Repu\u0301blica Dominicana)"},"content":{"rendered":"

[vc_row el_class=\u00bbidiomas-tabs\u00bb][vc_column][vc_tta_tabs shape=\u00bbsquare\u00bb active_section=\u00bb1″][vc_tta_section title=\u00bbPortugu\u00eas\u00bb tab_id=\u00bb1448286307981-57578b1c-860f\u00bb][vc_column_text css=\u00bb\u00bb]<\/p>\n

\u201cSe me matarem, estenderei os bra\u00e7os para fora do t\u00famulo e serei mais forte.\u201d<\/p>\n

Minerva Mirabal sabia exatamente qual poderia ser seu destino caso continuasse enfrentando a ditadura de Rafael Le\u00f3nidas Trujillo. Ela e duas de suas irm\u00e3s, Patria e Mar\u00eda Teresa, eram ativistas firmemente comprometidas com a luta contra o regime e enfrentaram a pris\u00e3o e a repress\u00e3o at\u00e9 que, em 25 de novembro de 1960, os corpos das tr\u00eas foram encontrados dentro de um carro, no fundo de um precip\u00edcio.<\/p>\n

No entanto, a morte n\u00e3o significou o fim de sua mem\u00f3ria, mas sim sua afirma\u00e7\u00e3o definitiva. Em homenagem \u00e0s tr\u00eas irm\u00e3s, o dia 25 de novembro tornou-se o Dia Internacional para a Elimina\u00e7\u00e3o da Viol\u00eancia contra as Mulheres.<\/p>\n

Beth Moys\u00e9s desenvolveu uma trajet\u00f3ria art\u00edstica profundamente comprometida com os direitos das mulheres. Por meio da performance, criou a\u00e7\u00f5es que estabelecem conex\u00f5es com a mem\u00f3ria feminina e buscam curar a dor sofrida ao longo dos s\u00e9culos.<\/p>\n

Em 2016, no contexto das celebra\u00e7\u00f5es do Dia Internacional para a Elimina\u00e7\u00e3o da Viol\u00eancia contra as Mulheres, realizou a performance 180<\/em>, em S\u00e3o Paulo. Fazendo refer\u00eancia ao n\u00famero telef\u00f4nico de atendimento \u00e0s v\u00edtimas de viol\u00eancia de g\u00eanero, Moys\u00e9s evocava a mem\u00f3ria das irm\u00e3s Mirabal.<\/p>\n

Em cada uma das ativa\u00e7\u00f5es da performance, que apresenta pequenas varia\u00e7\u00f5es de uma realiza\u00e7\u00e3o para outra, Moys\u00e9s evoca a possibilidade de cura e de cicatriza\u00e7\u00e3o da dor sofrida, como um fio cont\u00ednuo que nos une e acaricia nosso cora\u00e7\u00e3o.<\/p>\n

Com esse mesmo prop\u00f3sito, nesta nova ativa\u00e7\u00e3o, a mem\u00f3ria das tr\u00eas irm\u00e3s assume especial import\u00e2ncia. Nesta performance, Beth Moys\u00e9s utiliza o n\u00famero *212 (telefone de atendimento a emerg\u00eancias relacionadas \u00e0 viol\u00eancia de g\u00eanero), enquanto as enfermeiras s\u00e3o representadas pelas netas das irm\u00e3s Mirabal.<\/p>\n

O percurso pelas ruas de Santo Domingo, dentro de cada ambul\u00e2ncia, com cada uma delas levando o nome de uma das tr\u00eas irm\u00e3s e acompanhada por uma de suas netas, culmina na chegada ao Pal\u00e1cio de Belas Artes, onde dez mulheres gr\u00e1vidas as aguardam.<\/p>\n

Em um ato de cura, elas plantam erva-de-s\u00e3o-jo\u00e3o no ventre dessas mulheres, uma planta conhecida por suas propriedades cicatrizantes. Por meio da simbologia do umbigo e do cord\u00e3o umbilical, o gesto faz refer\u00eancia \u00e0s gera\u00e7\u00f5es futuras, mas tamb\u00e9m a todas aquelas que nos precederam: m\u00e3es, av\u00f3s e todas as nossas antepassadas.<\/p>\n

\u00c9 uma genealogia feminista que se desdobra para al\u00e9m do tempo, de gera\u00e7\u00e3o em gera\u00e7\u00e3o, e que recorda todas as mulheres que sofreram viol\u00eancia.<\/p>\n

Esta performance \u00e9 um ato de comunh\u00e3o e alian\u00e7a coletiva, de cuidado e sororidade. Recorda aquelas que nos precederam e abre caminho para as que vir\u00e3o.<\/p>\n

Nesta ativa\u00e7\u00e3o, a presen\u00e7a simb\u00f3lica das irm\u00e3s Mirabal torna-se ainda mais poderosa por meio de suas netas, cicatrizando n\u00e3o apenas sua mem\u00f3ria, mas tamb\u00e9m a dor que elas sofreram e que contribuiu para dar visibilidade \u00e0s demais formas de viol\u00eancia contra as mulheres.<\/p>\n

Cada uma das mulheres que participam desta performance contribui para cicatrizar as marcas da dor feminina. Aqui, a performance \u00e9 al\u00edvio, regenera\u00e7\u00e3o e resist\u00eancia: uma for\u00e7a que denuncia o machismo e promove a cura de todas as mulheres.<\/p>\n

Sem\u00edramis Gonz\u00e1lez, curadora feminista.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=\u00bbEnglish\u00bb tab_id=\u00bb1448286242625-3c61822e-9460″][vc_column_text css=\u00bb\u00bb]<\/p>\n

\n

\u201cIf they kill me, I will reach my arms out from the grave and be stronger.\u201d<\/em><\/p>\n

Minerva Mirabal knew exactly what her fate might be if she continued to stand up to the dictatorship of Rafael Le\u00f3nidas Trujillo. She and two of her sisters, Patria and Mar\u00eda Teresa, were committed activists opposing the regime and endured imprisonment and repression until 25 November 1960, when the bodies of all three were found inside a car at the bottom of a ravine.<\/p>\n

Their deaths, however, did not mark the end of their memory, but rather its definitive affirmation. In their honour, 25 November became the International Day for the Elimination of Violence against Women.<\/p>\n

Beth Moys\u00e9s has developed an artistic career deeply committed to women’s rights. Through performance, she has created actions that connect with women’s collective memory and seek to heal the pain inflicted upon them throughout the centuries.<\/p>\n

In 2016, as part of the International Day for the Elimination of Violence against Women commemorations, she staged the performance 180<\/em> in S\u00e3o Paulo. Referring to the helpline for victims of gender-based violence, Moys\u00e9s invoked the memory of the Mirabal sisters.<\/p>\n

In each iteration of the performance, which varies slightly from one presentation to another, Moys\u00e9s evokes the possibility of healing and recovery from the pain endured, like an unbroken thread that connects us and gently touches our hearts.<\/p>\n

In keeping with this same intention, the memory of the three sisters takes on particular significance in this new iteration. In this performance, Beth Moys\u00e9s uses the number *212 (the emergency helpline for gender-based violence), while the nurses are embodied by the granddaughters of the Mirabal sisters.<\/p>\n

The journey through the streets of Santo Domingo, with each ambulance bearing one of the three sisters’ names and accompanied by one of their granddaughters, culminates in their arrival at the Palacio de Bellas Artes, where ten pregnant women await them.<\/p>\n

In an act of healing, they plant St John’s wort in the women’s wombs, a plant known for its healing properties. Through the symbolism of the navel and the umbilical cord, the gesture evokes future generations, but also all those who came before us: mothers, grandmothers and all our female ancestors.<\/p>\n

It is a feminist genealogy that unfolds beyond time, from generation to generation, remembering all those who have suffered violence.<\/p>\n

This performance is an act of communion and collective alliance, of care and sisterhood. It remembers those who came before us and paves the way for those yet to come.<\/p>\n

In this iteration, the symbolic presence of the Mirabal sisters becomes even more powerful through their granddaughters, healing not only their memory but also the pain they endured, a pain that helped bring other forms of violence against women into public view.<\/p>\n

Each woman taking part in this performance helps heal the marks left by women’s suffering. Here, performance becomes relief, regeneration and resistance: a force that denounces machismo and brings healing to all women.<\/p>\n

Sem\u00edramis Gonz\u00e1lez, feminist curator.<\/p>\n<\/div>\n

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