The Amazon, that vast territory spanning several South American countries, is much more than a green lung. It is a mosaic of cultures, languages, and traditions that have survived for centuries. However, in recent decades, the region has become a battleground between extractive development and the defense of the rights of its indigenous peoples. The pressure from the oil industry, deforestation, and pollution threaten a balance that is vital for the planet.
In this context, voices and projects are emerging that seek to build bridges between the Western world and Amazonian communities. One of them has a Spanish name: Miriam Avecilla, a ceramicist from Seville now living in Zamora, who has made clay her compass. Her upcoming trip to the Peruvian Amazon is not simply an adventure, but an immersion in ancestral knowledge that, according to her, can only be learned by living and observing.
A mud bridge between Zamora and the Amazon
Miriam Avecilla arrived in Venialbo, a small town in Zamora, three years ago, almost by chance. There she found not only a place to live, but also a community of artisans with whom to share her craft. Her project combines art, ceramics, and emotional support , and she has managed to transform workshops into meeting points where people learn about the land and its people. But her vision extends beyond Spain's borders.
For years, Miriam has traveled to Peru to learn about ancestral Amazonian pottery, a tradition less known than the Andean but equally rich. A key figure in this journey has been Juanita Bartra, an 87-year-old ceramist and researcher, who has opened doors for her in native communities. The exchange is bidirectional : Miriam not only learns but also shares her knowledge and collaborates in local ceramic processes.
This year, their stay will be extended to six months, and part of the experience will be open to a small group. It's not a tourist trip, but a cultural and human immersion, always with respect for those who keep this knowledge alive. The initiative 'The Origin of Making ,' launched in collaboration with the Argentinian artist Laura Galeotti, is an example of how crafts can connect continents.
A region under pressure
As Miriam packs her bags, the Amazon continues to face challenges that transcend cultural issues. The exploitation of natural resources, especially oil in the Amazon , has left deep wounds on the land and its inhabitants. In Ecuador, for example, Indigenous communities have denounced for years the effects of gas flares and oil spills on their health and environment. Air and water pollution has caused illness and jeopardized the survival of entire communities.
The response was swift. Women's and youth groups, such as the well-known 'Amazon Warriors,' have raised their voices and taken their demands to court. In some cases, the courts have acknowledged the damage caused , but the lack of enforcement of these rulings highlights the fragility of the protection mechanisms. This situation is not unique to Ecuador; in Brazil, oil exploration off the Amazon coast has also raised concerns among environmentalists.
Hope in ancestral knowledge
Given this situation, initiatives like Miriam Avecilla's take on symbolic and practical value. The exchange of knowledge between cultures not only enriches those who participate but also helps to highlight the richness of the Amazon beyond its natural resources. Ceramics, weaving, and traditional medicine are expressions of a worldview that understands the land as a living being, not as a commodity.
For Miriam, mud is a common thread that unites people from different continents. Her journey stems not from a desire to leave Zamora , but from a need to learn so she can return and share. This philosophy, applied on a large scale, could be one of the keys to building a fairer and more sustainable future in the Amazon.
The region needs, now more than ever, for the voices of its people to be heard and their rights to be respected. Defending the Amazon is not only an environmental issue , but also one of social and cultural justice. Projects like Miriam's demonstrate that dialogue between the Global North and South is possible, and that art can be a vehicle for transformation.
In the end, what remains is the certainty that the Amazon is not a distant land, but a mirror reflecting our own contradictions and hopes. A Spanish ceramicist's perspective on the Peruvian rainforest reminds us that knowledge knows no borders, and that solidarity can be expressed in the most unexpected ways. Perhaps that is why clay continues to be, for Miriam, a compass pointing toward a shared horizon.
