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		<title>Conservation news</title>
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		<link>https://news.mongabay.com/list/arts/</link>
		<description>Environmental science and conservation news</description>
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	<title>News on Arts</title>
	<link>https://news.mongabay.com/list/arts/</link>
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				<item>
					<title>In Ecuador, Indigenous youth turn to rap music to defend the Amazon</title>
					<link>https://news.mongabay.com/2026/10/in-ecuador-indigenous-youth-turn-to-rap-music-to-defend-the-amazon/</link>
					<comments>https://news.mongabay.com/2026/10/in-ecuador-indigenous-youth-turn-to-rap-music-to-defend-the-amazon/#respond</comments>
					<pubDate>09 Oct 2026 16:32:20 +0000</pubDate>
											<dc:creator>
							<![CDATA[Isabel Alarcón]]>
						</dc:creator>
										<author>
						<![CDATA[Mongabay Editor]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
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					<guid isPermaLink="false">https://news.mongabay.com/?p=332134</guid>

					
											<locations>
							<![CDATA[Amazon, Ecuador, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Conservation, Culture, Environment, Forests, Indigenous Peoples, Indigenous Rights, and Rainforests]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Willan Gualinga first stepped onto a stage in his home community of Sarayaku, in the Ecuadorian Amazon, in the province of Pastaza. He recalls his hands sweating, his body trembling, and his mouth freezing up as words crowded his mind. Three years after that debut, he performed the same song at the Rizoma 2026 Festival [&#8230;]]]>
						</description>
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							<![CDATA[Willan Gualinga first stepped onto a stage in his home community of Sarayaku, in the Ecuadorian Amazon, in the province of Pastaza. He recalls his hands sweating, his body trembling, and his mouth freezing up as words crowded his mind. Three years after that debut, he performed the same song at the Rizoma 2026 Festival in the Amazonian city of Puyo. This time, he was no longer in front of dozens of people. He was seeing thousands chanting his lyrics in his Indigenous Kichwa language. On this occasion, his body moved with the rhythm and with the strength his message demanded: “Allpamanda kawsay manda jatarishun,” or “Let us rise up for the land and for life.” That was the title of his first track and the phrase he shouted at the top of his lungs throughout his performance. The song draws on elders’ stories about the origins of Sarayaku (his traditional territory) and, like his other compositions, spotlights the threats facing his people. “Through music we can transmit the knowledge of our ancestors and, above all, defend the territory,” said Gualinga, a 23-year-old artist known on stage as “Taki Supay.” Like him, a new generation of Amazonian artists is using rap to bring attention to the threats facing Indigenous peoples and nationalities across the Ecuadorian Amazon — and to show why the rainforest must be protected. “Rap is talking about what you feel, what is happening, and our struggle,” Misael Elías Criollo Grefa, better known as Misa17, said. He is&hellip;This article was originally published on <a href="https://news.mongabay.com/2026/10/in-ecuador-indigenous-youth-turn-to-rap-music-to-defend-the-amazon/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
										<wfw:commentRss>https://news.mongabay.com/2026/10/in-ecuador-indigenous-youth-turn-to-rap-music-to-defend-the-amazon/feed/</wfw:commentRss>
					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-332134</doi>				</item>
						<item>
					<title>Humanity’s ancient bond with biodiversity is visible in rock art (analysis)</title>
					<link>https://news.mongabay.com/2026/05/humanitys-ancient-bond-with-biodiversity-is-visible-in-rock-art-analysis/</link>
					<comments>https://news.mongabay.com/2026/05/humanitys-ancient-bond-with-biodiversity-is-visible-in-rock-art-analysis/#respond</comments>
					<pubDate>20 May 2026 21:22:59 +0000</pubDate>
											<dc:creator>
							<![CDATA[Kerry Bowman]]>
						</dc:creator>
										<author>
						<![CDATA[Erik Hoffner]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2026/05/20204407/ancient-rock-art-e1779309915617-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=319834</guid>

					
											<locations>
							<![CDATA[Global]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Analysis, Animals, Arts, Biodiversity, Commentary, Conservation, Culture, Environment, Ethics, Green, Indigenous Peoples, and Wildlife]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Across continents and cultures, one of the most striking features of ancient rock art is how often it places the natural world at its center. Whether etched into sandstone cliffs in the Sahara, painted in hidden shelters in Southern Africa, or drawn on stone faces deep in the Amazon, the recurring subject is not architecture, [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[Across continents and cultures, one of the most striking features of ancient rock art is how often it places the natural world at its center. Whether etched into sandstone cliffs in the Sahara, painted in hidden shelters in Southern Africa, or drawn on stone faces deep in the Amazon, the recurring subject is not architecture, warfare or abstract political power. It is animals, forests, rivers, spirits of the land and the intimate relationship between people and the living world around them. I have seen rock art in remote regions of the Amazon, left by ancient San communities in Angola, across the Ennedi Plateau in Chad, and in the Nuba Mountains of Sudan, I have come to believe that these works reveal something profound: long before the language of “biodiversity” existed, many human societies understood that their survival, identity and spirituality were inseparable from the ecosystems that sustained them. Modern conservation discourse often treats biodiversity as a scientific concept — a measurable index of species richness, ecological resilience and genetic variation. This framing is useful, but it can obscure an older and deeper truth. For much of human history, biodiversity was not an abstraction. It was immediate, sacred and embedded in daily life. The extraordinary prevalence of animal and ecological imagery in rock art across the world suggests that early human societies recognized, at minimum intuitively, the centrality of the natural world to both material survival and cultural meaning. Ancient rock art depicting wildlife and humans, Ennedi Plateau, Chad. Image courtesy&hellip;This article was originally published on <a href="https://news.mongabay.com/2026/05/humanitys-ancient-bond-with-biodiversity-is-visible-in-rock-art-analysis/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-319834</doi>				</item>
						<item>
					<title>What Indigenous youth filmmaking reveals about environmental communication (commentary)</title>
					<link>https://news.mongabay.com/2026/05/what-indigenous-youth-filmmaking-reveals-about-environmental-communication-commentary/</link>
					<comments>https://news.mongabay.com/2026/05/what-indigenous-youth-filmmaking-reveals-about-environmental-communication-commentary/#respond</comments>
					<pubDate>07 May 2026 16:38:41 +0000</pubDate>
											<dc:creator>
							<![CDATA[Jamille Pinheiro Dias]]>
						</dc:creator>
										<author>
						<![CDATA[Erik Hoffner]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2026/05/07162429/DSC_1829-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=318951</guid>

					
											<locations>
							<![CDATA[Amazon, Atlantic Forest, Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Commentary, Communication, Conservation, Culture, Environment, Film, Green, Happy-upbeat Environmental, Indigenous Peoples, Rainforests, and Traditional Knowledge]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[A machete is typically an instrument for clearing dense brush or, in a certain kind of movie, for fending off a terrifying monster. Yet, deep in the Atlantic Forest of Brazil’s Bahia state, I learned that a machete is also used for a much friendlier purpose: slicing green mangoes to eat with salt. That simple, [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[A machete is typically an instrument for clearing dense brush or, in a certain kind of movie, for fending off a terrifying monster. Yet, deep in the Atlantic Forest of Brazil’s Bahia state, I learned that a machete is also used for a much friendlier purpose: slicing green mangoes to eat with salt. That simple, unexpected twist — where anticipated horror dissolves into communal joy — captures exactly what happened when we asked the students in the Indigenous Tupinambá villages of Serra do Padeiro and Tukum what kind of movies they liked. The room immediately buzzed with a rapid-fire list: K-dramas, slapstick comedies, high-speed action, or blood-chilling horror. Before anyone had even picked up a camera, the space was already overflowing with a multiplicity of cinematic worlds and different ideas about what a story could be. I had traveled to southern Bahia in March 2026 with Indigenous filmmaker Olinda Tupinambá and a group of creatives. As a researcher at the University of London’s School of Advanced Study, I am co-developing our project titled “Environmental Education and Film in the Atlantic Forest: Eco-Activism Through Indigenous Perspectives” with support from the British Academy. Our goal was simple: to demystify filmmaking by using everyday smartphones as creative tools, and to challenge what audiences often assume about Indigenous cinema. Students, project leads, and facilitators during the workshop in the Serra do Padeiro village, Tupinambá de Olivença Territory (Bahia, Brazil), part of the British Academy–funded Environmental Education and Film in the Atlantic Forest: Eco-Activism Through&hellip;This article was originally published on <a href="https://news.mongabay.com/2026/05/what-indigenous-youth-filmmaking-reveals-about-environmental-communication-commentary/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-318951</doi>				</item>
						<item>
					<title>Cowboy boots made from pirarucu leather fund Amazon’s sustainable fishery</title>
					<link>https://news.mongabay.com/2026/01/cowboy-boots-made-from-pirarucu-leather-fund-amazons-sustainable-fishery/</link>
					<comments>https://news.mongabay.com/2026/01/cowboy-boots-made-from-pirarucu-leather-fund-amazons-sustainable-fishery/#respond</comments>
					<pubDate>12 Jan 2026 18:26:25 +0000</pubDate>
											<dc:creator>
							<![CDATA[Jenny Gonzales]]>
						</dc:creator>
										<author>
						<![CDATA[Alexandre de Santi]]>
					</author>
							<category><![CDATA[Amazon]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2026/01/09112043/a.-Julie-Larsen_3333_Pirarucu-Boots-Boot-Barn-ME-_11-22-25-768x512.jpeg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=312803</guid>

					
											<locations>
							<![CDATA[Amazon, Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Biodiversity, Bioeconomy, Business, Community-based Conservation, Conservation, Endangered Species, Environment, Environmental Law, Fish, Fisheries, Fishing, Freshwater Fish, Industry, and Overfishing]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[A massive Amazonian fish yields the unique and once overlooked leather prized by luxury brands and Texas cowboys.]]>
						</description>
																					<content:encoded>
							<![CDATA[An inhabitant of the Amazon Basin and one of the world’s largest freshwater fishes, the pirarucu (Arapaima gigas) has a hard skin that’s resistant to attacks from aquatic predators such as piranhas, yet is also flexible. Such features, combined with the diamond-shaped design of its scales, have attracted the interest of the global fashion industry. The largest market for sustainably harvested pirarucu skin is the U.S. state of Texas. Country-style boots made from it are manufactured in the U.S. and in Mexico and sold in both countries, a niche business that helps finance sustainable fishing by traditional communities in the Brazilian state of Amazonas. Meat is the main product of the managed pirarucu fishery, but the skin, which weighs at least 10 kilograms (22 pounds) and used for footwear and other fashion accessories, sells for a higher price, 170-200 reais ($32-$38). “Selling the skin is crucial to maintaining the 10 reais per kilo of pirarucu [about $1.90/kg, or 86 cents/lb] paid to fishers,” said Ana Alice Britto, commercial coordinator at the Carauari Rural Producers Association, ASPROC. “The skins also help pay a small portion of the logistics, processing and storage costs.” Founded in 1994, ASPROC is the largest organization in the Middle Juruá River region, representing 800 families from 61 riverside communities. Last year, it sold 180 metric tons of pirarucu. Commercial exploitation of the colossal fish — which can weigh up to 200 kg (440 lbs) and measure 3 meters (10 feet) long — began in earnest in the&hellip;This article was originally published on <a href="https://news.mongabay.com/2026/01/cowboy-boots-made-from-pirarucu-leather-fund-amazons-sustainable-fishery/" data-wpel-link="internal">Mongabay</a>]]>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-312803</doi>				</item>
						<item>
					<title>Tell Hicks, reptile artist</title>
					<link>https://news.mongabay.com/2025/12/tell-hicks-reptile-artist/</link>
					<comments>https://news.mongabay.com/2025/12/tell-hicks-reptile-artist/#respond</comments>
					<pubDate>25 Dec 2025 07:46:12 +0000</pubDate>
											<dc:creator>
							<![CDATA[Rhett Ayers Butler]]>
						</dc:creator>
										<author>
						<![CDATA[Rhett Butler]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2025/12/21225500/tell-hicks-iguana-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=311830</guid>

					
											<locations>
							<![CDATA[United States]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Animals, Arts, Herps, Obituary, Reptiles, and Wildlife]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Founder&#8217;s Briefs: An occasional series where Mongabay founder Rhett Ayers Butler shares analysis, perspectives and story summaries. For much of the late 20th century, reptiles occupied an awkward place in the public imagination. They were admired by specialists, feared or misunderstood by many others, and rarely treated with the same aesthetic seriousness afforded to birds [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[Founder&#8217;s Briefs: An occasional series where Mongabay founder Rhett Ayers Butler shares analysis, perspectives and story summaries. For much of the late 20th century, reptiles occupied an awkward place in the public imagination. They were admired by specialists, feared or misunderstood by many others, and rarely treated with the same aesthetic seriousness afforded to birds or mammals. Field guides existed, but art that lingered on texture, posture, and individuality was scarce. The people who cared most about snakes, lizards, and turtles tended to find one another at the margins: in societies, at shows, or out in the field, comparing notes. One figure moved easily among those worlds. At reptile expos, he could often be found at an easel, quietly building an image layer by layer while conversations unfolded around him. In museums and private collections, his work carried the same animals into spaces where they were more often absent. The paintings did not dramatize their subjects. They paid attention to them. That artist was Tell Hicks, a British wildlife painter whose name became familiar to herpetologists on both sides of the Atlantic. He specialized in reptiles and amphibians, not as symbols or curiosities, but as organisms worth close, patient study. His snakes were not coiled for effect. His turtles were not softened for charm. They appeared as they were, alert and particular. Hicks was largely self-taught. As a child in England, he drew constantly, filling sketchbooks with animals. A book of prehistoric illustrations by Zdeněk Burian left a lasting impression,&hellip;This article was originally published on <a href="https://news.mongabay.com/2025/12/tell-hicks-reptile-artist/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-311830</doi>				</item>
						<item>
					<title>Meet the DJs of nature, inspired by biodiversity</title>
					<link>https://news.mongabay.com/2025/09/meet-the-djs-of-nature-inspired-by-biodiversity/</link>
					<comments>https://news.mongabay.com/2025/09/meet-the-djs-of-nature-inspired-by-biodiversity/#respond</comments>
					<pubDate>15 Sep 2025 21:15:54 +0000</pubDate>
											<dc:creator>
							<![CDATA[Manuel Fonseca]]>
						</dc:creator>
										<author>
						<![CDATA[Karen Coates]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2025/09/15155703/Tayta-Bird.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=306008</guid>

					
											<locations>
							<![CDATA[Global]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Bioacoustics, Biodiversity, Conservation, Environment, Fellows, Happy-upbeat Environmental, Rainforests, Technology, Wildlife, and Wildtech]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Nature is taking the stage. The sunset starts to fade on a cloudy summer day next to the Main River in an industrial neighborhood of Frankfurt, Germany. The main artist of the festival is an ecologist by day and DJ by night, Dominik Eulberg. Calm snare sounds mixed with a decaying beat like a ball [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[Nature is taking the stage. The sunset starts to fade on a cloudy summer day next to the Main River in an industrial neighborhood of Frankfurt, Germany. The main artist of the festival is an ecologist by day and DJ by night, Dominik Eulberg. Calm snare sounds mixed with a decaying beat like a ball bouncing freely against the floor fill in the atmosphere. Some people in the crowd recognize the pattern and start to cheer, raising their arms up to the sky as if a Mass is just about to begin. A man with sunglasses says to the person next to him: “Dude! It’s finally Dominik.” A tall man in a black shirt appears behind the music box. Behind his blond hair that looks like golden thin vines falling over his face, he smiles and raises both arms while the crowd cheers. He looks down at the console with lightning lanes and knobs that control the volume, tempo and sound effects. Listening through his headphones, he starts to turn knobs as if trying to unlock a safe; the tempo starts to speed up, ratcheting the intensity of the music until the safe opens up wide, releasing a beat drop. The energy is in the air while people dance and nod as if talking in a language that does not need words to be understood. Music and nature have had a happy, everlasting marriage. Whether as part of the creativity process or eventually by adding sounds that make up parts&hellip;This article was originally published on <a href="https://news.mongabay.com/2025/09/meet-the-djs-of-nature-inspired-by-biodiversity/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-306008</doi>				</item>
						<item>
					<title>Photographer Sebastião Salgado (1944-2025) planted a forest and grew a global movement</title>
					<link>https://news.mongabay.com/2025/05/photographer-sebastiao-salgado-planted-a-forest-and-grew-a-global-movement/</link>
					<comments>https://news.mongabay.com/2025/05/photographer-sebastiao-salgado-planted-a-forest-and-grew-a-global-movement/#respond</comments>
					<pubDate>25 May 2025 03:31:56 +0000</pubDate>
											<dc:creator>
							<![CDATA[Rhett Ayers Butler]]>
						</dc:creator>
										<author>
						<![CDATA[Rhett Butler]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2025/05/25031633/Sebastiao-Salgado-2560x900-1-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=299621</guid>

					
											<locations>
							<![CDATA[Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Culture, Ecosystems, Environment, Green, Journalism, Obituary, Reforestation, and Restoration]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Sebastião Salgado, the celebrated Brazilian photographer whose powerful black-and-white images captured the dignity of human labor and the fragility of the natural world, died on May 23rd, aged 81. A photographer whose work spanned the globe and crossed boundaries between photojournalism, social commentary, and environmental advocacy, Salgado’s life and career were defined by a relentless [&#8230;]]]>
						</description>
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							<![CDATA[Sebastião Salgado, the celebrated Brazilian photographer whose powerful black-and-white images captured the dignity of human labor and the fragility of the natural world, died on May 23rd, aged 81. A photographer whose work spanned the globe and crossed boundaries between photojournalism, social commentary, and environmental advocacy, Salgado’s life and career were defined by a relentless commitment to witnessing, documenting, and ultimately seeking to transform the world around him. Born in Aimorés, Minas Gerais, in 1944, Salgado’s path to photography was unconventional. Initially trained as an economist, he worked for the International Coffee Organization in London before discovering photography at the age of 27. This late start did not hinder his meteoric rise. By the 1980s, he was already renowned for his haunting images of the Serra Pelada gold mine in Brazil and his unflinching documentation of the human condition in places as disparate as the Sahel desert and the Rwanda genocide. His work, particularly the series &#8220;Workers&#8221; and &#8220;Exodus,&#8221; earned him global acclaim, capturing the universal struggle of laborers, migrants, and refugees. Salgado’s photo of a rain cloud over Serro do Divisor National Park in Acre in 2016. Image courtesy Instituto Terra Salgado’s early years were marked by an intense focus on human suffering and resilience, but it was his later work that would reveal his true vision for the planet. His turn toward environmentalism came in the wake of personal crises, particularly the psychological toll of photographing the human tragedies of the 1990s. He was profoundly moved by the&hellip;This article was originally published on <a href="https://news.mongabay.com/2025/05/photographer-sebastiao-salgado-planted-a-forest-and-grew-a-global-movement/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-299621</doi>				</item>
						<item>
					<title>Re:wild and Age of Union announce conservation partnership</title>
					<link>https://news.mongabay.com/2025/03/rewild-and-age-of-union-announce-conservation-partnership/</link>
					<comments>https://news.mongabay.com/2025/03/rewild-and-age-of-union-announce-conservation-partnership/#respond</comments>
					<pubDate>13 Mar 2025 13:13:16 +0000</pubDate>
											<dc:creator>
							<![CDATA[Maxwell Radwin]]>
						</dc:creator>
										<author>
						<![CDATA[Bobbybascomb]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2025/03/13123647/FEATURE--768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=295750</guid>

					
											<locations>
							<![CDATA[Global, Madagascar, and United States]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Activism, Animals, Arts, Biodiversity, Climate Change, Conservation, Deforestation, Forests, Rainforests, Tropical Forests, and Wildlife]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Two of the conservation world’s most innovative organizations are joining forces to expand their impact — combining funding, grassroots activism and immersive storytelling to raise awareness and create action on the global climate crisis. The nonprofits Re:wild and Age of Union say their conservation partnership will focus on protecting critical ecosystems and endangered species, and [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[Two of the conservation world’s most innovative organizations are joining forces to expand their impact — combining funding, grassroots activism and immersive storytelling to raise awareness and create action on the global climate crisis. The nonprofits Re:wild and Age of Union say their conservation partnership will focus on protecting critical ecosystems and endangered species, and developing creative projects like documentaries and art installations. “We need to work together, combine forces, and do the most that we can. We’re all bringing unique capabilities to the table,” Age of Union founder Dax Dasilva told Mongabay from the South by Southwest Convention in Austin, where the partnership was first announced. Since its founding in 2020, Re:wild has been expanding a global network of over 500 partners in more than 80 countries, prioritizing on-the-ground relationships with companies, individuals, Indigenous communities and other conservation groups. The organization is currently working to conserve more than 229 million hectares (565 million acres) of habitat and 265 threatened species, according to a press statement. “One of the organizations I always really looked up to and hoped to partner with one day was Re:wild,” Dasilva said. “They seemed to be investing in the kind of grassroots, local and Indigenous-led conservation projects that I found inspiring. They’re an entrepreneurial, fast-moving organization that we definitely aspired to be like.” Dax Dasilva and Wes Sechrest at the South by Southwest Convention in Austin. Photo courtesy of Re:wild. Dasilva first came into contact with the Re:wild team in December 2022 while attending the&hellip;This article was originally published on <a href="https://news.mongabay.com/2025/03/rewild-and-age-of-union-announce-conservation-partnership/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-295750</doi>				</item>
						<item>
					<title>‘I’m Still Here’ Eunice Paiva’s pivotal role in Brazil’s Indigenous &#038; environmental rights</title>
					<link>https://news.mongabay.com/2025/02/im-still-here-eunice-paivas-pivotal-role-in-brazils-indigenous-environmental-rights/</link>
					<comments>https://news.mongabay.com/2025/02/im-still-here-eunice-paivas-pivotal-role-in-brazils-indigenous-environmental-rights/#respond</comments>
					<pubDate>13 Feb 2025 18:03:16 +0000</pubDate>
											<dc:creator>
							<![CDATA[Luiz Antônio Araujo]]>
						</dc:creator>
										<author>
						<![CDATA[Latoya Abulu]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2025/02/13114112/Familia_de_Rubens_Paiva-edit-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=294296</guid>

					
											<locations>
							<![CDATA[Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Environment, Environmental Law, Film, Governance, Indigenous Peoples, Indigenous Rights, Law, Politics, Social Justice, and Women In Science]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[PORTO ALEGRE — On the set of I’m Still Here (2024), the acclaimed Brazilian film by Walter Salles Jr., supporting actress Angela Ribeiro was approached by a woman with red hair and thin-rimmed glasses. “I came to meet my namesake,” the visitor joked in a light Portuguese accent. The presence of Manuela Carneiro da Cunha, [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[PORTO ALEGRE — On the set of I’m Still Here (2024), the acclaimed Brazilian film by Walter Salles Jr., supporting actress Angela Ribeiro was approached by a woman with red hair and thin-rimmed glasses. “I came to meet my namesake,” the visitor joked in a light Portuguese accent. The presence of Manuela Carneiro da Cunha, a distinguished Luso-Brazilian scholar specializing in Brazil&#8217;s Indigenous peoples, behind the scenes of the production, moved the actress portraying her on the big screen, she said. In a social media post, Ribeiro shared, “I met her on set! We hugged. We looked at each other, and I was able to express my profound admiration.” Carneiro da Cunha is a secondary character in the critically acclaimed film I’m Still Here, which is nominated for three Academy Awards: Best Picture, Best International Picture and Best Actress. The movie focuses on the personal and political story of its protagonist, lawyer Eunice Paiva (1929–2018) whose husband, former Congressman Rubens Paiva, was kidnapped and killed by agents of Brazil’s military dictatorship in 1971. The relationship between Eunice Paiva (played by Fernanda Torres) and Carneiro da Cunha is briefly touched upon in the film, sources close to her tell Mongabay, but it encapsulates a crucial aspect of Paiva’s career: her influence in the Indigenous rights and environmental movement. Although I’m Still Here does not delve deeply into Indigenous issues, Indigenous leaders have seen the film’s international success as a tribute to a champion of their cause. Paiva’s advocacy for Indigenous peoples&hellip;This article was originally published on <a href="https://news.mongabay.com/2025/02/im-still-here-eunice-paivas-pivotal-role-in-brazils-indigenous-environmental-rights/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-294296</doi>				</item>
						<item>
					<title>Brazil’s Kadiwéu force international debate about authorship of Indigenous art</title>
					<link>https://news.mongabay.com/2024/12/brazils-kadiweu-force-international-debate-about-authorship-of-indigenous-art/</link>
					<comments>https://news.mongabay.com/2024/12/brazils-kadiweu-force-international-debate-about-authorship-of-indigenous-art/#respond</comments>
					<pubDate>26 Dec 2024 15:16:00 +0000</pubDate>
											<dc:creator>
							<![CDATA[Júlia Moa]]>
						</dc:creator>
										<author>
						<![CDATA[Xavier Bartaburu]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2024/12/20150924/Mulheres-do-povo-Kadiweu-foto-por-Mariana-Arndt-1-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=292139</guid>

					
											<locations>
							<![CDATA[Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Culture, and Indigenous Peoples]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[One of the main observers of the art of the Kadiwéu, an Indigenous people from South America, was French anthropologist Claude Lévi-Strauss. In the early 20th century, he visited Indigenous villages in what is today Brazil’s Mato Grosso do Sul state and photographed the inhabitants’ traditional ceramics and elaborate body paintings made with ink from [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[One of the main observers of the art of the Kadiwéu, an Indigenous people from South America, was French anthropologist Claude Lévi-Strauss. In the early 20th century, he visited Indigenous villages in what is today Brazil’s Mato Grosso do Sul state and photographed the inhabitants’ traditional ceramics and elaborate body paintings made with ink from the genipap fruit. The guardians of this rich artistic tradition are the women of the Ejiwajegi people, as the Kadiwéu call themselves, who preserve their cultural memory while also generating an income from their creations. Like other Indigenous peoples throughout Brazil, the Kadiwéu have for centuries suffered from colonial exploitation. And the most recent manifestation of this centered around their art: A book featuring the never-before-seen art of their ancestors was about to be published half a world away, and no one had thought to consult them about it. In 1935, in the Indigenous village of Nalike, near what’s now the village of Alves de Barros in the municipality of Porto Murtinho, Claude Lévi-Strauss stayed with the Kadiwéu and received several drawings as gifts from the Indigenous women. These artworks remained in the anthropologist’s personal archive for decades, until his wife, Monique Lévi-Strauss, found the folder containing more than 30 original drawings. French publisher Éditions du Seuil took an interest in the works and prepared to publish a new book around them: Peintures caduveo — Suppléments à Tristes Tropiques (“Caduveo Paintings — Supplement to Tristes Tropiques&#8221;). It would be released to commemorate Lévi-Strauss’s 1955 classic&hellip;This article was originally published on <a href="https://news.mongabay.com/2024/12/brazils-kadiweu-force-international-debate-about-authorship-of-indigenous-art/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-292139</doi>				</item>
						<item>
					<title>It’s not the end, we have several possible futures: Interview with Indigenous author Ailton Krenak</title>
					<link>https://news.mongabay.com/2024/07/its-not-the-end-we-have-several-possible-futures-interview-with-indigenous-author-ailton-krenak/</link>
					<comments>https://news.mongabay.com/2024/07/its-not-the-end-we-have-several-possible-futures-interview-with-indigenous-author-ailton-krenak/#respond</comments>
					<pubDate>30 Jul 2024 14:39:31 +0000</pubDate>
											<dc:creator>
							<![CDATA[Jaqueline Sordi]]>
						</dc:creator>
										<author>
						<![CDATA[Latoya Abulu]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2024/07/30113006/Krenak-side-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=285383</guid>

											<reporting-project>
							<![CDATA[Indigenous Peoples and Conservation]]>
						</reporting-project>
					
											<locations>
							<![CDATA[Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Agriculture, Anthropology, Arts, Books, Conservation, Culture, Development, Environment, Indigenous Peoples, Rainforests, Traditional Knowledge, and Traditional People]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[For decades, scientists have been warning that the world is heading toward catastrophic scenarios due to climate change. But Ailton Krenak refuses to think about an apocalypse. On the contrary, he argues that there are several possible futures — but they will only be achievable when we realize that “being is more important than having.” [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[For decades, scientists have been warning that the world is heading toward catastrophic scenarios due to climate change. But Ailton Krenak refuses to think about an apocalypse. On the contrary, he argues that there are several possible futures — but they will only be achievable when we realize that “being is more important than having.” For the Brazilian Indigenous leader, environmentalist, philosopher, poet and writer, Western society is facing an urgent need for a paradigm shift that challenges the ideas of progress and development themselves. “I’m not a pessimist, but I’m sure that the only way to move forward in this world is to reconnect with ancient wisdom. We have long been divorced from this living organism that is the Earth,” Krenak said in an interview with Mongabay. Born in Itabirinha, in the state of Minas Gerais, the 71-year-old Indigenous leader has been a prominent figure and an advocate for Indigenous rights for decades. In the late ‘80s, he became famous for his appearance at Brazil’s National Constituent Assembly, where he functioned as a representative of Indigenous peoples in constitutional debates. While giving his speech at the Congress in 1987, he stood on a platform, in front of those who threatened the land rights and culture of Indigenous peoples, and painted his face in black jenipapo paste (from the genipap fruit, Genipa americana). It was a form of protest against the setbacks and violent attacks on his rights and those of his Krenak relatives by the Brazilian dictatorship. The following&hellip;This article was originally published on <a href="https://news.mongabay.com/2024/07/its-not-the-end-we-have-several-possible-futures-interview-with-indigenous-author-ailton-krenak/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-285383</doi>				</item>
						<item>
					<title>Dhaka international symposium gathers at the intersection of art &#038; climate crisis</title>
					<link>https://news.mongabay.com/2024/07/dhaka-international-symposium-gathers-at-the-intersection-of-art-climate-crisis/</link>
					<comments>https://news.mongabay.com/2024/07/dhaka-international-symposium-gathers-at-the-intersection-of-art-climate-crisis/#respond</comments>
					<pubDate>29 Jul 2024 16:00:54 +0000</pubDate>
											<dc:creator>
							<![CDATA[McKenna Johnson]]>
						</dc:creator>
										<author>
						<![CDATA[Abu Siddique]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2024/07/29151440/Arts-and-Climate-Change-1-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=285247</guid>

					
											<locations>
							<![CDATA[Asia, Bangladesh, and South Asia]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Climate Change, Conservation, Culture, Education, Environment, and Global Environmental Crisis]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[DHANGMARI, Bangladesh — In late May, elementary school children rushed up and down the worn footpaths between their homes in Dhangmari, giggling and showing off small clay sculptures. One girl held out a ceramic bird, her arms outstretched like wings. A boy crouched in the door frame of his house, slowly rolling flattened clay petals [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[DHANGMARI, Bangladesh — In late May, elementary school children rushed up and down the worn footpaths between their homes in Dhangmari, giggling and showing off small clay sculptures. One girl held out a ceramic bird, her arms outstretched like wings. A boy crouched in the door frame of his house, slowly rolling flattened clay petals to fashion a rose. It was the final examination day in art class at the Gora Dhangmari Forest Primary School, a small schoolhouse on the Pashur River about 80 kilometers (50 miles) south of Khulna. It was hot, nearly 38° Celsius (100° Fahrenheit). A month earlier, schools nationwide had been closed due to unprecedented heat. Bithka Ray, who teaches Bangla and math, and Anima Bachar, who teaches English and science, switch off teaching art with the other two teachers at the school. The students are free to make any sculpture they like, though the figurines lining the desks have one thing in common: nature. Katha Mondol, a girl in class five, cradled a clay coconut in her hands. Her neighbor has a coconut tree, she said, and she likes to drink from the coconuts. Her teachers said that Mondol’s own home has a coconut tree, but after prolonged exposure to saline water, the tree no longer produces coconuts. Increasingly saline water and soil is an issue that has plagued Bangladesh for years. &#8220;We enjoy teaching art, and our satisfaction comes from [the students’] happiness,” Bachar said. With its lattice of rivers and tropical coastline, Bangladesh&hellip;This article was originally published on <a href="https://news.mongabay.com/2024/07/dhaka-international-symposium-gathers-at-the-intersection-of-art-climate-crisis/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-285247</doi>				</item>
						<item>
					<title>Mongabay investigation is turned into art for World Press Freedom Day event</title>
					<link>https://news.mongabay.com/2024/05/mongabay-investigation-is-turned-into-art-for-world-press-freedom-day-event/</link>
					<comments>https://news.mongabay.com/2024/05/mongabay-investigation-is-turned-into-art-for-world-press-freedom-day-event/#respond</comments>
					<pubDate>27 May 2024 19:13:03 +0000</pubDate>
											<dc:creator>
							<![CDATA[Karla Mendes]]>
						</dc:creator>
										<author>
						<![CDATA[Karla Mendes]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2024/05/21100844/art-installation-1-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=282320</guid>

					
											<locations>
							<![CDATA[Amazon, Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[agribusiness, Agriculture, Arts, Consumption, Controversial, Environmental Law, Health, Indigenous Peoples, Land Conflict, Land Rights, Mongabay investigation, Overconsumption, Palm Oil, Planetary Health, Plantations, Plastic, Roads, Social Justice, and Water Pollution]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Mongabay’s award-winning investigation that revealed water contamination from palm oil plantations in Indigenous territories in the Brazilian Amazon inspired an art installation at UNESCO’s World Press Freedom Day Conference in Santiago; the artwork was also exhibited at Chile’s Museum of Contemporary Art.]]>
						</description>
																					<content:encoded>
							<![CDATA[This story was supported by the Pulitzer Center’s Rainforest Investigations Network where Karla Mendes is a fellow. SANTIAGO, Chile — An award-winning investigation by Mongabay that revealed water contamination from oil palm plantations in Indigenous territories in the Brazilian Amazon was featured at an art installation at UNESCO’s World Press Freedom Day Conference in Santiago this month. The artwork was also exhibited at Chile’s Museum of Contemporary Art. A supermarket cart, tipping over under a mountain of products and spilling waste in river water — represented by melted plastic bottles — was placed at the entrance of the main pavilion of the Gabriela Mistral Library, where UNESCO’s event took place from May 3-4. Inspired by the Mongabay investigation, theater design students from the University of Chile worked together with this reporter to create the concept of an art exhibition to highlight the hidden environmental damages of “sustainable” palm oil coming from the many products found in grocery stores that consumers buy with no awareness of the impacts. “Here are all the things that we people go to the supermarket, take the offers, take the sales — oferta in Spanish — we just take them from the supermarket and put them in our cart. And we see here the cart is already full and it spills everything else, it spills all the contamination that’s coming from the palm oil industry,&#8221; says Cristian Canto, manager of the artwork, explaining that the plastic bottles represent the Amazon region visited by this reporter and&hellip;This article was originally published on <a href="https://news.mongabay.com/2024/05/mongabay-investigation-is-turned-into-art-for-world-press-freedom-day-event/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-282320</doi>				</item>
						<item>
					<title>Innovative Nepali PSA seeks emotional connection to save red pandas</title>
					<link>https://news.mongabay.com/2024/05/innovative-nepali-psa-seeks-emotional-connection-to-save-red-pandas/</link>
					<comments>https://news.mongabay.com/2024/05/innovative-nepali-psa-seeks-emotional-connection-to-save-red-pandas/#respond</comments>
					<pubDate>24 May 2024 13:33:15 +0000</pubDate>
											<dc:creator>
							<![CDATA[Abhaya Raj Joshi]]>
						</dc:creator>
										<author>
						<![CDATA[Abhaya Raj Joshi]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2024/05/24132858/ILCE-7M3-43898-2-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=282470</guid>

					
											<locations>
							<![CDATA[Asia, Nepal, and South Asia]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Animal Behavior, Animals, Arts, Biodiversity, Conservation, Endangered Species, Film, Infrastructure, Mammals, Pandas, Poaching, and Trees]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[KATHMANDU — During the COVID-19 lockdown in Nepal, red panda conservation campaigner and researcher Sonam Tashi Lama came across a public service announcement on African rhinos, featuring action superstar Jackie Chan. “I was blown away by the concept and the performance,” Lama said. It got him wondering whether a similar PSA could be produced by [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[KATHMANDU — During the COVID-19 lockdown in Nepal, red panda conservation campaigner and researcher Sonam Tashi Lama came across a public service announcement on African rhinos, featuring action superstar Jackie Chan. “I was blown away by the concept and the performance,” Lama said. It got him wondering whether a similar PSA could be produced by Nepali artists, depicting Nepali culture, to save the red panda (Ailurus fulgens), an endangered species. He approached actor and filmmaker Dayahang Rai, who had recently been appointed a conservation ambassador for the red panda. “We didn’t have access to the technology used in the Jackie Chan video, but we had good actors and good concepts that we could make use of,” Lama, a recipient of the prestigious Whitley Award in 2022, told Mongabay. Rai was busy with numerous other projects at the time, but was sold on the concept. “He instantly agreed to the idea,” Lama said. A red panda being collared in Nepal. Image courtesy of Damber Bista Red pandas, found in India, Nepal, Bhutan and China, face threats ranging from habitat loss to illegal trapping and poaching, to accidental snaring in traps set for other animals. The species is categorized as endangered on the IUCN Red List and is included in Appendix I of CITES, the global wildlife trade convention, making its trade illegal. It’s estimated that of the fewer than 15,000 individuals that remain in the wild, around 500 roam in Nepal’s hills, where they thrive in bamboo forests. Research shows that&hellip;This article was originally published on <a href="https://news.mongabay.com/2024/05/innovative-nepali-psa-seeks-emotional-connection-to-save-red-pandas/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-282470</doi>				</item>
						<item>
					<title>Haunting song pays tribute to Toughie, the frog whose extinction went unnoticed</title>
					<link>https://news.mongabay.com/2024/04/haunting-song-pays-tribute-to-toughie-the-frog-whose-extinction-went-unnoticed/</link>
					<comments>https://news.mongabay.com/2024/04/haunting-song-pays-tribute-to-toughie-the-frog-whose-extinction-went-unnoticed/#respond</comments>
					<pubDate>10 Apr 2024 18:37:45 +0000</pubDate>
											<dc:creator>
							<![CDATA[Liz Kimbrough]]>
						</dc:creator>
										<author>
						<![CDATA[Liz Kimbrough]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2024/04/10175222/The-EndLing-video-still_-Yuan-Liu-768x429.png" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=280830</guid>

					
											<locations>
							<![CDATA[Latin America and Panama]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Amphibians, Animals, Arts, Biodiversity, Chytridiomycosis, Climate Change, Conservation, Endangered Species, Environment, Extinction, Forest Destruction, Forests, Global Environmental Crisis, Green, Herps, Mass Extinction, Tropical Forests, and Wildlife]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[When the last Rabbs&#8217; fringe-limbed treefrog (Ecnomiohyla rabborum) died in 2016 at the Atlanta Botanical Garden, its extinction garnered little media attention. Environmental journalist Jeremy Hance, a longtime Mongabay reporter and editor, expressed his outrage in a story for The Guardian, titled “Frog goes extinct, media yawns.” &#8220;It&#8217;s so rare to be able to know [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[When the last Rabbs&#8217; fringe-limbed treefrog (Ecnomiohyla rabborum) died in 2016 at the Atlanta Botanical Garden, its extinction garnered little media attention. Environmental journalist Jeremy Hance, a longtime Mongabay reporter and editor, expressed his outrage in a story for The Guardian, titled “Frog goes extinct, media yawns.” &#8220;It&#8217;s so rare to be able to know when the last one goes,&#8221; Hance said. &#8220;When people didn&#8217;t cover that, it was so weird. This animal is not getting any coverage beyond the normal like, five paragraphs … I&#8217;m pissed off about this.&#8221; One person who did take note was musician Talia Schlanger. Late one night in 2019, Schlanger read Hance’s article in her Paris sublet and was moved to tears. She dove into researching the frog species. &#8220;I remember sitting at the little kitchen table and just sobbing. Absolutely sobbing,&#8221; Schlanger told Mongabay. &#8220;The song poured out of me.&#8221; That song, titled &#8220;The Endling,&#8221; appears on Schlanger&#8217;s debut studio album, Grace for the Going, and pays tribute to Toughie, the last known Rabbs&#8217; fringe-limbed treefrog. The term &#8220;endling&#8221; refers to the last known individual of a species or subspecies. When an endling dies, the species becomes extinct. The song&#8217;s haunting refrain, &#8220;You are the endling, the ending of a sound,&#8221; captures the finality of extinction. The first time she performed the song live, Schlanger said, she felt a bit nervous about how it would be received. &#8220;I was a bit shaky because I was like, ‘What are people going to think about&hellip;This article was originally published on <a href="https://news.mongabay.com/2024/04/haunting-song-pays-tribute-to-toughie-the-frog-whose-extinction-went-unnoticed/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-280830</doi>				</item>
						<item>
					<title>A feathered cape bridges past and present for Brazil’s Indigenous Tupinambá</title>
					<link>https://news.mongabay.com/2024/03/a-feathered-cape-bridges-past-and-present-for-brazils-indigenous-tupinamba/</link>
					<comments>https://news.mongabay.com/2024/03/a-feathered-cape-bridges-past-and-present-for-brazils-indigenous-tupinamba/#respond</comments>
					<pubDate>04 Mar 2024 11:55:04 +0000</pubDate>
											<dc:creator>
							<![CDATA[Matheus Lopes Quirino]]>
						</dc:creator>
										<author>
						<![CDATA[Xavier Bartaburu]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2024/03/04115017/Gliceria-Tupinamba-e-Alexandre-Mortagua-Quando-o-Manto-fala-e-o-que-o-Manto-diz-2023-frame-do-video-1-1-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=279428</guid>

					
											<locations>
							<![CDATA[Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Conservation, Culture, Indigenous Peoples, Traditional Knowledge, and Traditional People]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[A central figure in many Indigenous systems is that of the Enchanted Ones, ancestral entities thought to connect the earthly world and the spiritual world. Some of these contacts are said to occur through dreams, liturgies or dances. For Glicéria Tupinambá, an Indigenous artist and activist from Brazil, it was a dream in 2006 that [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[A central figure in many Indigenous systems is that of the Enchanted Ones, ancestral entities thought to connect the earthly world and the spiritual world. Some of these contacts are said to occur through dreams, liturgies or dances. For Glicéria Tupinambá, an Indigenous artist and activist from Brazil, it was a dream in 2006 that she says set her on the path she’s now on. She tells of hearing a call from the Enchanted Ones to rescue a feather cape, more than 400 years old, that belonged to her people. The piece in question sat in the storage vault of a prominent French museum, so it wouldn’t be possible to bring it back to Brazil. But there was another way to go. “In 2018, during a visit to the Quai Branly Museum’s storage in Paris, I had access to the cape, and the cape spoke to me,” Glicéria tells Mongabay. “[It] showed this dimension where women’s hands make the cape. Women bear their own cape. From then on, I started making a cape in 2020 for Chief Babau — a cape authorized by the Enchanted Ones.” That first cape, for Babau Tupinambá, her brother and the chief of the Serra do Padeiro village in Bahia state, represents for Glicéria not just the renewal of ancestral Indigenous cosmology and the tradition of sacred garments, but also a new perspective on belonging and on Indigenous peoples’ identity and struggle to preserve their culture. Artist and activist Glicéria Tupinambá wears one of the&hellip;This article was originally published on <a href="https://news.mongabay.com/2024/03/a-feathered-cape-bridges-past-and-present-for-brazils-indigenous-tupinamba/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-279428</doi>				</item>
						<item>
					<title>Indigenous women filmmakers form collective, using cameras to fight for rights</title>
					<link>https://news.mongabay.com/2024/01/indigenous-women-filmmakers-form-collective-using-cameras-to-fight-for-rights/</link>
					<comments>https://news.mongabay.com/2024/01/indigenous-women-filmmakers-form-collective-using-cameras-to-fight-for-rights/#respond</comments>
					<pubDate>23 Jan 2024 10:34:06 +0000</pubDate>
											<dc:creator>
							<![CDATA[Matheus Lopes Quirino]]>
						</dc:creator>
										<author>
						<![CDATA[Xavier Bartaburu]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2024/01/23102807/photo_2022-04-19_10-02-14-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=277914</guid>

					
											<locations>
							<![CDATA[Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Conservation, Culture, Environment, Film, Gender, Happy-upbeat Environmental, Indigenous Peoples, Indigenous Rights, Land Rights, Traditional Knowledge, and Women In Science]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[While the name Katahirine seems like it could be for an observatory or some ambitious outer space project, it is rather the name of the first audiovisual network created and run by Indigenous women in Brazil. In the language of the Manchineri people native to Brazil’s state of Acre, Katahirine means “constellation.” It was chosen [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[While the name Katahirine seems like it could be for an observatory or some ambitious outer space project, it is rather the name of the first audiovisual network created and run by Indigenous women in Brazil. In the language of the Manchineri people native to Brazil’s state of Acre, Katahirine means “constellation.” It was chosen by the collective because it implies plurality, the gathering of voices from many territories under one platform. Each filmmaker shining with camera in hand, together they are discovering the possibilities of filmmaking, an art that some years ago would have been impossible to practice in regions far from Brazil’s big cities. But as mobile phones, digital cameras and audiovisual equipment become more accessible, filmmaking today is part of the lives of dozens of Indigenous women across Brazil. There are 60 members of Katahirine – Rede Audiovisual de Mulheres Indígenas working on their own productions, including fiction and documentaries, filming the reality inside their communities from the north to the south of Brazil. For the time being, the Pantanal is the only region not filmed by a member of the network. But this could change soon, according to Mari Corrêa, filmmaker and project founder. Corrêa also created Instituto Catitu, which provides funding for Rede Katahirine. She has been developing audiovisual training programs for Indigenous peoples for 30 years — a story that began with workshops she gave in the Xingu Indigenous Park as part of the Video in Villages (Vídeo nas Aldeias) project. Corrêa had always&hellip;This article was originally published on <a href="https://news.mongabay.com/2024/01/indigenous-women-filmmakers-form-collective-using-cameras-to-fight-for-rights/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-277914</doi>				</item>
						<item>
					<title>Australia crackdown on climate protesters grows amid fight against gas project</title>
					<link>https://news.mongabay.com/2023/10/australia-crackdown-on-climate-protesters-grows-amid-fight-against-gas-project/</link>
					<comments>https://news.mongabay.com/2023/10/australia-crackdown-on-climate-protesters-grows-amid-fight-against-gas-project/#respond</comments>
					<pubDate>31 Oct 2023 14:43:43 +0000</pubDate>
											<dc:creator>
							<![CDATA[Tessa Fox]]>
						</dc:creator>
										<author>
						<![CDATA[Latoya Abulu]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2023/10/31133108/protest-2-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=274832</guid>

											<reporting-project>
							<![CDATA[Indigenous Peoples and Conservation and Land rights and extractives]]>
						</reporting-project>
					
											<locations>
							<![CDATA[Australia and Oceania]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Activism, Archeology, Arts, Business, Community-based Conservation, Conservation, Corporate Environmental Transgressors, Corporate Social Responsibility, Corporations, COVID-19, Culture, Environment, Environmental Law, Governance, History, Indigenous Peoples, Indigenous Rights, Industry, Infrastructure, Land Rights, Politics, Pollution, Protected Areas, Protests, Social Justice, Traditional Knowledge, and Traditional People]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[BRISBANE, Australia — Formed billions of years ago from volcanic magma, the red rocks and hills of Murujuga arise in striking contrast to the surrounding green native grasses. This area, in what is known today as Western Australia (WA), holds the world’s largest and oldest collection of petroglyphs, dating back at least 40,000 years. Described [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[BRISBANE, Australia — Formed billions of years ago from volcanic magma, the red rocks and hills of Murujuga arise in striking contrast to the surrounding green native grasses. This area, in what is known today as Western Australia (WA), holds the world’s largest and oldest collection of petroglyphs, dating back at least 40,000 years. Described as a “bible” for local Indigenous groups, some of the rocks even depict the now-extinct Tasmanian tiger (Thylacinus cynocephalus). Murujuga also encompasses 42 islands that are surrounded by passageways for various migratory whale and dolphin species. All this dynamic land is tied together by the Turtle Dreaming story. It details how the freshwater meets the ocean through the acts of a turtle, says Raelene Cooper, a Mardudhunera woman and former board member of the Murujuga Aboriginal Corporation. This is one of the greatest creation stories for the Indigenous groups, referred to as original custodians — as in caretakers — of Murujuga. “We have an enormous responsibility in terms of creating a safe space for all plant life, land animals, marine animals and the underwater systems and especially the &#8230; connection with the rock art,” Cooper tells Mongabay. And part of this landscape is an expanding industrial site that protrudes from the rich, red earth. Environmentalists and Indigenous advocates say the sacred site is threatened by the upcoming expansion planned by Australia’s largest petroleum company, Woodside Energy. The project entails expanding two processing plants and building two new offshore gas fields in what will produce billions&hellip;This article was originally published on <a href="https://news.mongabay.com/2023/10/australia-crackdown-on-climate-protesters-grows-amid-fight-against-gas-project/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-274832</doi>				</item>
						<item>
					<title>Fishing ban extension raises hopes for iconic Amazon pink river dolphin</title>
					<link>https://news.mongabay.com/2023/10/fishing-ban-extension-raises-hopes-for-iconic-amazon-pink-river-dolphin/</link>
					<comments>https://news.mongabay.com/2023/10/fishing-ban-extension-raises-hopes-for-iconic-amazon-pink-river-dolphin/#respond</comments>
					<pubDate>16 Oct 2023 07:00:29 +0000</pubDate>
											<dc:creator>
							<![CDATA[Pérola de Farias Pedro]]>
						</dc:creator>
										<author>
						<![CDATA[Alexandre de Santi]]>
					</author>
							<category><![CDATA[Amazon]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2023/10/06164539/Pink-river-dolphin-2-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=274034</guid>

					
											<locations>
							<![CDATA[Amazon, Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Animals, Arts, Biodiversity, Cetaceans, Conservation, Culture, Dolphins, Ecosystems, Endangered Species, Environment, Environmental Law, Fish, Fishing, Freshwater, Freshwater Fish, Governance, Illegal Fishing, Mammals, Marine Conservation, Overfishing, Rivers, and Wildlife]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[The measure became even more relevant in October, following the finding of more than 100 dead dolphins in an Amazonian lake — experts suspect that the deaths are directly linked to the extreme drought affecting the region.]]>
						</description>
																					<content:encoded>
							<![CDATA[On July 3, 2023, a moratorium on fishing the piracatinga catfish in the Brazilian Amazon was extended for the third time since its introduction in 2014. There’s now no expiry date for the ban, although the ministries of environment and fishing have a period of three years to reevaluate it. The moratorium was instituted to protect the pink river dolphin (Inia geoffrensis), known locally as the boto. Fishers in the region catch the dolphin not to eat it, but as bait for catching piracatinga (Calophysus macropterus), which is being increasingly fished. While the extension of the moratorium marks a victory for environmentalists, some say the continued need for the policy demonstrates that efforts to permanently protect the dolphin by securing a safe environment for it is far from complete. In October, over a hundred dolphins were found dead in a lake in the Amazonas state, following a severe drought expected to last all summer. Experts are analyzing the bodies, but it’s believed that the rising temperatures of water bodies in the region must have played a role in the deaths. The drought has lowered river and lake levels to record levels, restricting the flow of ships and boats, the main form of transport in the region and the only means of access to health and education facilities for many communities. For now, most agree that the moratorium is essential to protect the animals. Nathalie Gil, president of Sea Shepherd Brazil, a marine conservation advocacy group, says the moratorium should remain&hellip;This article was originally published on <a href="https://news.mongabay.com/2023/10/fishing-ban-extension-raises-hopes-for-iconic-amazon-pink-river-dolphin/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-274034</doi>				</item>
						<item>
					<title>Brazilian Indigenous artists take the forest to the world</title>
					<link>https://news.mongabay.com/2023/08/brazilian-indigenous-artists-take-the-forest-to-the-world/</link>
					<comments>https://news.mongabay.com/2023/08/brazilian-indigenous-artists-take-the-forest-to-the-world/#respond</comments>
					<pubDate>29 Aug 2023 18:30:54 +0000</pubDate>
											<dc:creator>
							<![CDATA[Matheus Lopes Quirino]]>
						</dc:creator>
										<author>
						<![CDATA[Xavier Bartaburu]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2023/08/29182838/foto-Andrea-Rossetti_SIAMO_FORESTA_151-768x512.jpeg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=272731</guid>

					
											<locations>
							<![CDATA[Amazon, Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Activism, Arts, Conservation, Development, Education, Environment, Forests, Indigenous Peoples, Indigenous Rights, Land Rights, Philosophy, Protected Areas, Rainforests, Traditional People, and Tropical Forests]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[In recent years, several exhibitions held abroad have featured Indigenous people from Brazil and Latin America, giving unprecedented visibility to artists historically erased by gallery owners and museums.]]>
						</description>
																					<content:encoded>
							<![CDATA[The art market is moving closer and closer to Indigenous villages. In recent years, several exhibitions have been held abroad that focused on Indigenous peoples from Brazil and Latin America, giving unprecedented visibility to their artists, historically erased by gallery owners and museums. At this time of high demand for Indigenous art, Europe is also debating how colonialism usurped Amerindian culture and wrongly appropriated its artifacts. An example is the 16th-century Tupinambá mantle at the National Museum of Denmark, which will be returned to Brazil after three centuries in the institution’s collection. A late reckoning. Such renewal in the circuit shows how art and politics are inseparable, and it may guide exhibitions and change curators’ colonial thinking. This is the case of Siamo Foresta, an exhibition that opened at Milan’s La Triennale  in June, gathering works by 27 artists related to the Amazon Rainforest. They include Indigenous collectives such as the Yanomami Group, one of the best known in the country, with artists such as André Taniki, Sheroanawe Hakihiiwe, Vital Warasi and Joseca Mokahesi. This is the collective’s second international exhibition in 2023, after The Yanomami Struggle, at The Shed culture center in New York in February. Alongside the work of photographer Claudia Andujar, who has documented changes in the Yanomami Territory for 50 years, the artists showed, in the largest U.S. city, the struggle of a people who have recently faced one of their worst humanitarian tragedies. Works on exhibition in The Yanomami Struggle, which was held in early&hellip;This article was originally published on <a href="https://news.mongabay.com/2023/08/brazilian-indigenous-artists-take-the-forest-to-the-world/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-272731</doi>				</item>
						<item>
					<title>‘They will not put us in a display case’: Q&#038;A with Indigenous artist Daiara Tukano</title>
					<link>https://news.mongabay.com/2023/03/they-will-not-put-us-in-a-display-case-qa-with-indigenous-artist-daiara-tukano/</link>
					<comments>https://news.mongabay.com/2023/03/they-will-not-put-us-in-a-display-case-qa-with-indigenous-artist-daiara-tukano/#respond</comments>
					<pubDate>15 Mar 2023 10:17:53 +0000</pubDate>
											<dc:creator>
							<![CDATA[Mariana Della Barba]]>
						</dc:creator>
										<author>
						<![CDATA[Xavier Bartaburu]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2023/03/15101258/Daiara-Tukano_foto-Ana-Pigosso_Millan-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=266484</guid>

					
											<locations>
							<![CDATA[Amazon, Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Activism, Arts, Climate Change, Conservation, Culture, Environment, Indigenous Peoples, Indigenous Rights, and Traditional People]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Whether you’re looking at her giant paintings of Indigenous women creators or having a chat before the interview, Daiara Tukano always transmits her power, her well-honed critical viewpoint and excellent sense of humor. Daiara Tukano, who is also a political activist, educator and communicator, hails from the Yepá Mahsã people, also known as the Tukano, [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[Whether you’re looking at her giant paintings of Indigenous women creators or having a chat before the interview, Daiara Tukano always transmits her power, her well-honed critical viewpoint and excellent sense of humor. Daiara Tukano, who is also a political activist, educator and communicator, hails from the Yepá Mahsã people, also known as the Tukano, who are native to the Upper Rio Negro region in Brazil’s Amazonas state. She visited São Paulo in February for the opening of her first solo exhibition, “Amõ Numiã,” held on a sunny Saturday morning at a packed gallery in the city. Her first remarks regarding what she took away from the event left us reeling: “I thought it was incredible that there were so many children there, and even three dogs.” In this exclusive Mongabay interview, the artist speaks frankly about museums still run with a colonial air, tells of the importance of seeing Indigenous women in government, and quotes U.S. drag queen RuPaul when she speaks about what moves her to create. The interview has been translated from Portuguese and lightly edited for length and clarity. Daiara Tukano’s show at the Millan Gallery in São Paulo. Image courtesy of Ana Pigosso/Millan Gallery. Mongabay: Does art help drive the Indigenous fight? Does it reach places that information from organizations like nonprofits doesn’t, for example? Daiara Tukano: Without a doubt, the work of Indigenous musicians, painters and influencers reaches an audience far beyond those already following the issues being debated in Congress. Our artistic expression&hellip;This article was originally published on <a href="https://news.mongabay.com/2023/03/they-will-not-put-us-in-a-display-case-qa-with-indigenous-artist-daiara-tukano/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-266484</doi>				</item>
						<item>
					<title>In Indonesia&#8217;s Flores, a lifelong bamboo flautist looks to the next generation</title>
					<link>https://news.mongabay.com/2022/12/in-indonesias-flores-a-lifelong-bamboo-flautist-looks-to-the-next-generation/</link>
					<comments>https://news.mongabay.com/2022/12/in-indonesias-flores-a-lifelong-bamboo-flautist-looks-to-the-next-generation/#respond</comments>
					<pubDate>27 Dec 2022 06:07:50 +0000</pubDate>
											<dc:creator>
							<![CDATA[Ebed de Rosary]]>
						</dc:creator>
										<author>
						<![CDATA[Philip Jacobson]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2022/12/27110114/Marselus-Selu-1-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=264126</guid>

					
											<locations>
							<![CDATA[Asia, East Nusa Tenggara, Indonesia, and Southeast Asia]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Bamboo, Community Development, Community-based Conservation, Conservation, Conservation leadership, Environment, Happy-upbeat Environmental, Traditional Knowledge, and Traditional People]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[NGADA, Indonesia — Marselus Selu wanted to be a musician from an early age, but he didn’t have the money back then to buy a flute. Today, he’s a master craftsman of bamboo instruments and has played for Indonesia’s president. “In the early ’70s it cost 5 rupiah, but I didn&#8217;t have any money,” Marselus, [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[NGADA, Indonesia — Marselus Selu wanted to be a musician from an early age, but he didn’t have the money back then to buy a flute. Today, he’s a master craftsman of bamboo instruments and has played for Indonesia’s president. “In the early ’70s it cost 5 rupiah, but I didn&#8217;t have any money,” Marselus, 64, told Mongabay at his home in the hamlet of Wogo, in Ratogesa village, near the southern coast of Flores Island. Undeterred, Marselus earned money hauling bamboo from the forest back to the village for others, and taught himself to both build and play the traditional flutes that have accompanied life in Ratogesa for centuries. The bamboo forest is around 20 kilometers (12 miles) uphill from the village. &#8220;They used to play bamboo flute music for wedding processions going all the way to the church and back to their villages,” Marselus said. He learned his trade by observing the location and depth of the cut that craftsmen made in the bamboo. He learned the subtleties of working with the raw material, including the best season to cut down the bamboo in the forest, and how this influenced the instrument’s sound. “If the bamboo is thin and the water content is low, then the sound will be loud,&#8221; he said. Marselus Selu, head of the One Tekad bamboo music group, stands in front of a traditional house in the Wogo traditional village, Ratogesa Village, Ngada Regency. Photo by Ebed de Rosary/Mongabay Indonesia. Bamboo has long been&hellip;This article was originally published on <a href="https://news.mongabay.com/2022/12/in-indonesias-flores-a-lifelong-bamboo-flautist-looks-to-the-next-generation/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-264126</doi>				</item>
						<item>
					<title>Wildlife lover and artist records 5 decades of change on iconic U.K. river</title>
					<link>https://news.mongabay.com/2022/09/wildlife-lover-and-artist-records-5-decades-of-change-on-iconic-u-k-river/</link>
					<comments>https://news.mongabay.com/2022/09/wildlife-lover-and-artist-records-5-decades-of-change-on-iconic-u-k-river/#respond</comments>
					<pubDate>07 Sep 2022 16:05:45 +0000</pubDate>
											<dc:creator>
							<![CDATA[Rebecca BranfordSue Branford]]>
						</dc:creator>
										<author>
						<![CDATA[Glenn Scherer]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2022/09/07092849/Janet-Marsh-1-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=260038</guid>

											<reporting-project>
							<![CDATA[Covering the Commons and Planetary Boundaries]]>
						</reporting-project>
					
											<locations>
							<![CDATA[England, Europe, and United Kingdom]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Activism, Animals, Arts, Biodiversity, Conservation, Ecosystems, Environment, Freshwater, Habitat Degradation, Rivers, Water Pollution, and Wildlife]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[England’s Itchen River and other chalk rivers have been dubbed the nation’s coral reefs due to high biodiversity, but like small watersheds worldwide, they’ve gotten little attention, despite threats. That’s where Janet Marsh steps in.]]>
						</description>
																					<content:encoded>
							<![CDATA[“I was a teenager, 14, when I first visited the valley. My father was a dead-keen fisherman, so he was in his camouflage,” Janet Marsh tells us. “I didn’t want to fish — and still don’t. But I did like to draw. And I had hours and hours of time to observe the wildlife.” Marsh, now 69, is relating her first encounter with the Itchen River, a rare chalk stream in the southern U.K. county of Hampshire, where her love of painting and illustration blossomed in the 1960s — as did her love of all things wild. One of her Itchen paintings (the banner image for this article) was featured by a local newspaper, eliciting interest from art book publishers. Janet then decided to create an illustrated nature diary as part of her degree in art. It was published in 1979. Decades on, this visual chronicle provides a vivid ecological record: a time capsule of flora and fauna along the Itchen, a 42-kilometer (26-mile) river that rises east of the historic city of Winchester and flows to the English Channel in Southampton. Her long association with the valley also provides an evolving view of ecosystem change, including a major motorway extension, which disturbed the stream’s sleepy course. Janet Marsh at work in her London apartment beside the Thames River. Image courtesy of Sue Branford. Some 85% of the world’s 200 chalk streams are found in England, and WWF, the conservation organization, says those watersheds make a big contribution to U.K.&hellip;This article was originally published on <a href="https://news.mongabay.com/2022/09/wildlife-lover-and-artist-records-5-decades-of-change-on-iconic-u-k-river/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-260038</doi>				</item>
						<item>
					<title>Can celebrities and social media influencers really ‘rewrite extinction’?</title>
					<link>https://news.mongabay.com/2022/05/can-celebrities-and-social-media-influencers-really-rewrite-extinction/</link>
					<comments>https://news.mongabay.com/2022/05/can-celebrities-and-social-media-influencers-really-rewrite-extinction/#respond</comments>
					<pubDate>09 May 2022 15:27:20 +0000</pubDate>
											<dc:creator>
							<![CDATA[James Fair]]>
						</dc:creator>
										<author>
						<![CDATA[Jeremy Hance]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2022/05/06170826/spider-monkey-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=255577</guid>

					
											<locations>
							<![CDATA[Global]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Books, Climate Change, Conservation, Endangered Species, Extinction, Saving Species From Extinction, Solutions, and Wildlife]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[On Feb. 3, a new conservation fundraising group called Rewriting Extinction put out a tweet with a video featuring environmental campaigners as well as celebrities not known for their expertise in wildlife conservation. The short promo featured the renowned primatologist Jane Goodall, the British natural history presenter Chris Packham, and the Kenyan climate activist Elizabeth [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[On Feb. 3, a new conservation fundraising group called Rewriting Extinction put out a tweet with a video featuring environmental campaigners as well as celebrities not known for their expertise in wildlife conservation. The short promo featured the renowned primatologist Jane Goodall, the British natural history presenter Chris Packham, and the Kenyan climate activist Elizabeth Wathuti, along with the model Cara Delevingne and actor and comedian David Schneider, among others. Listen to this article here:  The tweet accompanying the video claimed that “300 people and 7 charities have come together and saved 625 species since June 2021” thanks to the sale of a comic book titled The Most Important Comic Book on Earth: Stories to Save the World, written by celebrity supporters with artwork provided by experienced illustrators. The reaction on social media was instant — and dismissive. “Can you please post the list of 625 species?” asked Jonathan Kolby, a former law enforcement officer with the U.S. Fish and Wildlife Service and an expert in the international wildlife trade. “From my experience, simply buying land is not enough to truly protect wildlife &amp; people ‘forever’ &amp; I’d like to learn more about how you&#8217;ve accomplished this in less than 1 year.” Others responded with greater sarcasm or simple disbelief. “Soon the biodiversity crisis will be over. Because of you,” said one. “Bullshit!!! Name them?” said another. Started by website designer and businessman Paul Goodenough in 2021, Rewriting Extinction’s aim has been to raise awareness about the biodiversity crisis among&hellip;This article was originally published on <a href="https://news.mongabay.com/2022/05/can-celebrities-and-social-media-influencers-really-rewrite-extinction/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
										<wfw:commentRss>https://news.mongabay.com/2022/05/can-celebrities-and-social-media-influencers-really-rewrite-extinction/feed/</wfw:commentRss>
					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-255577</doi>				</item>
						<item>
					<title>With protections restored, tribal council charts new path for Bears Ears</title>
					<link>https://news.mongabay.com/2022/05/with-protections-restored-tribal-council-charts-new-path-for-bears-ears/</link>
					<comments>https://news.mongabay.com/2022/05/with-protections-restored-tribal-council-charts-new-path-for-bears-ears/#respond</comments>
					<pubDate>02 May 2022 15:50:30 +0000</pubDate>
											<dc:creator>
							<![CDATA[Caitlin Looby]]>
						</dc:creator>
										<author>
						<![CDATA[Jeremy Hance]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2022/05/02151722/9-Bears-Ears-National-Monument-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=255373</guid>

					
											<locations>
							<![CDATA[North America, Southwest United States, and United States]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Conservation, Culture, Environment, Governance, Indigenous Peoples, Indigenous Reserves, Indigenous Rights, Land Conflict, Land Rights, Law, Protected Areas, Restoration, and Traditional People]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Ida Yellowman stood at the top of Muley Point, seeing memories in every cardinal direction. To the north was Bears Ears and the Abajo Mountains, rock-strewn landscape where she first learned to hunt with her dad and brothers. The south held views stretching out through the Mexican Hat area on to Arizona, the landscape marred [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[Ida Yellowman stood at the top of Muley Point, seeing memories in every cardinal direction. To the north was Bears Ears and the Abajo Mountains, rock-strewn landscape where she first learned to hunt with her dad and brothers. The south held views stretching out through the Mexican Hat area on to Arizona, the landscape marred by uranium mines: as a nurse she couldn’t help but see the faces of the people she took care of, sick from the uranium. Yellowman turned to the others in her group, one holding up a cellphone trying to catch a signal. The voice of U.S. President Joe Biden came through, announcing restored protections for Bears Ears National Monument. The president’s voice was followed by that of Deb Haaland, the first Native American to serve as a cabinet secretary in the United States. Singing, prayers and a sense of relief filled the air. “It put my mind at ease that people can hear each other,” says Yellowman, a member of the Navajo Nation and co-founder of the organization Women of Bears Ears. “We all have our own history and legends and stories connected to that place. And we’re all in it together.” Navajo Nation members, from left, Meredith Benally, Mary Benally, Ida Yellowman and Tara Benally speak with reporters shortly after President Joe Biden restored Bears Ears National Monument on Oct. 7, 2021. Image courtesy of Ida Yellowman. Biden restored the Bears Ears National Monument in southeast Utah on Oct. 7, 2021, reversing the actions&hellip;This article was originally published on <a href="https://news.mongabay.com/2022/05/with-protections-restored-tribal-council-charts-new-path-for-bears-ears/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
										<wfw:commentRss>https://news.mongabay.com/2022/05/with-protections-restored-tribal-council-charts-new-path-for-bears-ears/feed/</wfw:commentRss>
					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-255373</doi>				</item>
						<item>
					<title>History on the walls: Graffiti brings Manaus’s Indigenous roots to light</title>
					<link>https://news.mongabay.com/2022/04/history-on-the-walls-graffiti-brings-manauss-indigenous-roots-to-light/</link>
					<comments>https://news.mongabay.com/2022/04/history-on-the-walls-graffiti-brings-manauss-indigenous-roots-to-light/#respond</comments>
					<pubDate>19 Apr 2022 18:20:52 +0000</pubDate>
											<dc:creator>
							<![CDATA[Ana Ionova]]>
						</dc:creator>
										<author>
						<![CDATA[Karla Mendes]]>
					</author>
							<category><![CDATA[Amazon]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2022/04/19180206/8-mural-depicting-Indigenous-faces-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=254906</guid>

											<reporting-project>
							<![CDATA[Indigenous Peoples and Conservation]]>
						</reporting-project>
					
											<locations>
							<![CDATA[Amazon, Brazil, Latin America, and South America]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Activism, Arts, Cities, Conservation, Culture, Environment, Environmental Law, Governance, Human Rights, Indigenous Peoples, Indigenous Rights, Land Rights, Politics, Protected Areas, Rainforest Destruction, Rainforests, and Tropical Forests]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[MANAUS, Brazil — In the historic center of Manaus, the largest city in the Brazilian Amazon, a giant mural depicting the city’s Indigenous history looms above pedestrians jostling for space on the sidewalk. Towering 34 meters (112 feet) high and outlined in thick streaks of spray paint, it shows canoes carrying Indigenous people spilling onto [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[MANAUS, Brazil — In the historic center of Manaus, the largest city in the Brazilian Amazon, a giant mural depicting the city’s Indigenous history looms above pedestrians jostling for space on the sidewalk. Towering 34 meters (112 feet) high and outlined in thick streaks of spray paint, it shows canoes carrying Indigenous people spilling onto a web of Amazonian rivers. A graveyard pays homage to the Indigenous cemetery that once stood here — and the violent fate many Indigenous people faced at the hands of colonizers. The mural is unusual because, until recently, Manaus, the bustling capital of Amazonas state that was named after the Manaós people who once called it home, was reluctant to embrace the stories of the Indigenous people who first inhabited this land, according to Jaime Diakara, an anthropologist and painter from the Desana Indigenous group. “The state has not recognized Indigenous people’s experiences historically,” said Diakara, a researcher at the Federal University of Amazonas’s Indigenous studies center. “So we’ve faced great obstacles to showcasing our identity, showcasing our culture and our values.” Chermie Ferreira, a graffiti artist from the Kokama Indigenous group, holds one of her paintings in her studio on the outskirts of Manaus. Ferreira only recently began to embrace her Indigenous identity and to bring elements of Indigenous culture into her artwork, such as canoes, rivers and ancestral villages. Image by Ana Ionova for Mongabay. The starkest example is perhaps the very site where the mural now stands, just across the street from&hellip;This article was originally published on <a href="https://news.mongabay.com/2022/04/history-on-the-walls-graffiti-brings-manauss-indigenous-roots-to-light/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-254906</doi>				</item>
						<item>
					<title>Photography, nature, truth and war: Q&#038;A with top photographer Ami Vitale</title>
					<link>https://news.mongabay.com/2022/04/photography-nature-truth-and-war-qa-with-top-photographer-ami-vitale/</link>
					<comments>https://news.mongabay.com/2022/04/photography-nature-truth-and-war-qa-with-top-photographer-ami-vitale/#respond</comments>
					<pubDate>06 Apr 2022 14:32:09 +0000</pubDate>
											<dc:creator>
							<![CDATA[Erik Hoffner]]>
						</dc:creator>
										<author>
						<![CDATA[Erik Hoffner]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2022/03/29180116/Screen-Shot-2022-03-29-at-11.09.47-AM-768x512.png" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=254261</guid>

					
											<locations>
							<![CDATA[Africa, Global, and Ukraine]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Activism, Arts, Conservation, and Wildlife]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Award-winning National Geographic photographer Ami Vitale recently made a short film called Shaba about a young elephant rescued by the Reteti Elephant Sanctuary, which is owned and operated by an Indigenous Samburu community in Kenya. It&#8217;s a fine example of how she weaves method and mission together, and that latter word is very apt: Vitale is [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[Award-winning National Geographic photographer Ami Vitale recently made a short film called Shaba about a young elephant rescued by the Reteti Elephant Sanctuary, which is owned and operated by an Indigenous Samburu community in Kenya. It&#8217;s a fine example of how she weaves method and mission together, and that latter word is very apt: Vitale is always on a mission to uplift people and wildlife, and recently invited Geographic colleagues to donate some of their iconic work for sale to provide humanitarian aid to people affected by conflicts like in Ukraine: 100% of the profits from this initiative will be donated to Direct Relief, an organization providing aid to people affected by these conflicts. Mongabay caught up with Vitale to hear her thoughts about photography at this pivotal time: her responses have been edited lightly for clarity. Mongabay: The most powerful photography of 2022 is coming out of Ukraine: you&#8217;ve spent plenty of time in conflict zones documenting similar events, how does this war inform how you think about the state of the world? Ami Vitale: Every single war and the senseless violence that comes with them are unconscionable. We are all intricately connected to one another whether we understand it or not. This war is about all of us, our lives, homes and our future. It’s about how deeply connected we are to each other. I believe now is the time to channel our grief into action and find the courage to make a difference. We can all be catalysts&hellip;This article was originally published on <a href="https://news.mongabay.com/2022/04/photography-nature-truth-and-war-qa-with-top-photographer-ami-vitale/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-254261</doi>				</item>
						<item>
					<title>An Indigenous basket-weaving tradition keeps a Philippine forest alive</title>
					<link>https://news.mongabay.com/2022/03/an-indigenous-basket-weaving-tradition-keeps-a-philippine-forest-alive/</link>
					<comments>https://news.mongabay.com/2022/03/an-indigenous-basket-weaving-tradition-keeps-a-philippine-forest-alive/#respond</comments>
					<pubDate>06 Mar 2022 15:14:02 +0000</pubDate>
											<dc:creator>
							<![CDATA[Keith Anthony Fabro]]>
						</dc:creator>
										<author>
						<![CDATA[Isabel Esterman]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2022/03/06143923/IMG-5864-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=253409</guid>

											<reporting-project>
							<![CDATA[Indigenous Peoples and Conservation]]>
						</reporting-project>
					
											<locations>
							<![CDATA[Asia, Philippines, and Southeast Asia]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Climate Change, Conservation, Coronavirus, COVID-19, Culture, Environment, Forests, Green, Happy-upbeat Environmental, Impact Of Climate Change, Indigenous Peoples, Protected Areas, Rainforests, Sustainable Development, and Tropical Forests]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[PALAWAN, Philippines — On a fine day at the onset of the dry season, Sublito Tiblak wakes up very early to the sounds of birds. They’re perched on trees surrounding his home in Kamantian, an upland village tucked in the Mount Mantalingahan Protected Landscape in the southern part of the Philippines’ Palawan province. Tiblak, 46, [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[PALAWAN, Philippines — On a fine day at the onset of the dry season, Sublito Tiblak wakes up very early to the sounds of birds. They’re perched on trees surrounding his home in Kamantian, an upland village tucked in the Mount Mantalingahan Protected Landscape in the southern part of the Philippines’ Palawan province. Tiblak, 46, eats boiled bananas for breakfast and prepares his tukew (bolo knife) to gather raw materials for tingkep, the Pala’wan people’s traditional handcrafted basket, whose designs and uses are reflective of their deep relationship with the forest. “You have to leave before 7 in the morning because you don’t want to walk for hours under the scorching midday sun,” says Tiblak, one of Kamantian’s 65 traditional basketry cultural bearers. Later on, the tribal leader (penglima) and father of two finds himself deep in Mantalingahan’s forests, trimming native species of bamboo (binsag), palm (buldung and busnig), and vine (gehid), among other non-timber forest products used in making tingkep. Tiblak ties the cuttings together with vines. Walking uphill and downhill, he’s drenched in sweat while carrying the bundle on his shoulder. Sublito Tiblak preparing materials for tingkep. Shaving bamboo is delicate work, as each strip must be uniform and even to form a sturdy basket. Image courtesy of Brooke&#8217;s Point Tourism, Culture and Arts Office. Back home, his wife, Labin, 31, waits for him to begin the laborious weaving process of tingkep. This can take three days to a week, depending on the basket’s size, the couple says.&hellip;This article was originally published on <a href="https://news.mongabay.com/2022/03/an-indigenous-basket-weaving-tradition-keeps-a-philippine-forest-alive/" data-wpel-link="internal">Mongabay</a>]]>
						</content:encoded>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-253409</doi>				</item>
						<item>
					<title>Can a new wave of climate fiction inspire climate action? (commentary)</title>
					<link>https://news.mongabay.com/2021/12/can-a-new-wave-of-climate-fiction-inspire-climate-action-commentary/</link>
					<comments>https://news.mongabay.com/2021/12/can-a-new-wave-of-climate-fiction-inspire-climate-action-commentary/#respond</comments>
					<pubDate>16 Dec 2021 20:19:43 +0000</pubDate>
											<dc:creator>
							<![CDATA[Ryan Mizzen]]>
						</dc:creator>
										<author>
						<![CDATA[Erik Hoffner]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2021/12/16195608/pawel-czerwinski-Rj8pv09tU5A-unsplash-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=250702</guid>

					
											<locations>
							<![CDATA[Global]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Activism, Arts, Climate Change, Commentary, Environment, and Green]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Many people may not remember the 23rd of June, 1988, or recognize its significance. Many may not have even been alive then. But that was the date when Dr. James Hansen gave his US Senate testimony, where he stated that global warming was here and happening now as a result of human activities. It is [&#8230;]]]>
						</description>
																					<content:encoded>
							<![CDATA[Many people may not remember the 23rd of June, 1988, or recognize its significance. Many may not have even been alive then. But that was the date when Dr. James Hansen gave his US Senate testimony, where he stated that global warming was here and happening now as a result of human activities. It is widely regarded as the moment the world become aware of climate change. In the intervening 33 years, the science has starkly shown that humanity is altering our climate, which is now entering a dangerous new state. Despite the clarity of the picture that has emerged from climate scientists, we’ve failed to address the crisis with the urgency it deserves. This is the result of various factors. We could mention the impact of fossil fuel lobbyists who’ve muddied the public’s understanding of the science. We could mention the media who’ve failed to communicate the crisis effectively. We could mention politicians who’ve downplayed or denied that we’re in a climate emergency. These are just some of the issues that have led us to where we are today. But I’d like to explore a tool at our disposal that can help cut through the noise and disinformation. In doing so, it could help engage a wider audience about the climate crisis. It’s something that’s shaped the attitudes, actions and advances of society for thousands of years; the universal language of storytelling. Image by Pawel Czerwinski via Unsplash. Cli-fi comes of age Cli-fi is a term coined by Dan&hellip;This article was originally published on <a href="https://news.mongabay.com/2021/12/can-a-new-wave-of-climate-fiction-inspire-climate-action-commentary/" data-wpel-link="internal">Mongabay</a>]]>
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										<doi>https://doi.org/10.66709/news-250702</doi>				</item>
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					<title>Philippine-UK comic anthology looks to incite action on climate change</title>
					<link>https://news.mongabay.com/2021/09/philippine-uk-comic-anthology-looks-to-incite-action-on-climate-change/</link>
					<comments>https://news.mongabay.com/2021/09/philippine-uk-comic-anthology-looks-to-incite-action-on-climate-change/#respond</comments>
					<pubDate>24 Sep 2021 11:09:19 +0000</pubDate>
											<dc:creator>
							<![CDATA[Jen Chan]]>
						</dc:creator>
										<author>
						<![CDATA[Isabel Esterman]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2021/09/24103429/banner2-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=247478</guid>

					
											<locations>
							<![CDATA[Philippines and United Kingdom]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Adaptation To Climate Change, Arts, Climate Change, Climate Science, Conservation, Environment, and Impact Of Climate Change]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[2020 will forever be remembered as the year a global pandemic brought the world to its knees. But at the rate the planet’s temperature is rising, forever might not be such a long time. According to the most recent global climate report from the United Nations weather agency, the World Meteorological Organization (WMO), 2020 was [&#8230;]]]>
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							<![CDATA[2020 will forever be remembered as the year a global pandemic brought the world to its knees. But at the rate the planet’s temperature is rising, forever might not be such a long time. According to the most recent global climate report from the United Nations weather agency, the World Meteorological Organization (WMO), 2020 was also one of the three warmest years on record. Some parts of the world experienced punishing droughts, while others faced severe storms and floods, both of which resulted in the loss of ecosystems, livelihood, and lives, and endangered countless more. These increasingly severe realities of climate change are expected to get worse, scientists say. To even have a shot at mitigating the damage, the planet’s temperature has to stabilize at between 1.5° and 2° Celsius (2.7° and 3.6° Fahrenheit) above pre-industrial levels by the end of the century. This means global net carbon emissions need to be reduced by 45% from 2010 by 2030. It was this looming deadline that inspired Komiket Philippines, the U.K.’s Lakes International Comic Art Festival (LICAF), and Creative Concern to devise the comic book anthology Ten Years to Save the World. There will be 10 stories in the collection, each focused on a climate change issue that needs to be solved within the next decade. Five artists each from the Philippines and the U.K. have been asked to contribute. The project is supported by The Climate Connection, a global initiative of the British Council. This isn’t the first time climate&hellip;This article was originally published on <a href="https://news.mongabay.com/2021/09/philippine-uk-comic-anthology-looks-to-incite-action-on-climate-change/" data-wpel-link="internal">Mongabay</a>]]>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-247478</doi>				</item>
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					<title>Next to India’s capital, a village looks to the past for its forest’s future</title>
					<link>https://news.mongabay.com/2021/08/next-to-indias-capital-a-village-looks-to-the-past-for-its-forests-future/</link>
					<comments>https://news.mongabay.com/2021/08/next-to-indias-capital-a-village-looks-to-the-past-for-its-forests-future/#respond</comments>
					<pubDate>30 Aug 2021 12:21:06 +0000</pubDate>
											<dc:creator>
							<![CDATA[Manon VerchotSanshey Biswas]]>
						</dc:creator>
										<author>
						<![CDATA[Isabel Esterman]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2021/08/30115651/Sunil-Harsana-Mangar-Bani-banner-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=246510</guid>

					
											<locations>
							<![CDATA[Asia, India, and South Asia]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Arts, Biodiversity, Community Forests, Community-based Conservation, Conservation, Conservation Philosophy, Deforestation, Environment, forest degradation, Forest Destruction, Forest Fragmentation, Forest Loss, Forests, Primary Forests, and Protected Areas]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[DELHI NCR — Sunil Harsana says he always knew there were paintings in the caves near his home in Mangar, a village on the outskirts of India’s capital, New Delhi. When he was younger, he would climb up to the caves to get some relief from the sweltering heat while his herd grazed. At the [&#8230;]]]>
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							<![CDATA[DELHI NCR — Sunil Harsana says he always knew there were paintings in the caves near his home in Mangar, a village on the outskirts of India’s capital, New Delhi. When he was younger, he would climb up to the caves to get some relief from the sweltering heat while his herd grazed. At the time, he didn’t know that the paintings may have prehistoric origins. It’s only now, in 2021, that the archaeology department of Haryana state, where the village is located, has identified the paintings as possibly originating from the Palaeolithic period. It may even be one of the largest Paleolithic sites in India, the department’s deputy director told the Indian Express newspaper. And now there’s talk from the Haryana state government to protect Mangar’s forests under the Ancient and Historical Monuments and Archaeological Sites and Remains Act. For Harsana, this recent “discovery” is yet another reminder of the need for documentation of his home region, and of how documentation efforts can contribute to increased protection of a forest that has held cultural significance for his community for generations. Mangar lies in the Aravalli mountain range, a geological mass older than the Himalayas, stretching 700 kilometers (435 miles) in the center of India. The village is surrounded by three massive cities — New Delhi, Gurugram and Faridabad — and is home to a community of ethnic Gujjars, a historically pastoral people. Though it’s hard to find historical records showing when the Gujjars arrived in Mangar, traditions passed down from&hellip;This article was originally published on <a href="https://news.mongabay.com/2021/08/next-to-indias-capital-a-village-looks-to-the-past-for-its-forests-future/" data-wpel-link="internal">Mongabay</a>]]>
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					<slash:comments>0</slash:comments>
										<doi>https://doi.org/10.66709/news-246510</doi>				</item>
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					<title>Environmental art initiative aims to help paint a better future for Southeast Asia</title>
					<link>https://news.mongabay.com/2021/04/environmental-art-initiative-aims-to-help-paint-a-better-future-for-southeast-asia/</link>
					<comments>https://news.mongabay.com/2021/04/environmental-art-initiative-aims-to-help-paint-a-better-future-for-southeast-asia/#respond</comments>
					<pubDate>21 Apr 2021 11:55:46 +0000</pubDate>
											<dc:creator>
							<![CDATA[Carolyn Cowan]]>
						</dc:creator>
										<author>
						<![CDATA[Isabel Esterman]]>
					</author>
							<category><![CDATA[Uncategorized]]></category>
										<enclosure url="https://imgs.mongabay.com/wp-content/uploads/sites/20/2021/04/21114929/MW01_Hres-768x512.jpg" type="image/jpeg" />
					<guid isPermaLink="false">https://news.mongabay.com/?p=241869</guid>

					
											<locations>
							<![CDATA[Asia and Southeast Asia]]>
						</locations>
					
											<topic-tags>
							<![CDATA[Activism, Animals, Arts, Biodiversity, Conservation, Environment, Forests, and Wildlife]]>
						</topic-tags>
					
					
											<description>
							<![CDATA[Creativity is vital for the development of innovative solutions to conservation conundrums. The daunting challenges of restoring ecosystems, curbing biodiversity loss and halting deforestation require a continuous stream of new ideas. While practical solutions are paramount, creative art can be pivotal to building support and understanding for conservation efforts. Art confronts environmental issues, challenges conventional [&#8230;]]]>
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							<![CDATA[Creativity is vital for the development of innovative solutions to conservation conundrums. The daunting challenges of restoring ecosystems, curbing biodiversity loss and halting deforestation require a continuous stream of new ideas. While practical solutions are paramount, creative art can be pivotal to building support and understanding for conservation efforts. Art confronts environmental issues, challenges conventional approaches and provides a conceptual space to reimagine a better future. Nowhere in the world is the need for novel approaches more evident than in Southeast Asia, which has suffered devastating habitat loss over the past 30 years, bringing many endemic species to the brink of extinction. This was the impetus for the PARDICOLOR Creative Arts Fund, launched by Wildlife Asia in April 2020 to provide artists in Southeast Asia with financial support to produce works that highlight wildlife, biodiversity, the environment and society. Illustration from zine, Solastalgia. PARDICOLOR supported writer Wendi Sia in 2020 to produce zines that record details of Indigenous Orang Asli traditional crafts and forest lore in Peninsular Malaysia. Illustration courtesy of the GERIMIS Art Project. The project is the brainchild of Demelza Stokes, a project manager for Wildlife Asia and a self-confessed interdisciplinarian. She says she wants the arts initiative to complement the practical conservation work of Wildlife Asia in locations including Salween Peace Park in Karen state, Myanmar, and in the Leuser Ecosystem in Sumatra, Indonesia. “I think as wildlife conservationists it&#8217;s really important to try to understand how the societies and communities in which we work view wildlife,&hellip;This article was originally published on <a href="https://news.mongabay.com/2021/04/environmental-art-initiative-aims-to-help-paint-a-better-future-for-southeast-asia/" data-wpel-link="internal">Mongabay</a>]]>
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										<doi>https://doi.org/10.66709/news-241869</doi>				</item>
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