![urubu belem urubu belem](http://3.bp.blogspot.com/-T5kG42e290w/TwRIX24-zaI/AAAAAAAACfI/mPmF7Odvjmc/s1600/vulture.gif)
So while the viewer can see Quando Todos Calam as a straightforward polemic on feminism and the objectified body, Queiroz explains that he sees the masked vulturefeeding figure in his work as emblematic of the kingpins of the virulent local drug trade. Queiroz’s work perhaps relates more exclusively to concerns of the Amazonian region than does Reale’s.
Urubu belem series#
She is covered in fish flesh, and a series of carefully composed photographs, which document the performance, capture the birds mid-swoop against stormy skies, pecking with precision at her horizontal body. The artist lies naked on a white lace-covered table in an area by Belém’s Ver-o-Peso fish market.
![urubu belem urubu belem](https://esportes.odocumento.com.br/public/storage/15130/download-1-1.jpg)
Reale used a similar setting for her performance Quando Todos Calam (2009). From a traditional bowl used by indigenous inhabitants of the Amazonian region for sharing food, Queiroz throws out fish flesh and guts, to the delight of the birds that flock around him. He is dressed in a black suit and wears a vulture mask, similar to that of the birdfaced commedia dell’arte character, the Plague Doctor. Queiroz enters the frame and sits on a chair.
![urubu belem urubu belem](https://www.mundoecologia.com.br/wp-content/gallery/urubu-rei-brasileiro/Urubu-Rei-Brasileiro-2.jpg)
The lush green of a thick forest of palms is visible on the shore opposite. It’s shot in a busy public space by the river. Queiroz, who also acts as director of Belém’s main contemporary art centre, the Museu Casa das Onze Janelas, captures the birds in his 2009 video Urubu-Rei. And they make an appearance in one of Berna Reale’s performances. You can also see vultures in a work by artist Armando Queiroz. They descend in waves as the fishing boats arrive, the latter fresh from trips up the Amazonian waters, the former ready to receive whatever the trawlermen chuck from their haul. In Belém, a city that sits at the entrance of the Amazon in the northeast of Brazil, I saw such groups of bald, hunched birds picking at fish carcasses in the port. It’s no accident that the collective noun for them is ‘wake’. © 1999 Wiley-Liss, Inc.The thing with vultures is that they only prey on the wounded or the dead. On the other hand, the DYS19/DYS199 haplotype distribution may suggest that the two most common haplotypes (186-bp/T and 186-bp/C) were present among the population(s) that peopled the New World. The observed variability at the DYS19 microsatellite is probably due to forward or back mutations from the putative ancestral 186-bp allele, since the mutation rate of this locus is high and the post-Columbian admixture of the Brazilian tribes studied is very low or undetectable to explain these data. These four haplotypes have been found in five other Brazilian tribes, and most of them were also identified in Native populations from South, Central and North America. Four different haplotypes were found, the combination DYS19–186/DYS199-T being the most common (average frequency of 0.65), followed by DYS19–186/DYS199-C with an average frequency of 0.22. The DYS199-T allele was identified in 78% of the Amerindians studied (43/55), the frequencies varying from 0.46–0.93. Three different alleles of the DYS19 microsatellite (182-bp, 186-bp, and 190-bp) were found at average frequencies of 0.08, 0.85, and 0.07, respectively. The allele frequency distribution of DYS19 and DYS199 loci were analyzed in 59 Brazilian Amerindians from five tribes from the Amazon region (Zoé, Awá-Guajá, Urubú-Kaapór, Katuena, and Kayapó, Xikrin of Bacajá village).