La fièvre de l’or, COVID-19 et le génocide des Yanomami – actualisé

Au 8 septembre, il y avait au moins 704 cas de COVID-19 dans les communautés Yanomami; 8 décès et 9 autres décès suspects dus au virus. Les mineurs d’or sont des vecteurs de la maladie. Ils apportent également de la violence; deux Yanomami de la communauté Xaruna de Parima ont été assassinés par des mineurs d’or.
NO à L’OR du SANG !!!

Barbara Crane Navarro

Je redoute cette nouvelle depuis que les premiers cas de COVID-19 ont été signalés au Brésil le 25 février. Maintenant c’est arrivé. Après avoir été testé positif pour le coronavirus, Alvanei Xirizana, un jeune Yanomami de 15 ans est décédé le 10 avril à l’hôpital de Roraima, l’État brésilien où se trouve la majeure partie de la réserve territorialeYanomami. L’adolescent s’est plaint de douleurs à la poitrine, de difficultés respiratoires, de maux de gorge et de fièvre. Selon certaines informations, sa communauté aurait dû menacer l’équipe de santé après que sa demande de transport lui ait été refusée afin de le faire conduire à l’hôpital général de Roraima. À son arrivée à l’hôpital, il a été envoyé à l’unité de soins intensifs et entubé. Le garçon était originaire d’une communauté sur la rivière Uraricoara qui a longtemps été en proie à des orpailleurs.

photomontage: Garçon Yanomami ciblé – Barbara Crane…

View original post 669 more words

About Barbara Crane Navarro - Rainforest Art Project

I'm a French artist living near Paris. From 1968 to 1973 I studied at Rhode Island School of Design in Providence, Rhode Island, then at the San Francisco Art Institute in San Francisco, California, for my BFA. My work for many decades has been informed and inspired by time spent with indigenous communities. Various study trips devoted to the exploration of techniques and natural pigments took me originally to the Dogon of Mali, West Africa, and subsequently to Yanomami communities in Venezuela and Brazil. Over many years, during the winters, I studied the techniques of traditional Bogolan painting. Hand woven fabric is dyed with boiled bark from the Wolo tree or crushed leaves from other trees, then painted with mud from the Niger river which oxidizes in contact with the dye. Through the Dogon and the Yanomami, my interest in the multiplicity of techniques and supports for aesthetic expression influenced my artistic practice. The voyages to the Amazon Rainforest have informed several series of paintings created while living among the Yanomami. The support used is roughly woven canvas prepared with acrylic medium then textured with a mixture of sand from the river bank and lava. This supple canvas is then rolled and transported on expeditions into the forest. They are then painted using a mixture of acrylic colors and Achiote and Genipap, the vegetal pigments used by the Yanomami for their ritual body paintings and on practical and shamanic implements. My concern for the ongoing devastation of the Amazon Rainforest has inspired my films and installation projects. Since 2005, I've created a perfomance and film project - Fire Sculpture - to bring urgent attention to Rainforest issues. To protest against the continuing destruction, I've publicly set fire to my totemic sculptures. These burning sculptures symbolize the degradation of nature and the annihilation of indigenous cultures that depend on the forest for their survival.
This entry was posted in Uncategorized. Bookmark the permalink.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s