A febre de ouro, COVID-19 e o genocídio Yanomami – atualizado

Em 22 de junho, havia pelo menos 168 casos de COVID-19 em comunidades Yanomami; cinco mortes e três outras mortes suspeitas pelo vírus. Garimpeiros são vetores da doença. Eles também trazem violência; Nesta semana, dois Yanomami da comunidade Xaruna de Parima foram assassinados por garimpeiros.
NÃO ao SANGUE DO OURO !!!

Barbara Crane Navarro

Temo essa notícia desde que os primeiros casos de COVID-19 foram relatados no Brasil em 25 de fevereiro. Agora isso aconteceu.

Após um teste de triagem de coronavírus, Alvanei Xirizana, um jovem Yanomami de 15 anos morreu em 10 de abril no hospital de Roraima, estado brasileiro em que está localizada a maior parte da reserva territorial Yanomami. O adolescente queixou-se de dor no peito, dificuldade em respirar, dor de garganta e febre. Segundo relatos, sua comunidade deveria ter ameaçado a equipe de saúde depois que seu pedido de transporte foi negado para levá-lo ao hospital geral de Roraima. Quando ele chegou ao hospital, ele foi enviado para a unidade de terapia intensiva e sepultado.

O garoto era de uma comunidade no rio Uraricoera, há muito tempo atormentada por garimpeiros.

fotomontagem: Menino Yanomami mirado – Barbara Crane Navarro

Em 22 de junho, havia pelo menos 168 casos de COVID-19 em…

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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.
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2 Responses to A febre de ouro, COVID-19 e o genocídio Yanomami – atualizado

  1. Você sabe alguma novidade sobre o caso dos bebês Yanomami? A partir desse caso que comecei a ler sobre eles e sinto uma mistura de sentimentos…

    Liked by 1 person

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