La fiebre del oro, COVID-19 y el genocidio Yanomami – actualizado

Hasta el 22 de junio, había al menos 168 casos de COVID-19 en comunidades Yanomami; cinco muertes y otras tres muertes sospechosas por el virus. Los mineros de oro son vectores de la enfermedad. También traen violencia; Esta semana, dos Yanomami de la comunidad Xaruna de Parima fueron asesinados por mineros de oro.
¡NO ORO DE SANGRE!

Barbara Crane Navarro

Temía esta noticia desde que se informaron los primeros casos de COVID-19 en Brasil el 25 de febrero. Ahora ha sucedido. Después de una prueba de detección de coronavirus, Alvanei Xirizana, un joven Yanomami de 15 años, murió el 10 de abril en un hospital de Roraima, el estado brasileño donde se encuentra la mayor parte de la reserva territorial de Yanomami.

El adolescente se quejó de dolor en el pecho, dificultad para respirar, dolor de garganta y fiebre. Según los informes, su comunidad debería haber amenazado al equipo de salud después de que su solicitud de transporte fuera denegada para llevarlo al hospital general de Roraima. Cuando llegó al hospital, fue enviado a la unidad de cuidados intensivos y sepultado.

El niño era de una comunidad en el río Uraricoera, que durante mucho tiempo ha estado plagado de mineros de oro.

fotomontaje: niño Yanomami dirigido – Barbara Crane Navarro

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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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