La febbre dell’oro, COVID-19 e il genocidio Yanomami – aggiornato

Al 8 settembre, c’erano almeno 704 casi di COVID-19 nelle comunità Yanomami; 8 morti e altri 9 sospetti decessi per il virus. I minatori d’oro sono vettori della malattia. Portano anche violenza; due Yanomami della comunità Xaruna di Parima sono stati assassinati dai minatori d’oro.
NO a ORO SANGUE !!!

Barbara Crane Navarro

Temevo questa notizia da quando i primi casi di COVID-19 sono stati riportati in Brasile il 25 febbraio. Adesso è successo

Dopo un test di screening del coronavirus, Alvanei Xirizana, un giovane Yanomami di 15 anni, è morto il 10 aprile in ospedale a Roraima, lo stato brasiliano in cui si trova la maggior parte della riserva territoriale di Yanomami. L’adolescente si lamentava di dolore toracico, difficoltà respiratorie, mal di gola e febbre. Secondo quanto riferito, la sua comunità avrebbe dovuto minacciare il team sanitario dopo che la sua richiesta di trasporto era stata respinta per poterlo portare all’ospedale generale di Roraima. Quando è arrivato in ospedale, è stato inviato al reparto di terapia intensiva e seppellito.

Il ragazzo proveniva da una comunità sul fiume Uraricoera che è stata a lungo afflitta da minatori d’oro.

fotomontaggio: ragazzo Yanomami preso di mira – Barbara Crane Navarro

Al 22 giugno, c’erano almeno…

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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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