Xamã Yanomami, Amazonas, Venezuela

Como diz o porta-voz Yanomami Davi Kopenawa no capítulo “Fumaça de Metal” de seu livro”A Queda do Céu”:  “É o que dizem os nossos mais velhos que são grandes xamãs. Estas são as palavras dos xapiri, que nos transmitem. Estas são as que quero que os brancos ouçam.… Assim que os garimpeitos chegarem à nossa casa… Eles sujaram os rios com lama amarelada e os encheram com a fumaça da peste xawara de suas máquinas. Eu os vi devastar as nascentes do rio com a ganância de cães famintos. Tudo para encontrar ouro, para que os brancos possam usá-lo para fazer dentes e adornos ou mantê-lo trancado em suas casas. … O pensamento desses brancos é obscurecido por sua ganância por ouro. Eles são seres perversos.” 

https://barbara-navarro.com/2020/03/07/uma-mensagem-urgente-para-davi-kopenawa-claudia-andujar-e-survival/

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 Xamã Yanomami, Amazonas, Venezuela

  1. nedhamson says:

    Reblogged this on Ned Hamson's Second Line View of the News and commented:
    As Yanomami spokesman Davi Kopenawa says in the “Metal Smoke” chapter of his book “The Falling Sky”: “That’s what our elders who are great shamans say. These are the words of the xapiri, who transmit to us. These are the ones I want the whites to hear.… As soon as the miners arrive at our house… They smeared the rivers with yellowish mud and filled them with the smoke of the Xawara plague from their machines. I saw them devastate the river springs with the greed of hungry dogs. Everything to find gold, so that whites can use it to make teeth and ornaments or keep it locked in their homes. … The thinking of these whites is obscured by their greed for gold. They are wicked beings. ”

    Liked by 1 person

  2. Pingback: Xamã Yanomami, Amazonas, Venezuela — Barbara Crane Navarro – Tiny Life

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