Chamán Yanomami, Amazonas, Venezuela

Chamán Yanomami, Amazonas, Venezuela – foto: Barbara Crane Navarro

Como dice el portavoz de Yanomami, Davi Kopenawa, en el capítulo “humo de metal” de su libro “La caída del cielo”: “Eso es lo que dicen nuestros mayores que son grandes chamanes. Estas son las palabras de los xapiri, que nos transmiten. Estos son los que quiero que escuchen los blancos… En cuanto llegan los mineros a nuestra casa… Untaron los ríos con lodo amarillento y los llenaron con el humo de la plaga xawara de sus máquinas. Los vi arrasar los manantiales del río con la codicia de perros hambrientos. Todo para encontrar oro, para que los blancos puedan usarlo para hacer dientes y adornos o mantenerlo encerrado en sus casas. … El pensamiento de estos blancos se ve oscurecido por su codicia por el oro. Son seres malvados.”

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 Chamán 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 chapter “metal smoke” of his book “The Falling Sky”: “That is what our elders who are great shamans say. These are the words of the xapiri, which they transmit to us. These are the ones I want the whites to listen to… 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 raze the river springs with the greed of hungry dogs. All to find gold, so white people can use it to make teeth and ornaments or keep it locked up in their homes. … The thinking of these whites is obscured by their lust for gold. They are evil beings. “

    Liked by 1 person

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

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