A Cegante Feitiçaria de Ouro

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

Como afirma o porta-voz Yanomami Davi Kopenawa em seu livro “A Queda do Céu”: “Para os mais velhos, o ouro era apenas lascas brilhantes na areia dos leitos dos rios, como a mica. Eles coletaram para fazer uma substância de feitiçaria destinada a cegar as pessoas de quem estavam zangados. … Este pó de metal era temido. É por isso que chamamos os fragmentos de metal brilhante que os garimpeiros cavam dos leitos dos rios oru hipëre a – a bruxaria ofuscante do ouro. Quando os brancos tiram minerais do solo, eles os trituram com suas máquinas e os aquecem em suas fábricas … Ouro e outros minerais são coisas perigosas e más que só trazem doenças e morte. … Embora este metal seja o mais bonito e mais forte que eles podem encontrar para construir suas máquinas e seus mercadoria, é perigoso para os humanos. Ao cavar tão longe no subsolo, os brancos não pensam nessas coisas. Se o fizessem, não rasgariam indefinidamente tudo o que pudessem na terra. Quero fazer com que eles ouçam as palavras que o xapiri me deu na hora do sonho, para que esses estranhos irrefletidos possam entender o que realmente está acontecendo.

Os xamãs Yanomami não trabalham por dinheiro como os médicos brancos. Eles simplesmente agem para manter o céu e a floresta no lugar, para que possamos caçar, plantar nossos jardins e ter uma vida saudável.

Nossos mais velhos não sabiam sobre dinheiro. … O dinheiro não nos protege… não cria a nossa alegria. Para os brancos, é diferente. Eles não sabem sonhar com os espíritos como nós. Eles preferem ignorar que o trabalho dos xamãs é proteger a terra, tanto para nós e nossos filhos quanto para eles e os deles. “

https://barbara-navarro.com/2020/04/12/a-corrida-do-ouro-covid-19-e-o-genocidio-yanomami/

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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4 Responses to A Cegante Feitiçaria de Ouro

  1. nedhamson says:

    Reblogged this on Ned Hamson's Second Line View of the News and commented:
    As spokesman Yanomami Davi Kopenawa states in his book “The Fall from Heaven”: “For the elderly, gold was just shiny chips in the sand of river beds, like mica. They collected it to make a witchcraft substance designed to blind the people they were angry with. … This metal dust was feared. That is why we call the fragments of shiny metal that the prospectors dig from the river beds oru hipëre a – the dazzling witchcraft of gold.

    Liked by 1 person

  2. Pingback: A Cegante Feitiçaria de Ouro — Barbara Crane Navarro – Tiny Life

  3. kyleoyier says:

    Great post 👌

    Liked by 1 person

  4. Pingback: A Cegante Feitiçaria de Ouro – Ação Jovens Indígenas

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