La Cegadora Hechicería del Oro

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

Como afirma el portavoz Yanomami Davi Kopenawa en su libro “La caída del cielo”: “Para los más viejos, el oro era solo astillas brillantes en la arena de los lechos de los ríos, como la mica. Lo recolectaron para hacer una sustancia de brujería diseñada para cegar a las personas con las que estaban enojados. … Este polvo de metal era temido. Por eso llamamos oru hipëre a a los fragmentos de metal brillante que los buscadores excavan en los lechos de los ríos: la deslumbrante brujería del oro. Cuando los blancos toman minerales del suelo, los muelen con sus máquinas y los calientan en sus fábricas … El oro y otros minerales son cosas peligrosas y malas que solo traen enfermedades y muerte. … Aunque este metal es el más hermoso y fuerte que pueden encontrar para construir sus máquinas y su mercadería, es peligroso para los humanos. Al excavar tan lejos bajo tierra, los blancos no piensan en esas cosas. Si lo hicieran, no romperían todo lo que pudieran en la tierra indefinidamente. Quiero hacerles escuchar las palabras que me dio el xapiri en el momento del sueño, para que estos desconocidos irreflexivos puedan entender lo que realmente está sucediendo.

Los chamanes Yanomami no trabajan por dinero como los médicos blancos. Simplemente actúan para mantener el cielo y el bosque en su lugar, para que podamos cazar, plantar nuestros jardines y tener una vida saludable.

Nuestros mayores no sabían de dinero. … El dinero no nos protege … no crea nuestra alegría. Para los blancos, es diferente. No saben cómo soñar con espíritus como nosotros. Prefieren ignorar que el trabajo de los chamanes es proteger la tierra, tanto para nosotros y nuestros hijos como para ellos y los suyos.” 

https://barbara-navarro.com/2020/04/12/la-fiebre-del-oro-covid-19-y-el-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.
This entry was posted in Uncategorized. Bookmark the permalink.

2 Responses to La Cegadora Hechicería del Oro

  1. nedhamson says:

    Reblogged this on Ned Hamson's Second Line View of the News and commented:
    As Yanomami spokesperson Davi Kopenawa states in his book “Falling from the Sky”: “For the oldest old, gold was just shiny chips in the sand of river beds, like mica. They collected it to make a witchcraft substance designed to blind people they were angry with. … This metal powder was feared. That is why we call the shining metal fragments that prospectors excavate from river beds oru hipëre a: the dazzling witchcraft of gold. When white people take minerals from the ground, they grind them with their machines and heat them in their factories… Gold and other minerals are dangerous and bad things that only bring disease and death. … Although this metal is the most beautiful and strong that you can find to build your machines and your merchandise, it is dangerous for humans. When digging so far underground, whites don’t think about such things. If they did, they wouldn’t break everything they could on the ground indefinitely. I want to make you listen to the words that the xapiri gave me at the moment of the dream, so that these thoughtless strangers can understand what is really happening.

    Liked by 1 person

  2. Pingback: La Cegadora Hechicería del Oro — Barbara Crane Navarro – Tiny Life

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s