« Eles ficaram no nosso caminho. Se não tivéssemos invadido sua floresta, não teríamos ouro. »

Foto: Homem Yanomami com tinta Achiote e arco e flecha

Como diz o porta-voz Yanomami Davi Kopenawa no seu livro A Queda do Céu: « Toda a terra do Brasil já foi ocupada por pessoas como nós. Hoje está quase vazio e é igual em todo lugar. Os primeiros habitantes da floresta quase todos desapareceram. Os que ainda existem aqui e ali são apenas o que resta do grande número que os brancos mataram há muito tempo para conquistar suas terras. Então … esses mesmos brancos não tinham medo de amar objetos cujos donos eles devoraram como inimigos.

Desde então, eles mantêm esses bens trancados no vidro de seus museus para mostrar aos filhos o que resta daqueles que os mais velhos mataram. Mas quando crescerem, essas crianças não vão acabar perguntando: ‘Hou! Essas coisas são realmente lindas, mas por que você destruiu aqueles que as possuíam?’ Então seus pais vão responder: ‘Ma! Se essas pessoas ainda estivessem vivas, ainda seríamos pobres. Eles ficaram no nosso caminho. Se não tivéssemos invadido a floresta deles, não teríamos ouro.’ »

Para mais informações sobre “Corrida do Ouro, COVID-19 e o Genocídio Yanomami”, veja aqui:

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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2 Responses to « Eles ficaram no nosso caminho. Se não tivéssemos invadido sua floresta, não teríamos ouro. »

  1. nedhamson says:

    Reblogged this on Ned Hamson's Second Line View of the News and commented:
    «They got in our way. If we hadn’t invaded your forest, we wouldn’t have had gold. »

    Liked by 1 person

  2. Pingback: « Eles ficaram no nosso caminho. Se não tivéssemos invadido sua floresta, não teríamos ouro. » — Barbara Crane Navarro – Tiny Life

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