« Se interpusieron en nuestro camino. Si no hubiéramos invadido su bosque, no habríamos tenido oro. »

Fotografía: Hombre Yanomami con una flecha en el shabono, la casa comunal

Como dice el portavoz Yanomami Davi Kopenawa en su libro La caída del cielo:  “Toda la tierra de Brasil ya estaba ocupada por personas como nosotros. Hoy está casi vacío y es igual en todas partes. Casi todos los primeros habitantes del bosque desaparecieron. Los que aún existen aquí y allá son lo que queda de la gran cantidad que los blancos mataron hace tiempo para conquistar sus tierras. Entonces … estos mismos blancos no tenían miedo de amar los objetos De cuyos dueños devoraron como enemigos.

Desde entonces, han guardado estos bienes encerrados en los cristales de sus museos para mostrarles a sus hijos lo que queda de los que mataron sus mayores. Pero cuando crezcan, estos niños no terminarán preguntando: ‘¡Hou! Estas cosas son realmente hermosas, pero ¿por qué destruiste a quienes las poseían? Entonces sus padres responderán: ‘¡Ma! Si estas personas todavía estuvieran vivas, seguiríamos siendo pobres. Se interpusieron en nuestro camino. Si no hubiéramos invadido su bosque, no habríamos tenido oro.’ ” 

Para obtener más información sobre “La fiebre del oro, COVID-19 y el genocidio Yanomami”, consulte aquí:

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.
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2 Responses to « Se interpusieron en nuestro camino. Si no hubiéramos invadido su bosque, no habríamos tenido oro. »

  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 his forest, we wouldn’t have had gold. »

    Like

  2. Pingback: « Se interpusieron en nuestro camino. Si no hubiéramos invadido su bosque, no habríamos tenido oro. » — Barbara Crane Navarro – Tiny Life

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