« Os garimpeiros contaminaram a floresta. Ela estava impregnada de fumaça epidêmica e nós estávamos presos em um frenesi mortal. »


Menino Yanomami e seu macaco na casa comunal, Alto Orinoco, Amazonas, Venezuela

« Em qualquer caso, nossos mais velhos só tiveram que inalar essa fumaça desconhecida para morrer dela muito rapidamente … Foi assim que experimentamos o poder das epidemias xawara dos brancos … Mais do que o suficiente de nós somos já morto por epidemias de xawara propagadas por brancos no passado.

Vimos os brancos espalharem sua epidemia e nos matar com suas armas. Nós os vimos destruir a floresta e os rios. Sabemos que eles podem ser gananciosos e perversos e que suas mentes geralmente estão cheias de escuridão. Mas também sabemos que todas as palavras dos brancos só poderiam desaparecer de nossas mentes se parassem de invadir e destruir nossa terra. Então tudo ficaria calmo como antes e voltaríamos a viver sozinhos na floresta. Nossas mentes se tornariam tão serenas quanto as de nossos ancestrais no início dos tempos. Mas isso provavelmente nunca acontecerá! » – porta-voz e xamã Yanomami Davi Kopenawa

ESCUTE A MENSAGEM DO XAMÃ YANOMAMI:

https://barbara-navarro.com/2020/11/22/escute-a-mensagem-de-shaman-yanomami/

POR FAVOR, NÃO COMPRE NEM USE OURO !!!

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 « Os garimpeiros contaminaram a floresta. Ela estava impregnada de fumaça epidêmica e nós estávamos presos em um frenesi mortal. »

  1. nedhamson says:

    Reblogged this on Ned Hamson's Second Line View of the News and commented:
    The prospectors contaminated the forest. It was filled with epidemic smoke and we were trapped in a deadly frenzy.

    Liked by 1 person

  2. Pingback: « Os garimpeiros contaminaram a floresta. Ela estava impregnada de fumaça epidêmica e nós estávamos presos em um frenesi mortal. » — Barbara Crane Navarro – Tiny Life

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