« Los mineros de oro contaminaron la selva. Estaba lleno de humo epidémico y estábamos atrapados en un frenesí mortal. »

Los niños Yanomami en una hamaca tradicional en la casa comunal, Amazonas, Venezuela

Como afirma el portavoz y chamán Yanomami Davi Kopenawa en su libro La caída del cielo: « En cualquier caso, nuestros mayores solo tuvieron que inhalar este humo desconocido para morir muy rápidamente … Así es como experimentamos el poder de las epidemias xawara de la gente blanca … Más que suficientes de nosotros ya hemos muerto por epidemias de xawara propagado por blancos en el pasado.

Vimos a los blancos propagar su epidemia y matarnos con sus armas. Los vimos destruir el bosque y los ríos. Sabemos que pueden ser codiciosos y malvados y que sus mentes suelen estar llenas de oscuridad. Pero también sabemos que todas las palabras de los blancos solo podrían desaparecer de nuestras mentes si dejaran de invadir y destruir nuestra tierra. Entonces todo estaría tranquilo como antes y volveríamos a vivir solos en el bosque. Nuestras mentes se volverían tan serenas como las de nuestros antepasados ​​al principio de los tiempos.¡Pero probablemente nunca sucederá! »

ESCUCHE EL MENSAJE DEL CHAMAN YANOMAMI:

https://barbara-navarro.com/2020/11/23/escuche-el-mensaje-del-chaman-yanomami/

POR FAVOR, POR FAVOR, NO COMPRE NI USE ORO !!!

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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1 Response to « Los mineros de oro contaminaron la selva. Estaba lleno de humo epidémico y estábamos atrapados en un frenesí mortal. »

  1. Pingback: « Los mineros de oro contaminaron la selva. Estaba lleno de humo epidémico y estábamos atrapados en un frenesí mortal. » — Barbara Crane Navarro – Tiny Life

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