“Nous sommes les rares habitants de la forêt à avoir survécu aux fumées épidémiques de vos pères et grands-pères. C’est pourquoi je veux vous parler. Ne soyez pas sourd à mes paroles! Empêchez votre peuple de ravager notre terre et de nous faire mourir aussi ! “- Le porte-parole et chaman Yanomami Davi Kopenawa

Barbara Crane Navarro

“Yanomami observant un site minier d’or sur leur territoire” – Photo des Yanomami, Alto Orinoco, Amazonas, Venezuela et montage photo: Barbara Crane Navarro

(Cette vidéo contient des images stroboscopiques – la vigilance du spectateur est conseillée)

Regarder (version anglais ou version portugaise):



« Hey – Regardez nous

Nous vous voyons

Nous avons essayé de vous montrer

Vous n’avez jamais pris la peine d’apprendre notre langue

Vous regardiez toujours vers le bas

Nous vous prévenons depuis le début

La terre est vivante

Cette terre ne peut pas être possédé

Cette terre c’est nous

Nous tous

Vous vouliez les pierres


Vos choses brillantes

Titres – Drapeaux – Bénéfices

Vous avez appelé ça progrès

Nous avons essayé de vous apprendre

Mais vous avez toujours été si gourmand

Trop primitif – Trop sauvage

pour comprendre

Maintenant vous apportez toujours des malédictions sur les Yanomami

Les maladies

Et encore une fois, nous…

View original post 104 more words

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. Pingback: ÉCOUTER LE MESSAGE DU CHAMAN YANOMAMI — Barbara Crane Navarro – Tiny Life

  2. Pingback: ÉCOUTER LE MESSAGE DU CHAMAN YANOMAMI — Barbara Crane Navarro | Ned Hamson's Second Line View of the News

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