« O Amor pelas Mercadorias – o Valor que os *brancos dão ao Ouro que tanto desejam »

Barbara Crane Navarro

foto: Yanomami: transformação xamânica – Barbara Crane Navarro

«Hoje, não existem muitos grandes xamãs restantes em nossa floresta. A fumaça dourada das epidemias a esvaziou quase completamente. Nossos pais e avós não confiavam nos brancos e sempre temeram seus vapores epidêmicos.

Não sabiam que tinham vindo marcar os limites do Brasil no meio de nossa terra. Eles nunca imaginaram que mais tarde os filhos e netos dessas pessoas voltariam em grande número para minerar ouro nos rios.

Eles nunca pensaram que esses estrangeiros um dia os expulsariam de suas casas para tomar suas terras! Então, as epidemias de xawara seguem seu caminho e imediatamente começamos a morrer, uma após a outra!

Somos os poucos habitantes da floresta que sobreviveram aos vapores epidêmicos de seus pais e avós. É por isso que quero falar com você. Não fique surdo às minhas palavras! Impeça seu povo de devastar nossa terra e nos…

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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 « O Amor pelas Mercadorias – o Valor que os *brancos dão ao Ouro que tanto desejam »

  1. Pingback: « O Amor pelas Mercadorias – o Valor que os *brancos dão ao Ouro que tanto desejam » – Mágica Mistura✨

  2. Pingback: « O Amor pelas Mercadorias – o Valor que os *brancos dão ao Ouro que tanto desejam » — Barbara Crane Navarro – Tiny Life

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