« El Amor por la Mercancías: el Valor que los *blancos dan al Oro que tanto desean »

Barbara Crane Navarro


foto: Yanomami: transformación chamánica – Barbara Crane Navarro

« Hoy, no quedan muchos grandes chamanes en nuestro bosque. El humo dorado de las epidemias la ha vaciado casi por completo. Nuestros padres y abuelos no confiaban en los blancos y siempre habían temido sus emanaciones epidémicas.

No sabían que habían venido a marcar los límites de Brasil en medio de nuestra tierra. Nunca imaginaron que más tarde los hijos y nietos de estas personas regresarían en gran número para extraer oro de los ríos.

¡Nunca pensaron que estos extranjeros algún día los echarían de sus hogares para tomar sus tierras! ¡Entonces las epidemias de xawara siguen sus huellas e inmediatamente comenzamos a morir una tras otra!

Somos los pocos habitantes del bosque que hemos sobrevivido a los humos epidémicos de sus padres y abuelos. Por eso quiero hablar contigo. ¡No seas sordo a mis palabras! ¡Impida que su gente devaste…

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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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1 Response to « El Amor por la Mercancías: el Valor que los *blancos dan al Oro que tanto desean »

  1. Pingback: « El Amor por la Mercancías: el Valor que los *blancos dan al Oro que tanto desean » — Barbara Crane Navarro – Tiny Life

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