« Amore per le Merci: il Valore che i *bianchi danno all’Oro che desiderano così tanto »

Barbara Crane Navarro


foto: Yanomami: trasformazione sciamanica – Barbara Crane Navarro

«Oggi non sono rimasti molti grandi sciamani nella nostra foresta. Il fumo dorato delle epidemie lo svuotò quasi completamente.

I nostri genitori e nonni non si fidavano dei bianchi e hanno sempre temuto i loro vapori epidemici. Non sapevano di essere venuti a segnare i confini del Brasile in mezzo alla nostra terra. Non avrebbero mai immaginato che in seguito i figli ei nipoti di queste persone sarebbero tornati in gran numero a sfruttare i fiumi alla ricerca dell’oro.

Non avrebbero mai pensato che questi stranieri un giorno li avrebbero cacciati di casa per prendere le loro terre! Poi le epidemie di xawara seguono le loro tracce e iniziamo subito a morire una dopo l’altra!

Siamo i pochi abitanti delle foreste che sopravvivono ai vapori epidemici dei loro genitori e nonni. È per questo che voglio parlarti. Non essere sordo alle mie…

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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 « Amore per le Merci: il Valore che i *bianchi danno all’Oro che desiderano così tanto »

  1. Pingback: « Amore per le Merci: il Valore che i *bianchi danno all’Oro che desiderano così tanto » — Barbara Crane Navarro – Tiny Life

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