Bolsonaro insinuates his noncompliance with the law if the « time frame » – a strategy for setting a cut-off date of 1988 for indigenous land claims – is rejected by Brazil’s Supreme Court!
A group of around 150 indigenous people carried an enormous symbolic coffin to the steps of the presidential palace in Brasilia and set it on fire. The coffin was inscribed with the word « Genocide » on the top with « Ecocide », « No to the time frame » as well as other slogans on the sides.
Over 6,000 native people from 176 indigenous nations have gathered at the « Struggle for Life » camp outside Brazil’s Supreme Court in Brasilia to demand that the justices rule in their favor and reject the time limit date of 1988, adopted by the Bolsonaro government in 2016 and promoted by the agribusiness, cattle ranching, logging and gold mining sectors.
The justices will reconvene today, September 1st, for a ruling which will either reinforce the protection of indigenous peoples and lands as defined by the constitution or, as Bolsonaro wants, give power to the agribusiness, cattle ranching, logging and gold mining industries to deforest and exploit and extract natural resources in indigenous lands, threatening the existence of indigenous peoples and of the Amazon Rainforest itself…
Please join the struggle of native peoples to keep their traditions and territories alive and in defense of their rights!
More information about the activities organized by the Articulation of Indigenous Peoples of Brazil are here:
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.
2 Responses to A burning symbol for Bolsonaro’s necropolitics! – The «Time Frame » Trick – Genocide for indigenous peoples and Ecocide for the Amazon Rainforest?
Barbara Crane Navarro 
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