COLONIALISME du 21e siècle – mis en œuvre par les corporations et les ONG ? De qui est en jeu la survie ici, Survival ? La survie des forêts tropicales et des peuples Indigènes ou de Cartier et d’autres dans l’industrie de la joaillerie en or et diamants ? … Mis à jour en juillet 2022 !

Barbara Crane Navarro

“l’Or ou la Nature?” – ©Fotolia/ Wikimedia/Collage: Mirela Hadzic pour Rainforest Rescue

“La folie de l’homme a augmenté la valeur de l’or et de l’argent à cause de leur rareté; tandis que la nature, comme un parent aimable, nous a donné libremente les meilleures choses, comme l’air, la terre et l’eau, mais nous a caché celles qui sont vaines et inutile.” – Thomas More, “Utopia”, livre II – 1516

photo: publicité Cartier

La conquête et la colonisation européennes systématiques des Amériques ont commencé en 1492 et se poursuivent toujours. La motivation impérieuse était alors, et continue d’être, l’exploitation. L’ascension de la richesse en Europe dépendait de l’or, les diamants et d’autres richesses pillés aux dépens de la dégradation de la nature et de l’assujettissement des peuples autochtones…

photo: site d’extraction d’or en territoire Indigène – Emiliano Mancuso / National Geographic

L’ONG Survival proclame: “Nous luttons pour la survie…

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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 COLONIALISME du 21e siècle – mis en œuvre par les corporations et les ONG ? De qui est en jeu la survie ici, Survival ? La survie des forêts tropicales et des peuples Indigènes ou de Cartier et d’autres dans l’industrie de la joaillerie en or et diamants ? … Mis à jour en juillet 2022 !

  1. Pingback: COLONIALISME du 21e siècle – mis en œuvre par les corporations et les ONG ? De qui est en jeu la survie ici, Survival ? La survie des forêts … | Ned Hamson's Second Line View of the News

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