Pistas de aterrizaje ilegales llevan oro tóxico a tierras indígenas Yanomami en Brasil
« Tenemos amistad por el bosque porque sabemos que los espíritus del bosque son los verdaderos dueños del mismo. Sin embargo, las mentes de los buscadores de oro y los ganaderos son seres malignos. Los blancos solo saben abusar de ella y estropearla. Destruyen todo en el bosque: la tierra, los árboles, las colinas, los ríos, hasta que han dejado su suelo desnudo y en llamas, hasta que incluso se mueren de hambre… »
Los Yanomami y otros pueblos indígenas utilizan el agua de los ríos y arroyos de sus territorios ancestrales para beber, cocinar, bañarse y pescar.
La minería de oro y otras industrias extractivas contaminan el agua, envenenando a las personas, la vida silvestre y el suelo.
¡La destrucción abyecta causada por la minería de oro!
Por favor ayude a los pueblos indígenas ya la naturaleza boicoteando todos los productos de la deforestación; oro, aceite de palma, maderas exóticas, soja, carne vacuna, etc. !
Yanomami pescando, Amazonas, Brasil
¿Qué piensan los Yanomami y otros pueblos indígenas sobre la deforestación en curso por oro y otros recursos forestales que han sido codiciados durante más de 500 años?
Por favor vea el mensaje del chamán Yanomami aquí:
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.
5 Responses to Deforestación vs. Pueblos Indígenas – II« Lo que los blancos llaman ‘la protección de la Naturaleza’ somos en realidad nosotros, la gente del bosque, los que hemos vivido al amparo de sus árboles desde el principio de los tiempos »
nice post.
LikeLiked by 1 person
Thank you so much!
LikeLiked by 1 person
Reblogged this on Tiny Life.
LikeLiked by 1 person
Pingback: Deforestación vs. Pueblos Indígenas – II« Lo que los blancos llaman ‘la protección de la Naturaleza’ somos en realidad nosotros, la gente del bosque,… | Ned Hamson's Second Line View of the News
https://pflkwy.wordpress.com/
LikeLiked by 1 person