Deforestación vs. Pueblos Indígenas – III  « Comenzaron a excavar con avidez minerales de la tierra. Construyeron fábricas para fundirlos y fabricar grandes cantidades de bienes… Pronto olvidaron la belleza del bosque. »


¡Para los pueblos indígenas, como para nosotros, el agua es vida!

« Proliferaron el dinero por todas partes.

Al querer poseer todos estos bienes, se apoderaron de ellos un deseo ilimitado.

Los blancos empezaron a talar todos los árboles, maltratando la tierra y profanando el agua… »

  • Chamán y portavoz Yanomami Davi Kopenawa

Deforestación en Tierras Indígenas y Contaminación por Mercurio para la Minería de Oro

Los pueblos Indígenas utilizan el agua de los ríos y arroyos en sus territorios ancestrales para beber, cocinar, bañarse y pescar.

Los niños Indígenas también juegan en los ríos y arroyos cercanos a sus hogares.

Su salud y su futuro dependen del respeto a la Naturaleza.


Namowë, un niño Yanomami, Alto Orinoco, Amazonas, Venezuela – foto: Barbara Crane Navarro (foto de la película)

La minería de oro contamina el agua con mercurio, envenenando a las personas, la vida silvestre y el suelo.

Por favor ayuda a Namowë, su familia y comunidad y todos los pueblos Indígenas y la naturaleza; por favor boicoteen todos los productos de la deforestación; oro, aceite de palma, maderas exóticas, soja, carne vacuna, etc. !


¡Toda la vida depende del agua!

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 Deforestación vs. Pueblos Indígenas – III  « Comenzaron a excavar con avidez minerales de la tierra. Construyeron fábricas para fundirlos y fabricar grandes cantidades de bienes… Pronto olvidaron la belleza del bosque. »

  1. Pingback: Deforestación vs. Pueblos Indígenas – III  « Comenzaron a excavar con avidez minerales… | Ned Hamson's Second Line View of the News

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