Desmatamento contra Povos Indígenas – IV « Quero alertar os brancos antes que acabem arrancando do chão as raízes do céu! »


Xamã Yanomami, Alto Orinoco, Amazonas, Venezuela – foto: Barbara Crane Navarro

« Você não sabe fazer nada com a floresta. Você só sabe cortar e queimar suas árvores, cavar buracos em seu solo e sujar seus cursos d’água.

No entanto, ele não pertence a vocês e nenhum de vocês o criou! »

  • O porta-voz do Xamã e Yanomami, Davi Kopenawa

Yanomami shabono, a casa comunal, Alto Orinoco, Amazonas, Venezuela – foto: Barbara Crane Navarro

Os povos Indígenas utilizam a água dos rios e córregos em seus territórios ancestrais para beber, cozinhar, tomar banho e pescar.


Território Yanomami, Alto Orinoco, Amazonas, Venezuela – foto: Barbara Crane Navarro

A mineração de ouro e outras indústrias extrativas contaminam a água, envenenando as pessoas, a vida selvagem e o solo.


Desmatamento em Terras Indígenas e Contaminação por Mercúrio para Mineração de Ouro

Ajude os povos Indígenas e a natureza; por favor boicote todos os produtos do desmatamento; ouro, óleo de palma, madeira exótica, soja, carne bovina, etc. !

Quem compra ouro extraído ilegalmente em terras Yanomami? Veja aqui:

“Se eles estão devastando a Amazônia em busca de ouro, há um mercado comprador. Quem compra este ouro? As grandes marcas e marcas do mundo da moda?” Quem então compra esse ouro como bugigangas? Por favor, certifique-se de que não é você!

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 Desmatamento contra Povos Indígenas – IV « Quero alertar os brancos antes que acabem arrancando do chão as raízes do céu! »

  1. Pingback: Desmatamento contra Povos Indígenas – IV « Quero alertar os brancos antes que acabem arrancando do chão as raízes do céu! » — Barbara Crane Navarro | Ned Hamson's Second Line View of the News

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