Deforestazione vs. Popoli Indigeni – IV « Voglio mettere in guardia i bianchi prima che finiscano per strappare le radici del paradiso dalla terra! »


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

« Non sai come fare niente con la foresta. Sai solo come abbattere e bruciare i suoi alberi, scavare buche nel suo terreno e sporcare i suoi corsi d’acqua.

Tuttavia, non ti appartiene e nessuno di voi l’ha creato! »

  • Davi Kopenawa, portavoce dello sciamano e degli Yanomami

Yanomami shabono, la casa comunale, Alto Orinoco, Amazonas, Venezuela – foto: Barbara Crane Navarro

I popoli Indigeni usano l’acqua di fiumi e torrenti nei loro territori ancestrali per bere, cucinare, fare il bagno e pescare.


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

L’estrazione dell’oro e altre industrie estrattive contaminano l’acqua, avvelenando le persone, la fauna selvatica e il suolo.


Deforestazione nelle terre Indigene e contaminazione da mercurio per l’estrazione dell’oro

Si prega di aiutare le popolazioni Indigene e la natura; per favore boicottate tutti i prodotti della deforestazione; oro, olio di palma, legno esotico, soia, manzo, ecc. !

Chi compra l’oro estratto illegalmente sulla terra degli Yanomami? Vedere qui:

“Se stanno devastando l’Amazzonia in cerca di oro, c’è un mercato degli acquirenti. Chi compra questo oro? I grandi marchi e i marchi del mondo della moda?” Chi allora compra quest’oro come gingillo? Per favore assicurati che non sei tu!

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 Deforestazione vs. Popoli Indigeni – IV « Voglio mettere in guardia i bianchi prima che finiscano per strappare le radici del paradiso dalla terra! »

  1. Pingback: Deforestazione vs. Popoli Indigeni – IV « Voglio mettere in guardia i bianchi prima che finiscano per strappare le radici del paradiso dalla terra! » | Ned Hamson's Second Line View of the News

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