illustration tirée de « La Magie de l’Amazonie Les aventures de Yarima, une fille Yanomami »
« Cette aventure fantastique pour enfants tisse ensemble mythes, nature et la force des cultures autochtones en une histoire à la fois essentielle et intemporelle.
À travers le regard de Yarima, de sa sœur Meromi et de son frère Namowë, la forêt amazonienne palpite de vie : esprits gardiens, secrets ancestraux et beauté sauvage. Leur quête pour protéger la forêt et ses voix les confronte à des alliés inoubliables : des animaux parlants pleins d’humeur et des esprits dont la lueur éclaire leur chemin.
La prose, dynamique et rythmée, s’inspire des riches traditions des récits amazoniens tout en maintenant un tempo enlevé pour les jeunes lecteurs.
Chaque créature, aussi petite soit-elle, a une voix, et chaque instant résonne de magie.»
L’ami surprise du garçon Yanomami dans la jungle !
Parfois, les plus beaux moments nous manquent – NE MANQUEZ PAS CELUI-CI !
sur YouTube @barbaracranenavarro
Un film de 38 secondes avec Namowë, un garçon Yanomami de la région du Haut-Orénoque, Amazonas, Venezuela
L’ami surprise du garçon Yanomami dans la jungle est un extrait d’un film de Barbara Crane Navarro d’instants de la vie quotidienne d’une communauté Yanomami dans la forêt amazonienne réalisé pour accompagner la série de livres pour enfants : « Amazon Rainforest Magic » « La Magie de l’Amazonie » et « La Magia de l’Amazonie”
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.
Barbara Crane Navarro 