Taíno Sculpture


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Taíno


Book Description

Organized by El Museo del Barrio in New York to coincide with a major exhibition, this is the first comprehensive English-language publication on the fascinating legacy of Taiacute;no art and culture. Showcasing over one hundred rare and beautiful ceremonial and domestic artworks and individual masterpieces of this ancient culture -- produced in Puerto Rico, the Dominican Republic, Cuba, Haiti, and the Bahamas between A.D. 1200 and 1500 --Taiacute;noincludes examples of finely detailed and polished sculptures carved in wood, precious ornaments of shell and bone, and ceramics decorated with animals, birds, and intricate geometric motifs. The contributors include ten of the foremost scholars of pre-Columbian culture and art, and an appendix features writings from Spanish explorers who had contact with the Taiacute;no. Of Arawak descent, the Taiacute;no -- whose ancestors migrated to the Caribbean from the Amazon Basin in South America during the sixth century -- were the first people encountered by Christopher Columbus. Although they ceased to exist as an autonomous society within sixty years of the arrival of Spanish colonizers, the Taiacute;no -- skilled agriculturists and navigators and accomplished weavers, potters, and carvers -- developed a complex political, religious, and social system, and made a substantial contribution to the biological, cultural, and linguistic makeup of large areas of the Caribbean. To this date, Caribbean communities in the Antilles and in New York and other large American cities exhibit the survival of Taiacute;no practices in their worldviews, religious beliefs, language, music, and food.




Caciques and Cemi Idols


Book Description

Takes a close look at the relationship between humans and other (non-human) beings that are imbued with cemí power, specifically within the Taíno inter-island cultural sphere encompassing Puerto Rico and Hispaniola Cemís are both portable artifacts and embodiments of persons or spirit, which the Taínos and other natives of the Greater Antilles (ca. AD 1000-1550) regarded as numinous beings with supernatural or magic powers. This volume takes a close look at the relationship between humans and other (non-human) beings that are imbued with cemí power, specifically within the Taíno inter-island cultural sphere encompassing Puerto Rico and Hispaniola. The relationships address the important questions of identity and personhood of the cemí icons and their human “owners” and the implications of cemí gift-giving and gift-taking that sustains a complex web of relationships between caciques (chiefs) of Puerto Rico and Hispaniola. Oliver provides a careful analysis of the four major forms of cemís—three-pointed stones, large stone heads, stone collars, and elbow stones—as well as face masks, which provide an interesting contrast to the stone heads. He finds evidence for his interpretation of human and cemí interactions from a critical review of 16th-century Spanish ethnohistoric documents, especially the Relación Acerca de las Antigüedades de los Indios written by Friar Ramón Pané in 1497–1498 under orders from Christopher Columbus. Buttressed by examples of native resistance and syncretism, the volume discusses the iconoclastic conflicts and the relationship between the icons and the human beings. Focusing on this and on the various contexts in which the relationships were enacted, Oliver reveals how the cemís were central to the exercise of native political power. Such cemís were considered a direct threat to the hegemony of the Spanish conquerors, as these potent objects were seen as allies in the native resistance to the onslaught of Christendom with its icons of saints and virgins.







Library of Congress Subject Headings


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Arte del mar


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Arte del Mar explores the diverse, interconnected history of the indigenous peoples of the Caribbean, where the sea was a vital source of cultural exchange. Before the arrival of Europeans, Caribbean societies formed a vast, multilingual network characterized by complex relationships among neighbors and distant contacts alike. Colonization and the subsequent forced mass migration of enslaved peoples from Africa later contributed to the heterogeneous culture of the region. Providing the first holistic look at Caribbean art, this Bulletin features masterworks from the early first millennium to the present, including works by celebrated Taíno artists from the Greater Antilles, as well as fascinating objects from lesser-known societies such as the Tairona from Colombia; the diverse kingdoms in Veraguas, Panama; and the communities in the Ulúa Valley, Honduras. A brief exploration of more contemporary artistic practice yields further insight into this unique ancestral legacy. Whether ancient or modern, the artworks presented here share a formal grammar linking politics, mythology, and ritual performance, revealing a distinctly Caribbean approach to creativity.




Encyclopedia of Latin American & Caribbean Art


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For abstracts see: Caribbean Abstracts, no. 11, 1999-2000 (2001); p. 111.




The Earliest Inhabitants


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This book highlights the variety of research conducted on the island's prehistoric site and artifacts. The text is a compilation of thirteen articles, five of which had been previously published but not widely available. The remaining eight new articles are based on archaeological research within the last five years. The book will appeal to a wide audience of archaeologists, historians, students of archaeology and anyone interested in Jamaica's history




Taino


Book Description

"JosÉ [Barreiro] writes the true story in TaÍno—the Native view of what Columbus brought. Across the Americas, invasion, and resistance, the TaÍno story repeated many times over." – Chief Oren Lyons (Joagquisho), Turtle Clan, Onondaga Nation The story of what really happened when Columbus arrived in the "New World," as told by the TaÍno people who were impacted In 1532, an elderly TaÍno man named GuaikÁn sits down to write his story—an in-depth account of what happened when Columbus landed on Caribbean shores in 1492. As a boy, GuaikÁn was adopted by Columbus, uniquely positioning him to tell the story of Columbus's "discovery," directing our gaze where it rightfully belongs—on the Indigenous people for whom this land had long been home. Revised and updated by author JosÉ Barreiro (himself a descendant of the TaÍno people) with new information and a new introduction, this richly imagined novel updates GuaikÁn's carefully crafted narrative, chronicling what happened to the TaÍno people when Columbus arrived and how their lives and culture were ruptured. Through GuaikÁn's story, Barreiro penetrates the veil that still clouds the "discovery" of the Americas and in turn gives