Friday, November 7, 2008

Taino Nation Celebration Nov, 15 2008

Taino Nation Celebration Nov, 15 2008




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Taino Areyto 2008

The Wanakan Cultural Center of the Taino Nation of the Antilles, cordially invites you and your whole family to attend our 16th annual Taino Areyto, the largest gathering of Taino from Boriken, Kuba, Kiskeya and the rest of the Antilles, in the Diaspora of the U.S... This year we will be Dedicating our Areyto to our ancestral spirit honoring all those who have recently passed. Please join us in honoring all of our Elders. So make sure you bring the elders of your family and let us all bless them and honor them in life as we now honor our Ancestors. Come and immerse yourself in music, song and dance as the Mayowakan drums beats to the rhythm of your heart and the Taino blood that runs through our veins. Then dance with us hand in hand as we celebrate the resurgence and restoration of the Taino Nation. For those of you who are not Taino come join us in celebrating our resurgence. Celebrate our Heritage, our Culture and our language. Come and meet and reconnect with the descendants of the Taino people. Enjoy our Arts and Crafts and meet some of our Artist and Venders and take home that very special item to your family and friends. Attend one of our Lectures on Language with Kacike Boriwex or join Waxeru Anani in her discussion on family mental health. For those of you who have joined us throughout the years we look forward to rekindling old friendship and for those coming for the very first time we look forward to forging new friendships so come join us. See you on Saturday November 15th, 2008, as we once again celebrate “El Dia del Pueblo Taino”, Day of the Taino People.

Que toquen los Wamos, despierta Taino celebra lo tuyo, Han Han Katu.

Our Areyto will be held at the Beacon School Program on 12th Street in the Lower East side of Manhattan, between 1st Ave. and Ave. A, from 11AM to 4PM. For more Information please call 917-301-5934.

Monday, July 28, 2008

Museum's Crystal Skull to go on Display for the First Time Ever!


For centuries the legend of the crystal skull has captivated explorers, adventurers and even scientists. Were crystal skulls handmade by ancient Aztecs? The work of supernatural powers? Or carefully crafted fakes? New light will be shed on the myths behind these fascinating objects when the Smithsonian’s own crystal skull goes on public display for the first time, ever. “The Truth About Crystal Skulls” exhibit will open July 10 and continue through Sept. 1 at the Smithsonian’s National Museum of Natural History.

Crystal skulls are sculptures of the human skull carved from blocks of clear or milky quartz, often called rock crystal. Claimed to be pre-Columbian Mesoamerican artifacts, identified as Aztec, Toltec, Mixtec or occasionally Maya, the truth is that none of the specimens made available for scientific study have been authenticated as pre-Columbian in origin or were ever recovered from an archaeological site, i.e. no archaeologist has ever dug one of these skulls out of the ground. Scientists theorize they were manufactured in the mid-19th century or later, in Mexico and Europe. The skulls are claimed to exhibit paranormal phenomena by some people and have been depicted as such in fiction and films. Perhaps the most widely known of such portrayals is the film “Indiana Jones and the Kingdom of the Crystal Skull” which premiered in theaters in May.

The Smithsonian’s crystal skull arrived in the mail with an unsigned letter in 1992, stating that it was purchased in Mexico in 1960 and that it was Aztec. In comparison with the earlier skulls collected in the 19th century, the Smithsonian skull is enormous; at 31 pounds and nearly 10 inches high, it dwarfs all other known crystal skulls. Walsh and her British Museum colleague Margaret Sax believe it was manufactured in Mexico shortly before it was sold.

The arrival of the crystal skull at the Smithsonian instigated Walsh’s research into determining the artifact’s origin and establishing its authenticity. With the assistance of Scott Whittaker, the manager of the museum’s Scanning Electron Microscope (SEM) laboratory, Walsh has carefully studied the lapidary (stone-cutting) techniques on crystal skulls and other hard stone carvings of purported pre-Columbian origins. Modern stone carving tool marks have been identified meaning they could not have been carved before the mid-19th century and therefore cannot be of pre-Columbian origin.

Tuesday, July 8, 2008

SUSSEX POWWOW




SUSSEX POWWOW

NATIVE AMERICAN HERITAGE FESTIVAL

July 12th & 13th, 2008

Sussex County Fairgrounds
Augusta, NJ

Saturday 11am to 8pm

Sunday 11am to 7pm

Rain or Shine

GRAND ENTRY Saturday & Sunday 1pm

$10 Adults $6 Kids/Seniors

Kids 6 & under Free

Free Parking

Directions:

From NYC: GW to 80 West to Exit 34B RT 15 North to 206 North Follow signs for the Sussex County Fairgrounds

DANCER INFORMATION

Emcee - John Block
Host Drums - Iron River & BlackBear

NO REGISTRATION FEE FOR DANCERS

ADULT - (Traditional, Grass, Jingle, Fancy) (18+)
1ST-$800 2ND-$600 3RD-$400 4TH-$200

TEEN - (Traditional, Grass, Jingle, Fancy) (13-17)
1ST-$300 2ND-$200 3RD-$100

JR BOYS COMBINED & JR GIRLS COMBINED (6-12)
1st-$150 2nd-$100 3rd-$75

TINY TOTS

TROPHY/CASH SPECIALS
TBA

DIRECTIONS
41.136011,-74.717417 - Google Maps

Host Hotel - ASK FOR THE POWWOW RATE
EconoLodge
448 Route 206 South
Newton, NJ, US, 07860
(973) 383-3922



ACCOMMODATIONS:
SUSSEX MOTEL, 973-875-4191
ROLLING HILLS MOTEL, 973-875-1270
COBMIN RIDGE MOTEL, 973-948-3459
CAMPING AVAILABLE ON GROUNDS

Amazonia Brasil Exhibit




Amazonia Brasil Exhibit
Step into the Amazon at South Street Seaport. Misty, humid, green, the 13,000 square foot reconstruction of the Brazilian rain forest on Pier 17 echoes with bird calls and indigenous chanting. Visitors can plunge their hands into a pile of dried beans, watch a film about Amazonian insects, weave a basket with Rosangela Tapajos, an Amazonian village leader.

Amazonia Brasil seeks to teach people about one of the world's most precious resources - the Amazonian rainforest, a two-million-square-mile tropical ecosystem of breathtaking biodiversity. A free, related exhibition at the World Financial Center showcases Brazilian fashion and furniture designers who have used the Amazon as their inspiration. A free photography show at Smithsonian's National Museum of the American Indian completes the trio of Amazonia Brasil exhibits in Lower Manhattan. Amazonia Brasil is open through July 13. Admission to the interactive exhibit on Pier 17 is $16 for adults, $13 for seniors and $11 for children

Fancy Dance Good Luck Lion



PERFORMANCES
Fancy Dance Good Luck Lion
Thursday, July 10, 2008, 5:30 p.m.
Friday, July 11, 2008, 12:30 p.m.
Bowling Green Cobblestone (NMAI Pavilion, if rain)

This complementary program to Remix: New Modernities in a Post-Indian World, includes an experimental performance work created by Jason Lujan (Chiricahua Apache) which investigates the dynamic combination of Native American Fancy Dancers and Chinese Lion Dancers. Performers include Sky Medicine Bear (Diné), Donna Ahmadi, Louis Mofsie (Hopi/Hochunk), Tyson Draper (Diné), and White Crane Society.

Monday, June 16, 2008

Sunday, June 15, 2008

Happy Fathers Day Taino Style

Happy Fathers Day Taino Style



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Our Father" in Taíno:


Guakia baba (Our Father)
turey toca (is in sky)
guami-ke-ni (Lord of land and water)
guami-caraya-guey (Lord of moon and sun)
guariko (come to)
guakia (us)
tayno-ti (good,tall)
bo-matun; (big,generous)
busica (give to )
guakia (us)
aje-cazabi; (tubercles,bread)
juracan-na (bad spirit,no)
maboya-ua (ghost,no)
jukiyu-jan; (good spirit,yes)
Diosa (of God)
nabori daca ( servant am I)
Jan-jan catu (So be it)


[from Prehistoria de Puerto Rico, Dr.



Cayetano Coll y Toste]

Thursday, June 5, 2008

A Simple Message: Leave the Puerto Rican Flag Alone

A Simple Message: Leave the Puerto Rican Flag Alone



----------------- Bulletin Message -----------------
From: taino ray
Date: Jun 5, 2008 7:53 AM


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Fellow Boricuas

Its Puerto Rican Day Parade time again.. I know I shouldn't have to say this but I will anyway, I must.





Wave your flag with pride this weekend

Mount it on a flagpole, present it with dignity

Show the world our BORICUA PRIDE


Remember always where you come from & pass it on to your children

Be Boricua always ( don't forget after the parade is over)

NOVEMBER is Puerto Rican Heritage Month ( you can look it up)

Please don't desecrate our flag.





Don't drape on the hood of your car because it gets dirty from your cars emissions.



( a dirty, oily flag is not cool)

Men stop wearing it as skirts or capes, (Keep it real!!!! )

Women stop wearing it as a Bra.



(keep it real!!!)

Don't buy any flags with Roosters, Coquis, Bikini Women etc
(You got to be kidding me right)

IF WE DON'T RESPECT OUR FLAG NO ONE ELSE WILL!!!!!

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We honor our Taino Hands, because they worked
We honor our Spanish hands, because they worked
We honor our African hands, because they worked

All of those hands make us FAMILY
All of those hands make us

BORICUAS!!!!

A Simple Message: Leave the Flag Alone




By DAVID GONZALEZ
Published: May 31, 2005
Jaran Manzanet is not a happy man these days. That is never a good thing since he is a big man with rock-hard hands and a steely attitude, traits that served him well over four decades in the ring as both a boxer and trainer.



So who is foolish enough to darken his mood?

Skip to next paragraph
Enlarge This Image

Librado Romero/The New York Times
Jaran Manzanet has set out to stop people from embellishing the Puerto Rican flag, whether with Tito Puente or a tree frog.






Librado Romero/The New York Times
Caps with faces in front of the flag are a gray area, Mr. Manzanet says; they're not exactly flags, but are not quite respectful. Still, he must pick his battles.




Tito Puente, for starters. Plus fighting cocks, conga drums, palm trees, tree frogs and 70 other characters that by his count are emblazoned on those Puerto Rican flags that flutter everywhere as the Puerto Rican Day Parade, on June 12, approaches. All of them - even the one with the boxer Félix "Tito" Trinidad - are not some happy combination of national symbols, Mr. Manzanet said, but a desecration of the island's flag.





As his own business card declares, Mr. Manzanet is the Bronx's own Defender of the Puerto Rican Flag - a self-imposed title that he nonetheless carries like a champ. A poster taped to the side of his car urges people not to denigrate the flag. He has led protests outside garment district stores that sell all sorts of flag trinkets. He even goes as far as to hand out simple, unadorned flags to people he sees on the street who might be waving an offending banner.





"In our community there is a lot of ignorance, and we have to awaken them," he said, sitting inside a clubhouse on East 142nd Street in Mott Haven. "People from other countries tell me, they always see the Puerto Ricans with the flag. I know we're proud.



But why do we need to buy these flags with drawings on them?"

He said he had first been troubled by the misuse of the flag in the ring, when the Puerto Rican flag was turned into boxing trunks. Then came the flags people waved at parades or stuck in their windows, the ones with cartoon characters. Since then, he has amassed a collection that includes all sorts of characters, from the ubiquitous homeboy to one in which a naked woman holding two pistols stands against the flag.





Two years ago, he wrote to every mayor, representative and senator in Puerto Rico, urging them to support his campaign to uphold the honor of the flag. Only two replied. Last month, he telephoned the city's Puerto Rican politicians to try to enlist their support for a protest outside a store that sold the offensive flags. Only one sent a representative.





Nonetheless, Mr. Manzanet and a few supporters protested on April 21 outside Boricua City, a store on West 29th Street in Manhattan that is among the country's biggest suppliers of Puerto Rican flags, T-shirts, caps and jewelry. Ricky Perez, a manager at the store, told the group that the flags with cartoon characters on them were leftover inventory that would no longer be sold. Mr. Manzanet was pleased.





"He said he was going to get rid of it," Mr. Manzanet said. "As long as the flag has nothing on it, that's good.



"

Inside Boricua City - which despite its Puerto Rican name is owned by a Korean businessman - the place was jammed with boxes upon boxes of Latin American flags and caps, almost all of which are made in Taiwan or China.





Although other flags are sold at the store, Puerto Rican items are the most popular, said Kevin Young, who said he was "a backup person" at the store. He said the Puerto Rican customers were different from other Latin Americans.





"They're not picky," he said. "When they purchase, it's easy. They do not complain. It's easy to do a sale.



"

Above him, beach towels and flags covered the ceiling. One of them featured three thong-clad women facing the Puerto Rican flag, a tableau whose patriotic tenor Mr. Manzanet failed to appreciate.





"That's not a flag," Mr. Young insisted. "That's a towel.



"

There were also various caps in which Puerto Rican icons like Tito Puente appeared against a backdrop of the flag.





"Tito, the flag is behind him," Mr. Perez said. "All the protesters said was you should not put anything on the flag. We try to accommodate everybody.



"

Still, Mr. Manzanet is skeptical about the caps.





"If he wants us to stop something like that, good luck," Mr. Perez said. "It's floating. It's a 3-D illusion. Anything with 3-D is the money.



"
To some extent, Mr. Perez wondered why all the fuss over a flag that he said was not the island's true colors. He personally prefers the nationalist flag that flew over Lares, P.R., during a 19th-century rebellion against Spanish rule. He also sells that flag, which he has tucked into a place of honor in a corner of the store.





"That's our flag for real," Mr. Perez said, pointing to it. "The nationalist flag. Notice, it's first in line and there is nothing on it.



"

The fight against Spanish rule led to the current flag, which was designed in 1895 by exiles living in New York City. Some think its popularity in New York speaks to a national identity that refuses to vanish even if the island is not a sovereign state.





"The historical situation of Puerto Ricans, whether on the island or in the diaspora, is they are without a nation in terms of traditional definitions," said Arlene Davila, an associate professor of American studies at New York University. "So culture becomes a pivotal space to claim that, and cultural symbols become even more politically loaded.



"

Juan Flores, a professor of Puerto Rican studies at Hunter College, has mixed feelings about the flags.





"I'm glad this national culture is being preserved and not going away," he said. "But at the same time I always hated flag wavers. The symbol becomes more important than what Puerto Rican identity is about.



"

Making sure that identity is declared with an unadorned flag will continue to be Mr. Manzanet's mission. A few days ago, he was standing by his car when Jose Lanausse, an elevator repairman, saw the poster urging people to boycott the altered flags.





"I understand his reasoning," Mr. Lanausse said. "It takes the glory out of the flag. When I was younger, it was only the flag. Now you go to the Puerto Rican Day Parade and you see all these other things on them.



"

Mr. Manzanet asked Mr. Lanausse where he was from. New York, he said, but his parents were from Salinas, P.R . Mr. Manzanet shouted across the street to his friend Angel Alvarado, who was also from that town. Mr. Alvarado came over.





"Tell him your name and where your family is from," he said to Mr. Lanausse.





The young man complied. Within seconds, Mr. Alvarado was reeling off names.





"I know a Jorge, Franklin and Jenny Lanausse," Mr. Alvarado said. "She was a teacher and a very elegant woman. The Lanausses were known.



"

The young man seemed stunned.





"I am from the most popular neighborhood in Salinas," Mr. Alvarado explained. "Next to the cemetery. If you did not visit when you were alive, you would pass by when you were dead.



"

Ms. Manzanet beamed at how this chance encounter over a flag led to someone learning some long-lost family lore. That was why he was determined to continue his defense of the flag, vowing to go to this year's parade with friends to hand out fliers.

Monday, June 2, 2008

OUR AMAZON FAMILY

Uncontacted Amazonian tribe photographed

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RIO DE JANEIRO (Reuters) - Amazon Indians from one of the world's last uncontacted tribes have been photographed from the air, with striking images released on Thursday showing them painted bright red and brandishing bows and arrows.


The photographs of the tribe near the border between Brazil and Peru are rare evidence that such groups exist. A Brazilian official involved in the expedition said many of them are in increasing danger from illegal logging.

"What is happening in this region is a monumental crime against the natural world, the tribes, the fauna and is further testimony to the complete irrationality with which we, the 'civilized' ones, treat the world," Jose Carlos Meirelles was quoted as saying in a statement by the Survival International group.

One of the pictures, which can be seen on Survival International's Web site (http://www.survival-international.org), shows two Indian men covered in bright red pigment poised to fire arrows at the aircraft while another Indian looks on.

Another photo shows about 15 Indians near thatched huts, some of them also preparing to fire arrows at the aircraft.

"The world needs to wake up to this, and ensure that their territory is protected in accordance with international law. Otherwise, they will soon be made extinct," said Stephen Corry, the director of Survival International, which supports tribal people around the world.

Of more than 100 uncontacted tribes worldwide, more than half live in either Brazil or Peru, Survival International says. It says all are in grave danger of being forced off their land, killed and ravaged by new diseases.

Sunday, June 1, 2008

Cleanup at The Centro Ceremonial Indigena de Caguana

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UTUADO - Carefully, Rigoberto Roman wet with a cloth the environs of the stone inscription. The movements were circular and necessary. It could not to enter itself in the lines recorded in the stone that formed the call “woman of Caguana”. For 20 years, Roman, one of the ones in charge of maintenance of Indigenous the Ceremonial Park of Caguana, saw little these stones at least that they contain of the most famous samples of the art rock taíno the fungus and the seaweed were deteriorating themselves by that was impregnated to him. Yesterday, nevertheless, it was part of near a dozen of people who worked in the cleaning and restoration of these stones. The results, that they initiated Tuesdays pleased, it. “This now stands out. He was something that wanted visitors because no longer the drawings were seen. it needed this with urgency”, it said while it indicated the resistances between the areas already worked and still to work that they conserved opaque colors. According to Laura of the Elm tree, director of the Program of Archaeology of the Institute of Puerto Rican Cultura (ICP), was affected by several types of seaweed and fungi, characteristic in the humid zones of the center of the Island. The last time that was realised east type of cleaning was in the 2004, but due to the great one humidity concentration in the area returned to resurge. “They were malitas well. Nor the designs were almost distinguished”, said Of the Elm tree, when needing that in the main place there are about 22 petroglyphs at least. The civil servant indicated that the cleaning of most of the seaweed is realised applying a solution of distilled water, acetone, alcohol and nonionic soap. In order to remove to the lichen, compound of seaweed and fungi, a biocide is applied and soon dark bags are placed to him on the stone to avoid the solar light. Of the Elm tree it indicated that the ICP will realise, in addition, other improvements to the ceremonial park, like the stabilization of stones around the sugar refineries, construction of trenches to avoid floods in the places and the creation of paths so that in rain events the visitors can appreciate the facilities. It maintained that the museum, in remodeling does several years, he would be ready for the end of this year, which will significantly complement the offers of the park. In fact, Of the Elm tree and the archaeologist Pedro Alvarado they indicated that within the future considerations of the park one is to transfer the pieces with the most impressive petroglyphs within a controlled environment in the museum and to place retorts in the place.

Wednesday, April 23, 2008

Iguaca - Puerto Rican Parrot



U.S., Puerto Rico race to save parrots
Conservation La Mohicana, as workers have named the 11-year-old female, has endured a lifetime of respiratory difficulty. This morning, her handlers found her sitting on the floor of her cage, refusing to eat. They rushed her into the clinic, laid her down on the table and put an oxygen mask over her head.

Now she has stopped breathing altogether. Velez, a wildlife biologist, calls for a syringe of the stimulant Dopram to revive her and directs an assistant to contact the veterinarian.

“Esta volviendo,” Velez says. “She’s coming back.”

Every bird is precious here at the Luquillo Aviary, where the U.S. Fish and Wildlife Service is working to save the most endangered parrot in the world.

The Puerto Rican parrot once thrived in the lush green rain forest of this Caribbean island, where an estimated 1 million greeted Columbus 500 years ago.

But a combination of deforestation by man, predation by natural enemies and devastation by periodic hurricanes has nearly wiped out the population. By 1975, the last native species of parrot found in U.S. territory was down to an estimated 13 birds.

Now the Puerto Rican Parrot Recovery Program is trying to bring it back.

Working out of a converted Army facility high in the mountainous Caribbean National Forest — the 43-square-mile reserve in northeastern Puerto Rico known popularly as El Yunque — wildlife specialists are breeding, raising and training captive parrots for eventual release into the wild.

They have released 39 birds in the last four years and have a stock of 48 more at the Luquillo Aviary. Another team, under the Puerto Rico Department of Natural and Environmental Resources, has raised 103 birds so far for release in western Puerto Rico.

The project, decades in the planning, has achieved a 46 percent survival rate — the highest ever among captivity-bred-bird-release programs — to bolster a wild population now estimated at up to 36 birds.

“Captive propagation is a last resort, because it’s really expensive,” says Fernando Nunez Garcia, supervisor of the Fish and Wildlife Service field office in Rio Grande. “It’s a desperate measure to try to save a species.”

The indigenous Taíno people called it Iguaca, for its distinctive squawk. Bright green with a red forehead, blue primary feathers and white rings around the eyes, the Puerto Rican parrot can grow to a foot in height, and can live more than 30 years.

In 1967, the species was listed as endangered. The recovery program began the following year.

The Luquillo Aviary lies in a humid clearing high in El Yunque. Here a staff of 12, working on an annual budget of $925,000, breeds, nurtures and readies the birds for release.

The workers try to prepare the birds, mentally and physically, for life beyond the aviary. They challenge them by introducing unfamiliar toys in their cages or placing food where it is difficult to reach.

“We don’t really know how to train them to be wild,” Velez says. “But we can teach them to be intelligent, to be inquisitive, to explore.”

Parrots to be released spend time practicing flight in a giant cage. They are taken into the forest and exposed to a red-tailed hawk.

Finally, they are fitted with a radio tracking transmitter and freed.

Filed under: Conservation, Parrot News
Scarlet Macaw Parrot August 19, 2004 @ 13:19

Tuesday, April 22, 2008

Drums Along The Hudson



Drums Along The Hudson: A Native American Festival & Shad Fest

Saturday, May 03, 2008
11:00 a.m. - 6:00 p.m.
Manhattan

Drums Along the Hudson includes native drumming from around the world, inter tribal social dances like the Round Dance, the Iroquois Smoke Dance, and the Jingle Dance. Native food, crafts, and art will be for sale.

Shad Fest celebrates the annual return of spawning shad to the Hudson River. Shad Planking demonstrations by Chris Letts of the Hudson River Foundation and free tastings are featured. "Planking " is a Native American cooking method taught to the European settlers.

For more information, please visit the Drums Along the Hudson website.

Co-sponsored by Northern Manhattan Parks, Lotus Music & Dance, and The Hudson River Foundation.

For more information, please visit the Drums Along the Hudson website.

Co-sponsored by Northern Manhattan Parks, Lotus Music & Dance, and The Hudson River Foundation.

Location: Enter the park at 218th Street and Indian Road.
INWOOD HILL PARK ZONE 2

More Information:

Drums Along the Hudson

El Mexorcist 3: America's Most Wanted Inner Demon



Guillermo Gomez-Pena
Wednesday, April 23, 2008, 6:30-8:30 pm
El Museo del Barrio
Teatro Heckscher, 1230 Fifth Avenue, at 104th Street

Saturday, April 5, 2008

James Luna's "Emendatio"







Smithsonian
National Museum of the American Indian
Office of Public Affairs
Media only: Ann Marie Sekeres (2 12) 5 14-3 823 or sekeresa@si.edu
Quinn Bradley (2 12) 5 14-3 822 or bradleyq@si.edu
News
Jan. 3,2008
James Luna's "Emendatio" Opens in New York
An installation of James Luna's "Emendatio" opens at the Smithsonian's National
Museum of the American Indian, the George Gustav Heye Center, Saturday, March 1,
2008. Originally presented at the Fondazione Querini Stampalia as part of the Venice
Biennale 2005, this complex multimedia installation challenges mainstream assumptions
about Native people and pays tribute to Pablo Tac, a 19th-century Luiseiio Indian who
traveled to Rome. "Emendatio" closes April 20,2008.Ernendatio, a Latin word ("emendation" in English) means altering for the better or correcting what is erroneous or faulty; improvemen7t; removal of errors or corruption. Comprised of two distinct parts, the exhibition is augmented by video clips of Luna's onsite performances. The first part, "Apparitions: Past and Present," contests the popular notion that there is a discontinuity between the indigenous world of the past and that of the present. "The Chapel for Pablo Tac" honors Pablo Tac, who came to Rome in 1834 from the San Luis Rey Mission in California to study for the priesthood and to be studied by others."James Luna's work challenges mainstream thought about Native culture," said Kevin Gover (Pawnee), director of the National Museum of the American Indian. "Through this multifaceted presentation, Luna responds to complex issues surrounding concepts of Native identity, origin and modernity." "Luna's compelling works demand audiences worldwide to examine their own views and beliefs about Native peoples," said John Haworth (Cherokee), director of the George Gustav Heye Center. "We are delighted to present 'Emendatio' here in New York City." James Luna (Luisefio, b. 1950) was named the Distinguished Artist of 2007 by the Eiteljorg Museum, where "Emendatio" is currently being presented as part of their SMITHSONIAN INSTITUTION George Gustav Heye Center One Bowling Green New York NY 10004-1415 Fellowship for Native American Fine Art. A renowned performance and multimedia artist, Luna frequently employs humor to devastating effect in his work and confronts commonly held perceptions of Native Americans. He has performed in New York at The Studio Museum in Harlem and the Whitney Museum of American Art; the San Francisco Museum of Modem Art; UCLA's Annand Hammer Museum in Los Angeles; the National Gallery of Canada in Ottawa; and many other museums. Based in southern California on the La Jolla Indian Reservation, Luna earned a bachelor's degree in fine arts from the University of California, Irvine and an master's degree in counseling from San Diego State University."Emendatio" was organized by associate curator Paul Chaat Smith (Comanche)and Truman T. Lowe (Ho-Chunk), curator of contemporary art.The exhibition is accompanied by an illustrated catalog that documents Luna's career. The Smithsonian National Museum of the American Indian's George Gustav Heye Center is located at One Bowling Green in New York City, across from Battery Park. The museum is free and open every day from 10 a.m. to 5 p.m., and Thursdays until 8 p.m. Call (2 12) 5 14-3700 for general information and (212) 5 14-3888 for a recording about the museum's public programs. By subway, the museum may be reached by the 1 to South Ferry, the 4 or 5 to Bowling Green or the R or W to Whitehall Street. The museum's Web site is www.ArnericanIndian.si.edu.

Monday, March 31, 2008

Bohio



The thatched roofed hut of a Taino household was called a bohio (boh-ee-oh). It was built out of planks of palm wood roofed with thatch made of the leaf or frond of the palm tree called "guano" in Cuba. The common bohio was either rectanguar or round. Larger buildings housed the royal family of the Cacique chief and his family as well as the matrilineal clan mother of his blood line. These larger buildings doubled as ceremonial temples and were called "Caney". The caney was the home of all of the most important ceremonial and religious objects of the Taino village or "yukayeke". It was the place where the most important indoor ceremonies were held. The inside of a Taino home was filled with all of the necessary household objects needed for the maitenance of a Taino family. clay, stone and wooden food-preparation and cooking utensils abounded. Ritual objects had their place. Hammocks served as both bed and, when slung low close to the ground, as a temporary stting stool. Hammock-shaped wooden stools called duhos evolved from the habit of using the hammock as a stool and were richly decorated with intricate carvings and gold or mother-of-pearl inlay.[hometown.aol.com/sobaokokoromo1/bohio.html]

Carey


Superfamily Chelonioidea) are turtles found in all the world's oceans except the Arctic Ocean. There are seven living species of sea turtles: flatback, green, hawksbill, Kemp's Ridley, leatherback, loggerhead and olive ridley. The East Pacific subpopulation of the green turtle has been classified as a separate species in the past as the black turtle. However, DNA evidence indicates that it is not evolutionarily distinct from the green turtle. All but the leatherback are in the family Cheloniidae; the leatherback belongs to the family Dermochelyidae and is its only member.The Flatback turtle is found solely on the northern coast of Australia.[Wikipedia]

Sunday, March 30, 2008

Manati



Manatees (family Trichechidae, genus Trichechus) are large, fully aquatic marine mammals sometimes known as sea cows. The name manatí comes from the Taino which are the original peoples of the carribean, meaning "breast". They comprise three of the four living species in the order Sirenia, the other being the dugong, which is native to the Eastern Hemisphere. The Sirenia is thought to have evolved from four-legged land mammals over 60 million years ago, with the closest living relatives being the Proboscidea (elephants) and Hyracoidea (hyraxes).[Wikipedia]

Hutia


Hutias are moderately large cavy-like rodents that inhabit the Caribbean Islands. They range in size from 20 to 60 centimetres (8-24 inches), and can weigh up to 7 kilograms (15 pounds)[1]. 20 species of hutia have been identified, and half may be extinct. Among those that perished were the giant hutias. They resemble the nutria in some respects and the largest species weigh up to seven kilograms. Tails are present, varying from vestiges to prehensile. They have stout bodies and large heads. Most species are herbivorous, though some consume small animals. Instead of burrowing underground, they nest in trees or rock crevices. Only a few species are common, while others have become endangered. [Wikipedia]

Sunday, February 10, 2008

AFRICAN BURIAL GROUND = TAINO BURIAL GROUND

AFRICAN BURIAL GROUND = TAINO BURIAL GROUND



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Ghosts of the Taíno


Mystery and controversy haunt a pre-Columbian ceremonial site in Puerto Rico.



These images of Taíno gods, carved at least 500 years ago, have caused the U.S. Army Corps of Engineers to radically alter dam construction plans on Puerto Rico's Portugues River. (Courtesy David Diener)

Archaeologist Chris Espenshade's instructions were clear: excavate a marginally interesting settlement (designated only as PO 29) along Puerto Rico's Portugues River that had once been occupied by the Taíno people, recover artifacts, record useful data, and get out. The bulldozers were waiting. After more than 20 years of budget delays, escalating costs, and engineering challenges, the U.S. Army Corps of Engineers was finally ready to build the last phase of a $580 million flood control project that would protect Ponce, the island's fifth-largest city, from the devastating floods that sweep down the valley after heavy rains.

Then Espenshade, a consulting archaeologist with New South Associates in Stone Mountain, Georgia, and his team began turning up evidence of one of the largest, best-preserved pre-Columbian ceremonial centers known in the Caribbean.

Last summer, they unearthed a huge four-sided ceremonial plaza, a batey or ball court, measuring 130 by 160 feet. Other finds included a 90-foot-long artifact-laden midden mound, the first of what could be as many as 400 prehistoric burials, patterns of post holes that delineate ancient dwellings, and a 60-foot-long row of intricately carved granite and sandstone petroglyphs that appear to date to shortly before the arrival of the Spanish in the fifteenth century.

"When I went to the site right after the wall of petroglyphs had been exposed, my jaw just dropped to the floor," recalls co-investigator Peter Siegel, a specialist in pre-Columbian Caribbean cultures from Montclair State University. "I am five-and-a-half-feet tall and I was looking at a wall of well-executed carvings as tall as I am."

Staring back at Siegel from the stone slabs was a matched pair of full-length human figures: a man and a woman wearing a headdress and ear spools, arms outstretched, legs splayed in a frog-like stance, sexual organs clearly visible. He says the regalia shows that these were high-status people.



The discovery of the batey and other features prompted Espenshade to tell the Corps in June that the archaeologists would need more time and money to complete the work. Then he began finding burials in the midden mound and a west wall of the batey that suggested the plaza might be a lot larger than expected. The Corps agreed to another extension. And, as the summer wore on, another. Then, with the discovery of what Espenshade calls a "gallery of rock art" along the steeply sloping hillside at the site's northern boundary, it was clear a whole new strategy was needed.

"The north wall was just spectacular," says David McCullough a staff archaeologist with the Army Corps of Engineers Jacksonville district which includes Puerto Rico. "Once we realized that this was such an extraordinary site, I went to my engineer and told him we were going to have to shift from frantically trying to recover information to finding a way to preserve the site."

Future archaeology at the site is certain to have more direct Puerto Rican oversight. "Areas of the site that have not been excavated have a great research potential," says Tamara Gonzalez Vega, director of the Archaeological Council of Puerto Rico. "A more detailed archaeological investigation will proceed as soon as the dam's construction is finished."

But Espenshade is concerned about what remains in the ground. With only a small portion of the site excavated, reburial of the site is intended to assure that the artifacts, human remains, and petroglyphs stay in place for future study. For now the Corps has the site "heavily guarded," but the intense publicity generated by the discovery poses a new dilemma.

"I'm worried," he says. "We're only 15 to 20 minutes from downtown Ponce and everyone now knows what's here. Some of these glyphs would fetch tens of thousands of dollars on the antiquities market. If this site is not fenced and watched closely, somebody is going to come in with a backhoe some night and take everything."

Mike Toner is a freelance writer and former science writer for The Atlanta Journal-Constitution.


© 2008 by the Archaeological Institute of America
www.archaeology.org/0803/abstracts/taino.html






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ARCHAEOLOGY AS COMMUNITY SERVICE: THE AFRICAN BURIAL GROUND
PROJECT IN NEW YORK CITY

By Warren R. Perry

"...it is our past, our culture and heritage, and forms part of
our present life. As such it is ours to control and it is ours to
share on our own terms." (Rosalind Langford 1983)

"The past is contested terrain over which archaeologists among
others struggle. How the past is conceptualized shapes our
perceptions of the present and what is possible in the future.
(Thomas Patterson 1993)

Introduction

Since its discovery in 1991, the African Burial Ground (ABG) in
New York City has been the subject of discussion in a variety of
scholarly and popular media (Wilson 1996). Its significance ranges
from the fact that its discovery gives voice to a marginalized
African historiography in the United States, to the window it
provides into
African captivity in the north. The ABG experience has inspired
public curiosity about both the African diaspora and the practice of
archaeological science. Through its public education programs it
continues to teach the descendant community to recognize and combat
improper research techniques and to identify cultural resources in
the cities and towns where they live. Finally, the ABG project has
provided the descendant community with political awareness through
concrete historical experiences that afford opportunities to make
alternative history and inclusion in the production of knowledge.
Recently, there has been some attention paid to the social
relations involved in the archaeological production of knowledge and
the movement of indigenous communities in demanding control of their
own past. These studies suggest that it is within the cultural
sphere that most struggles for identity and knowledge production
take place (Blakey 1983, 1991, 1996; Gero and Conkey 1993a and b;
Gathercole and Lowenthal 1994; LaRoche and Blakey 1996; Schmidt and
Patterson 1995; Perry 1996, 1997, in press; Perry and Paynter in
press). All scholars produce knowledge in specific sociocultural and
historical contexts. In this essay, the ABG will be situated within
the continuity of the African struggle that envisions a shared past,
empowering African descendants to challenge injustice and to demand
justice, dignity and power. The deeply sacred and symbolic role
played by the ABG in both past and present has spawned descendant
community outrage and unmasked institutionalized racism as
excavations commenced with callous indifference to the wishes of the
African community, both living and dead (Blakey 1996).
Here I will describe the racial tensions emanating from the
African Burial Ground from its 18th century inception to the
present, paying close attention to the conflicting relations among
the General Services Administration (GSA), archaeological
consultants and the ethical client, the African descendant
community. Chronicling these events and documenting these relations
is significant for evaluating claims to knowledge in order
to reveal the conditions under which that knowledge is produced
(Schmidt and Patterson 1995). The struggle around the ABG requires
coequal relationships and symmetrical exchanges of ideas and actions
between the scientific community and the African descendant
community. Only in this way can authority be established over the
ABG to create knowledge in the service of the community. The goal of
this essay is to show how public and scholarly engagement, part of a
legacy of African descendant activist scholarship, has become a
source of important insights into understanding and representing the
past and in contributing to the African descendant community's
understanding of itself.

The African Burial Ground: Legacy of Struggle

Early Resistance

The first African captives arrived in Dutch New Amsterdam in
1626 from West and Central Africa and later from Caribbean
plantations. Due to constant conflicts with Native Americans, the
Dutch created a buffer zone for themselves by granting
Africans "half-freedoms" and small parcels of farmland outside the
city walls about
1643. Since the ABG is located in this area, Africans may have begun
burying their dead there soon thereafter, although as yet there is
no conclusive documentary evidence of this. The marginal spatial
location and the respective marginal social positions of Natives and
Africans meant that their settlements were likely locales for
intercultural social and economic relations (Foote et al. 1993;
Taylor 1992).
When the British colonized New Amsterdam in 1664, the 700-plus
Africans constituted 40 percent of the population. This percentage
was greater than in any other English settlement except Charleston,
South Carolina, and more than was found in any northern settlement.
The British revoked African half-freedoms, instituted harsher
laws, confiscated African lands and imported more Africans for sale
to the south. There were a number of insurrections by Africans in
this area during the 18th century, and the highest proportion of
escapees with a greater likelihood of success than elsewhere on the
continent (White 1995). Indeed, individuals allegedly involved in
these revolts were executed at the ABG (Barto 1991; Will 1991). New
York gradually emancipated Africans from 1799 to 1827, but census
and court records indicate that slavery continued at least until the
1860s (Jaffe 1995).
The ABG is the oldest (late 1600s to 1796) and largest (five to
six acres) African descendant cemetery excavated in North America to
date. Situated near the banks of the Collect Pond, the ABG not only
provided privacy but its location near water was in keeping with the
common central African practice of associating cemeteries and bodies
of water (Foote et al. 1993; Thompson 1984). After 1750, several
noxious chemical
industries desecrated the ABG by disposing of their wastes there;
medical students at New York Hospital also stole corpses for
dissection. During the ABG occupation, Africans seem to have
controlled their own funerals, mortuary and burial practices, but
not without resistance (Blakey 1997; Foote et al. 1993; Harrington
1993; Jamieson 1995).
Furthermore, only during funerals were Africans permitted outside
after sunset and to gather in unsupervised groups larger than three
persons. In 1731 the British sought to curb African subversive
activity by passing laws requiring daytime burials with limited
attendance. Pawls (the cloth used to cover a casket during the
funeral and
procession to the grave site) and pall bearers were also banned at
African funerals (Epperson 1997). These laws suggest that the
British suspected that African funerals were used to mask insurgent
activity.

Recent Struggles

Today the ABG is located under some of the most valuable real
estate in the world. It is estimated that from 10,000 to 20,000
first-generation African Americans were buried in the ABG. Since
only 14,000 square feet were excavated, most of those interred
remain beneath the city. In 1989 the GSA sought to purchase a
block of land from New York City. The plan was to erect a $276-
million federal office building in lower Manhattan. Documentary
research conducted for the GSA by the Advisory Council on Historic
Preservation (ACHP) and NYC Landmarks Preservation Commission (LPC)
indicated the
presence of a "Negroes Burying Ground" on the proposed building
site. In 1991 GSA, as mandated by the National Historic Preservation
Act of 1966, contracted Historic Conservation and Interpretation
(HCI), an archaeology consultant firm, to begin fieldwork. The study
of the human remains was contracted to the Metropolitan Forensic
Team (MFAT) from Lehman College. As more human remains were
uncovered, GSA pressured HCI and MFAT to comply with the original
one-year construction schedule (Epperson 1997; Harrington 1993,
1996). Meanwhile, the descendant community held meetings, religious
observances, vigils and protests at the ABG (Blakey 1997).
Since the excavations began without any significant community
consultation or participation as to the treatment of the cemetery--
as required by the mandate of scientific requirements for the
preservation of the site's history--there was immediate and often
volatile reaction to the excavations by the African descendant
community (see the Kutz
video series for an account of these events).
In 1991 burials were disturbed by construction workers, further
alarming the African descendant community. Community persons who
were monitoring the excavations and had seen the remains at Lehman
College complained about the way the skeletons were being conserved.
Problems included remains wrapped in newspaper under improper
environmental conditions and inadequately stored on top of each
other (La Roche and
Blakey 1996). The descendant community condemned this behavior as
disrespectful, arrogant and insensitive. Their encounter with
contract archaeology made it clear that the few African American
archaeologists who exist were never consulted or involved in the ABG
research in any substantive way. It also became clear that
consulting firms reap huge profits from studying African Americans
and strongly influence how African Americans are historically
defined. These were major issues of concern and contention for the
African descendant community (LaRoche and Blakey 1996).
Since MFAT and HCI failed to produce a timely and comprehensive
research design, and had treated the remains unscientifically and
disrespectfully, the descendant community demanded that the remains
be placed under the care of Michael Blakey, one of the few African-
American biological anthropologists in the United States. Blakey,
who is a professor of anthropology at Howard University in
Washington, DC, was concerned that HCI and MFAT had no experience in
African or African American history, cultures or skeletal biology.
He was also aware that when archaeologists used construction
equipment to remove the earth down to the burial outline, they had
already destroyed artifacts that Africans customarily placed atop
their graves and coffins (Satchel 1997).
The descendant community, cognizant of the ignorant portrayals
of African diasporic history, recognized that archaeological
interpretation is an active and subjective struggle between
contending versions of history that demands political engagement
(Gathercole and Lowenthal 1994; Schmidt and Patterson 1995). To
insure that the spiritual, cultural and inspirational significance
of the site and its contents were subject to African-centered
paradigms and scholarship, they demanded incorporation of African
descendant voices and histories (La Roche and Blakey 1996). They
insisted that those working on the project have a knowledge of and
respect for African diasporic studies and a commitment to their
struggle to reclaim their past. For the descendant community, the
skeletal remains and the ancestral possessions are the only concrete
material evidence of the lives of this first
generation of African Americans in New York City. As such, they
constitute powerful links to a shared African past.
In 1992 David Dinkins, New York City's first African American
mayor, and U.S. Rep. Gus Savage of Illinois, who chaired the House
Committee for Building Funds, were able to establish an advisory
committee on the project, halt the excavation and close down the
site. At the request of the African descendant community, New York
State Senator David Patterson, who is also African American, formed
an oversight task force for organizing
various forms of political activity around the ABG (Howson 1992).
The descendant community continued to press for the involvement of
African American scholars in directing the research, analysis and
interpretation.
In 1993 Howard University gained control over the research
project and, along with John Milner Associates (JMA), another
contract archaeology firm, submitted a more comprehensive research
design to ACHP that incorporated the concerns and desires of the
descendant community. The archaeological materials were placed in
the Foley Square Lab under JMA, while the 400-plus human remains
were transferred to the Cobb Biological
Anthropology Laboratory at Howard University. Pageantry and
celebration accompanied the caravan of remains from New York to
Washington, DC, with stops at historically significant African-
American churches in several cities along the way. The transfer
culminated in a ceremony entitled "The Ties that Bind" at Howard
University.
The descendant community and its allies were in evidence throughout
the transfer celebration. Representatives from the African American
community, the U.S. Muslim community, the Native American community,
and from the Akan in Ghana were all in attendance at Howard. In
1994 African chiefs from Ghana returned to Howard on a
tour of fihankra, a movement of unity that involves prayers and
rituals for forgiveness to the ancestors to atone for colonial-era
involvement in the trade in African captives.
Although I have spoken of the descendant community throughout,
there is, of course, no homogenous African descendant community;
this entity is actually multi-dimensional and ideologically
heterogenous. Throughout the struggle around the ABG, however, all
segments of the African descendant community and their allies were
and continue to be involved. There continues to be a consensus that
the site, the human remains, the
artifacts and their interpretation must be controlled by the
descendant community.

The Current Research Project

The current scientific project constitutes yet another
dimension of the struggle for control of the ABG. We seek to
illuminate the impact of African captivity upon the lives of our
ancestors and their living descendants, and to reconstruct knowledge
of their origins and identities that were deliberately distorted in
the effort to bolster the identity of Euroamericans at the expense
of African Americans (Blakey 1997). As Scientific Director of the
African Burial Ground Project, Mi

chael Blakey has brought together a national and international
research team of scholars from Africa and the US who are concerned
with creating alternative histories. The ABG Project has evolved
into a multi-disciplinary scientific effort comprised of
complementary natural and social science teams with expertise in the
African diaspora. These include: molecular genetics, bone chemistry,
skeletal biology, history and archaeology (African and African
American), ethnology, conservation and African art history. This
collaborative effort has global and universal implications,
transcending any particular discipline or the interests of any one
segment of the descendant community.
These organizational changes have resulted in the selection of
four basic research questions to guide our scientific analyses. They
are relevant both for activist scholars and the descendant
community:
1) What are the cultural and geographical roots of the
individuals interred in the African Burial Ground?
2) What was the physical quality of life for Africans enslaved
in New York City during the colonial period
and how was it different from the quality of life in their African
homeland?
3) What biological characteristics and cultural traditions
remained unchanged and which were transformed during the creation of
African American society and culture?
4) What were the modes of resistance and how were they
creatively reconfigured and used to resist oppression and to forge a
new African American culture?
In addition to the scientific teams, the ABG has an Office of
Public Education and Interpretation of the African Burial Ground
Project (OPEI), directed by Dr. Sherrill Wilson. OPEI's primary
roles are to educate and inform the public of ABG project events, to
assure public access to the site, the skeletal and artifactual
remains,
and to allow appropriate cultural ceremonies to commemorate the
ancestors. It also provides community involvement/education
activities such as educators' symposia, laboratory tours and two
newsletters that update the public on the research and introduce
archaeology, anthropology and conservation to children and adults.

Conclusion

New York City's ABG project is a case of archaeology as
community service. It emerged from a protracted struggle over
control of the ABG and its products between an organized descendant
community and its allies, and the GSA and archaeology consultant
firms. This struggle has resulted in an increased awareness of the
disciplines of anthropology and archaeology within the African
descendant community. It has produced a public education program
that facilitates a reciprocal dialogue between researchers and the
general public, maximizing the interpretive potential of the
archaeological record and creating an historical consciousness that
challenges the distortions of Eurocentric history (Singleton 1995).
Through this struggle the descendant community and its allies
have successfully achieved the incorporation of African American
scholars in the creation and maintenance of a research design and
agenda that establish a prominent role for historically under-
represented African Americans in the analysis and interpretation of
an internationally renowned archaeological site (Mathis 1997). By
taking moral
responsibility for the spiritual and physical control of the site,
the descendant community seized intellectual power--forcing changes
in the composition and direction of the professional leadership of
the project (La Roche and Blakey 1996). The original, ancestral ABG
community and the modern descendant community have used this sacred
social space to resist and to honor their African heritage in spite
of institutionalized racist disrespect. The struggle for the proper
treatment of the ABG reaffirms its significance in the past and
gives the site continued significance in the present; it is an
important part in the legacy of struggle to control and interpret
the African past (Blakey 1996).

References

Barto, S. 1991. Chain of Title Block 154 (Principally) Northern
Half. Unpublished Historical Research Reports for the African Burial
Ground Project. Historic Conservation and Interpretation (HCI). On
file with the African Burial Ground Project.


Blakey, M.L. 1997. The New York African Burial Ground Project: an
examination of enslaved lives, a construction of ancestral ties.
Briefing prepared for the Sub-commission on Prevention of
Discrimination and Protection of Minorities Commission on Human
Rights, United Nations. Delivered at the Palais des Nations,
Geneva Switzerland, 19 August.
--1996. Howard University research reaches a new plateau.
Newsletter of the African Burial Ground and Five Points
Archaeological Project. 1 (10):3-7.
--1991. Man and nature, white and other. In Harrison, F. ed.
Decolonizing Anthropology. pp. 15-23. Washington DC:
American Anthropological Association.
--1983. Socio-political bias and ideological production in
historical archaeology. In Gero, J.M., D.M. Lacey and M. Blakey,
eds. The Socio-Politics of Archaeology. Research Report #23,
Department of Anthropology. U Mass. Amherst.


Epperson, T.W. 1997. The politics of "race" and cultural identity at
the African Burial Ground excavations, New
York City. World Archaeological Bulletin. 7:108-117.


Foote, T.W., M. Carey, J. Giesenberg-Haag, J. Grey, K. McKoy, and C.
Todd. 1993. Report on Site-Specific History of Block 154. Written
for the African Burial Ground Research Project. New York.


Gathercole, P. and D. Lowenthal, eds. 1994. The Politics of the
Past. New York: Routledge.


Gero, J. and M.W. Conkey. 1993a. Engendering Archaeology: Women and
Prehistory. Basil Blackwell.
--1993b. Tensions, pluralities and engendering archaeology. In
Gero, J. and M.W. Coney, ed. Engendering Archaeology: Women and
Prehistory. pp. 3-31. Basil Blackwell.
Harrington, Spencer. 1993. New York's great cemetery imbroglio.
Archaeology. March/April. pp.30-38.
--1996. An African cemetery in Manhattan. In Fagan, B. ed.
Eyewitness to Discovery. pp. 324-333. London: Oxford U Press.


Howson, J.E. 1992. The Foley Square Project: An 18th century
cemetery in New York City. African American
Archaeology. Newsletter No. 6, Spring. pp.3-4.


Jaffe, S.H. 1995. "This Infernal Traffic": New York Port and the
illegal slave trade. Seaport: New York's History Magazine. 29 (3):36-
37.


Jamieson, R.W. 1995. Material culture and social death: African-
American burial practices. Historical Archaeology. 29 (4):39-58.


Kutz Television, Inc. 1994. The African Burial Ground: An American
Discovery. Parts I-IV. The National Technical Information Services,
National Audio Visual Center, VA.


Langford, R. 1983. Our heritage--your playground. Australian
Archaeology, 16, 1-6.
La Roche, C.J. and M.L. Blakey. 1996. Seizing Intellectual Power:
the Dialogue at the New York African Burial Ground. Paper, pp. 1-48.


Mathis, R. 1997. The Harris Matrix as a useful method in the
stratigraphic analysis of the African Burial Ground. Unpublished
Draft-Statement of Field, for the Department of
Anthropology, U Mass, Amherst.


Patterson, T.C. 1993. Archaeology: The Historical Development of
Civilizations. Prentice Hall.


Perry, W. In Press. Dimensions of power in Swaziland research:
coercion, reflexivity and resistance. In Transforming Anthropology.
A Publication of the Association of Black
Anthropologists, Virginia, Arlington.
--1997. Analysis of the African Burial Ground Archaeological
Materials. Update: Newsletter of the African Burial Ground and Five
Points Archaeological Projects, Vol.
2 #2:1-5 & 14.
--1996. The African Burial Ground Project. African Update:
African Studies Newsletter Vol. IV, # 4:1-5. CCSU, New Britain, CT.


Perry, W. and R. Paynter. In press. Epilogue: Artifacts, Ethnicity
and the Archaeology of African Americans. In Singleton, T., ed. We
Too Are America: Essays in African American Archaeology.
Charlottesville, VA: University Press of Virginia.


Satchel, M. 1997. Only remember us: skeletons of slaves from a New
York grave bear witness. U.S.News and World Report. July 28:51 and
54.


Schmidt, P.R. and T.C. Patterson. 1995. Making Alternative
Histories. The Practice of Archaeology and History in Non-Western
Settings. Santa Fe, NM: School of American Research Press.


Singleton, T.A. 1995. The Archaeology of Slavery in North America.
In Annual Review of Anthropology, Vol. 24, pp. 119-140.


Taylor, R. 1992. Land of the blacks. New York Newsday. Thursday,
February 6. p.60.
Thompson, R.F. 1983. Flash of the Spirit: African and Afro-American
Art and Philosophy. New York, Vintage.


White, S. 1988. We dwell in safety and pursue our honest callings:
free blacks in New York City, 1783-1810. The Journal of American
History. 75 (2):445-470.


Will, G. 1991. Salvage archaeology in Manhattan offers a
perspective about America. Hartford Courant.


Wilson, S. 1996. Citations on the New York African Burial Ground
1991-1996. (3rd Ed.) Compiled by the Office of Public Education and
Interpretation of the African Burial Ground. New York City.

Thursday, January 24, 2008

A Prayer for Kacike Cibanakan







To all of our people and friends of the Taino Nation. Just wanted to inform you that Kacike Cibanakan Chief of the Taino Nation has been hospitalized for the last few days and is in treatment for on going health problems. He is in good spirits and doing well. We will be posting his progress as conditions
change.

To a Father, a friend and our Kacike, We pray that you will recover and
come back to your people safe and sound. We ask the creator Yaya to
keep you close to him and to guard you from all evil, to heal you and
send you back to all those who love you, Ahiahude mi Kacike, Hahom for
all that you have done for us and your people.

Te Amamos Kacike, tu pueblo te espera,

Waribonex & Matumyaru

MOHEGAN SUN WIGWAM FESTIVAL

Taino Nation members share their culture at the Mohegan Sun Wigwam Festival 2007


Monday, January 21, 2008

Cemi by Enrique Cardenas - Rhapsody Player


Cemi by Enrique Cardenas - Rhapsody Player

Tainos La Ultima Tribu






Studio: Innova Entertainment

"The film Tainos: The Last Tribe is a story about a young female archaeologist who organizes a secret cave expedition with friends to investigate Taino petroglyphs in a remote and isolated place in the interior of the island of Puerto Rico. Taking them 500 years into the past, they discover a lost tribe of Taino Indians who have been hiding isolated from civilization in a remote cave. During the expedition there are a series of situations, suspicions and friction specifically between two characters that initiate tension and conflict. It is in history books that we learn the Tainos were exterminated. How is it that this secret has been kept for over five hundred years? Can it be true? Who are the Tainos? Is it legend or reality? Who is this tribe they call the Tainos? Innova Entertainment presents history and adventure that will transport you vividly into the past. How you look and think about history will be forever changed."

Director: Benjamin Lopez

Actors: Sharon Nytaina, Danny Fraticelli, Josue Reyes, Christie Miro, Ferran Gilando, Karina Guerra

Taino Consultant: Martin Veguilla Cacique Ciba Opyel (Taino Concilio of the Taino Nation of The Antilles)

Taino Set Design Consultant: Martin Veguilla Cacique Ciba Opyel (Taino Concilio of the Taino Nation of The Antilles)

Classification: Unrated

Genre: Action, Adventure, Puerto Rican

Language/Subtitles: Spanish/English

Year: 2005

Duration: 117 min

Trailers/Links:
http://www.tainoslapelicula.com/
http://www.myspace.com/tainosmovie

Buy the DVD:
www.casadisquera.com/.../tainos_lg.jpg
http://www.moviepreviewpr.com/DetailList.asp?titleno=1335

Friday, January 18, 2008

MAYAN & AZTEC INFLUENCE IN THE TAINO

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OSVALDO GARCIA GOYCO 1984
translation by tainoray


Investigations on the subject

1. The sculpturing in stone of the idols whose symbols of identity corresponde to parallel deities of the pantheon of the civilizations of the central and mesoamericans

2. The concept of duality, grandmother, creator and creative grandfathers old God, associated with certain signs of the cosmological stories of the origin of the universe in the sexual act and with the providence of the man and the grotto Gods or caverns

3.The concept of the one God in form of Quadruple represented by the four mitological heroes

4. the divine concept of the God of the fire associated to quincunce, binoculars. the treatment of the disease delas bubas, with guayacan and center the one of a falic cult

5. the myth of the deluge, associated to mitologies of the the four adventures of heroes like in the popol vuh

6.The equivalence of Hurakan, Gucumatz and Quetzalcoatl Tezcatlipoca

7. The symbolism of the God of the wind that presents/displays common elements of the Ehecatl, bird tip, with the snail and quincunce, also of the fire God

8. the concept of a God of Rain, associated to the mountains and the four tlacocs or pools where the waters are recojen. Its association with the frog, rain and sequia

9.The God of the fire associated with the symbol of the solar cycle, with the falic cult, the offerings of blood, very problemente, with the iguana or terreste lizard, solar food of the Gods and the main senores

10.The concept of a God of the death identified by its equivalent symbolism with the Mayan Ahpuch and the Mictlantecuhhtli of and Mexican respectively. Its identification with the "senor of place of the dead"

11. the probable association of the suicide of the hanged people and paradise, that a clear derivation suggests in the Antilles

12. The ball game probable significaton of religious rites and probable association also with the human sacrifice of victims that was buried, like between the Mayans, in their own ceremonial seat

13. Sacrifices by bloody hands & feet that points at a major derivative

14. the presence of birds that identify animals with asociacones to the solar cult: colibri, aguila (guaraguao), turkey (or guanaho) and buho (or mucaro) in representation all of them as the sun

15. the use of the solar disc as different from the Gods in the Mexican codices and of Antillean Cacikes and Central Americans

16. the possible association of socio-political organization with the religious ideas to traves of the tribal division in halves and perhaps fratias. this I complete in the Antilles and powerfully suggests the morphemic analysis of the names of the Cacikes

17.the theft of the Gods or idols by cacikes in the yucatan and the antilles

18. the association of the protective serpent of indigenous medicine and Beike (shaman) that practices it

19.the ritual presence of tlacaxipehuallitli (sacrifice by flechamiento) in Puerto Rico with probable connatations of fecundity

20. the connection that exists between the Earth deities, of the night and of the dead.

21. the Goddess of the moon associated with the diseases, the floods, and the childbirths

22. the craneal deformation and the cult of the solar corn God

23. the pectoral one of the wind of the God Guatauba formed by the cross section of a marine snail (caracol)

Like subject common between iconography and the art of the Indian Antilleans and the mesoamericanos, we create to have been able to identify the following ones.

1, Geometric reasons like the lambda-type bands for t's invested stepped and quincunce.

2, Bas-relief of figure that allude to the position of the frog

3, Monolithic belts associated to the night, the death, and the ball game (Batu).

4, Images with four depressions felacionadas with rain

5, Faces the language outside

6, Faces with beards

7, Figures of dancers without arms nor torso and with the open legs

8, Figures of frogs representandas by a rhomboid with I circulate in folded means and payas

9, Sigmoides of two and four vanes related to the movement of the Hurricane.

10, Figures surrounded in drawn into squares around the body with crests in the head

1i. the representation of glyph Mayan Ahau associated with the Gods of the dead

12, Images of the God of the dead represented by an emaciated face

13, Representations of the God of rain with three tears in the eyes and to accustom eyeglasses.

14, Figures with two heads

15, Symbol of the mesoamericano solar represented by I circulate with three triangles raisesd

16, Imagenes with a tortoise shell in the back associated the four binoculars

17, Imagenes with a snail in the back (caracol)

18, Representations of 4 binoculars

19, Round faces with crests and spirals around, similar to the glyph Ahau

20. The representation of the sun as I circulate around divided in two with 6 crests (Sol de Jayuya petroglyph), similar to the Aztec Yohuailli ( Sol de la Noche)

21, Reliefs of the sun as a face with rays in form of petals around all the circumference
(Sol de Utuado) Puerto Rico Mayan Glyph in Chiche Nitza

22. The representation of the Mother goddess even with spiral sines and the hands in top (Caguana Petroglyph)

23, Hemaphrodited Images with breast and penis that represent the fundamental pair

24, Images of the old God of the fire in its position characteristic, squatting and the hands in it knees or the chin

25, Images of the old God of the fire with a platform on the head

26, Images of serpents with solar symbols divided by rays in body

As a final commentary of the present work, we can affirm very categorically that we have been able to compare this comparative study that there exists a common mitological trunk between the Indigenous Mesoamericana area & The Greater Antilles.

The mitological structure present in both cultural areas, the simililarity of the names of the deities and its representations, but the concept of the ball game and its ceremonial aspect are too similar so that this can be explained like characteristics of an independent parallel development or archetypes of an unconscious group.

It is of vital importance of stressing that the name of the Mesoamerican Gods that agree with the Antilleans is NOT found between the Arawak Tribes and Caribs of Venezuela. This aims clearly at the fact that the Mesoamerican influence directly passes to the Antilles through via maritime and not of South America, because to have been the cultural contact to traves of Venezuela the names of the Mesoamerican Gods had not been conserved there also, that do not happen. The same it happens with the structures in stone of the ball game, present in Mesoamerica & the Antilles but ABSENT in South America.

Although concepts of the independent invention has been put very fashionable in the last decade, the idea of cultural transmission from a town to another one is the logical explanation of the extraordinary similarity that to us some cultures present/display. On this Nanda 1982:49 says that "many antropologist are in agreement in which a genuine single explains independent invention a small percentage of the cultural exchange".

The Antropological work of A.L. Kroeber 1945:251 "this it says when speaking of the limitations of parallelism or independent invention like cultural process the following thing:"Of the tests reviewed in this I capitulate and in the previous one it is confirmed that no single there are over one hundred examples of historical diffusion, by one of parallelism, but that this I complete, by regulating of is limited reach. Something tends to make see but fenomenos parallels us of which really they exist"

TO THIS HE ADDS

"The process MOST frequent in the history of the culture is the one of the transmission or the diffusion in the time and the space "

.AND IT CONCLUDES"

a substantial identity, a correspondence of part by part, is invariably a sign of a COMMON ORIGIN".

It is indeed that substantial identity, that correspondence of part by part, in Mesoamericana and Taina, which we have left demonstrated widely in this work.

OSVALDO GARCIA GOYCO 1984

Thursday, January 17, 2008

Mayan and Aztec infuences in the Tainos

Mayan and Aztec infuences in the Tainos
Photobucket

by tainoray

Taino Ti
This is an exerpt from the book written in 1984 called Influencias Mayas y Aztecas en los Tainos de las antillas mayores by Osvaldo Garcia Goyco. Mr Goyco was disuaded from further research by the academic elite at the time. I feel that Mr Goyco was on the right track & in light of the recent discovery of the TAINO BURIAL GROUND in Ponce, P R which shows Mayan influences , Aztec & Mayan influences should be further studied.

My Beautifull Aztec & Maya People, I know that we are related & that ia a beautifull thing.

Caracoli

a) Hurakan God of the Caribbean sea, metereological Phenomenon
b) Hurakan creative God of the Mayan Quiches

a) Opia - Spirit of the Dead Taino
b) Opilla - Name of one of the Chacas Mayan

a) Coatrisque - Taino Goddess of the heavy rainfalls
b) Coatlique - Aztec Goddess of the Earth and pattern of the subterraneos rios

a) Mamona - Taino Goddess, Mother of Supreme God
b) Mamom - Mayan God, Grandfathers of the Supreme Gods

a) Itiba - Taino Goddess of the 4 Caracaracoles
b) Ixtabai Mayan Goddess of the Gift

a) Atabey - Taino Goddess Mother of the Supreme God
b) Ahtabai - espiritus masculine Mayan, contraparte delas xtabai, that lives in the ceibas.

a) Yaya - God Taino of the deluge
b) Giagia - Mayan God of the deluge

a) Yayael - son of Yaya the Taino God
b) Giayalael - son of Giagia, the Mayan God

a) Savacu - God of the Caribbean ray
b) Menzavac - God of pours and the Mayan ray

a) Coabey - paradise of the Taino dead dead
b) Xibalbay - paradise of the Mayan Cackchiquel dead

a) Guayaba - second name of the Taino God of the dead
b) Uuayayab - Mayan God of the dead

a) Cemi - Tainos amulets, sacred people and bones of the dead
b) Cimi - also means Mayan death in name of the God of the dead

a) Tona - children that become frogs in the Taino myth,
being transformed by the sun
b) Tona - name of goddess Coatlique mother when it celebrates with the Tlaloques, Gods, frogs of rain

a) Corocote - Cemi Taino, father of the ninos that tenian two crowns in the head
b) Cocotl - Aztec asylum where they sacrifice ninos that tenian two remelinos in the head

to be continued