Alfred Métraux was part of a prolific moment in which French sociology and ethnology were enlarging their scientific scope and advancing toward new fields. Following the colonial expansion of France, Métraux participated in establishing ethnographic methods for codifying social life, material culture, and artistic forms. Through his own transatlantic voyages and personal exchanges, Métraux left personal documents in different parts of the world. Consequently, many are the archives that hold parts of his personal collections, letters, and published or unpublished materials. In addition, because of Métraux’s own cosmopolitanism, studies on the ethnologist’s life and works can be found in different languages. Métraux meticulously collected artifacts and documents from different cultures, and these items are now part of collections in museums in Argentina, France, and the United States. The multiplicity of themes Métraux dedicated himself to during his life reveal logics and developments of his work, as well as the importance of fieldwork to his making as an anthropologist, or a “man of the field,” as he used to describe himself. His intense and long-term relationship with Haitian Vodou was central in his career as it arose from his early interest in vanishing civilizations, religious systems, and material culture, and defined his personal agenda for future research.
Set within a larger analysis of class relations in the Haitian Revolution, this is a microhistory that intersects with several important themes in the revolution: rumor, atrocity, the arming of slaves, race relations, and the origins and wealth of the free colored population. It is an empirical investigation of an obscure rebellion by free men of color in the Grande Anse region in 1791. Although the rebellion is obscure, it is associated with an atrocity story that has long resonated in discussion of the revolution. Formerly the least-known segment of Caribbean society, research has shed much new light on free people of color in recent decades, but much remains to be clarified. In certain ways, they are the key to understanding the Haitian Revolution, because of their anomalous position in Saint Domingue society and the way their activism precipitated its unraveling. The Grande Anse region had a unique experience of the revolution in that white supremacy and slavery were maintained there longer than in any other part of the colony. Based primarily on unexploited or little-known sources the article demonstrates the range and depth of research that remains possible and suggests that a regional focus is best way to advance current scholarship on the Haitian Revolution.
Manuel Hernández González
The configuration of Canarian migration during the Conquest and colonization of the Spanish Caribbean was significantly influenced by its historic continuity, familial nature (with an elevated presence of women and children), dedication to agriculture, and contribution to the settlement of towns. This migration gave rise to quintessentially rural prototypes, such as the Cuban guajiro, linked to self-sustaining agriculture and tobacco; the Puerto Rican jíbaro, a coffee grower; and the Dominican montero or farmer from Cibao. All of these contributed a great many aspects of their speech, idiosyncrasies, and culture.
The migratory dynamic has evolved since the Conquest and includes such processes as Cuban tobacco colonization, the foundation of townships in Santo Domingo and Puerto Rico (in order to further analyze their adaptation to the economic boom of sugar plantations in Cuba and Puerto Rico), and the uprising of slaves in French Santo Domingo, as well as the cession of the Spanish portion of the island to this country in 1795. This event merits special focus, due to its great transcendence in terms of the signs of identity that emerged during the rebellion of the Canarian vegueros against the monopoly within the Havana context, and the defense of their configuration as a distinct people in San Carlos de Tenerife: processes that explain their response to 19th-century innovations in Cuba and Puerto Rico and to Dominican political avatars, as well as their attitudes toward criollismo and emancipation. Their singularities are reflected in the mass Cuban emigration that took place during the early decades of the 20th century.
From the 15th century onward, the Caribbean has been populated with different ethnic groups, cultures, flora, and fauna in a way that is constantly changing the visual sensibilities of the space. The mixture of ethnic and nation groups that had settled by the 20th century produced a range of iconographic symbols, use of colors and forms that would signify the Caribbean aesthetic. This included a style of Caribbean painting which is referred to as Caribbean expressionism, the latter which included the group of artists known as intuitives or primitives. With few formal schools or institutions for instruction or opportunities for critical review, the Caribbean visual palette was established largely through the creativity of those involved in various festivals or ritual practices. Artistic expressions resemble performance or installation art rather than the classic forms of painting or sculpture. This work is somewhat iconoclastic in the interpretation of a Caribbean aesthetic and focuses on the homegrown artistic expressions that merge, collide, contradict, and emerge to create originality in this cultural space.
From the period of imperial conquest and competition, the Caribbean coast of Central America has served as an interstitial space: between British and Spanish rule; between foreign corporate control and national inclusion; mestizo, black, and indigenous. Running from Guatemala in the north through Honduras, Nicaragua, Costa Rica, and Panama in the south, “la Costa” has functioned as a contested terrain imbued with economic import, ethnic difference, and symbolic power. The coastal zones were transformed in the 20th century through the construction of railroads and later highways, large-scale foreign immigration, the spread of states’ bureaucratic agents, and internal migrants, as well as transnational projects such as the Panama Canal and the United Fruit Company’s integrated banana plantation empire.
The coastal region’s inaccessible terrain, large communities of lowland indigenous people, and vast numbers of Afro-Caribbean migrants from islands such as Jamaica markedly differentiated these lowlands from the wider Central American republics. From indigenous groups such as the Rama, Mayangna-Sumu, Kuna, Guaymí, and Bribri, to the Afro-indigenous Garifuna and Miskitu, and the English-speaking black Creoles and Afro-Antilleans, the region has enjoyed great ethnic diversity compared to the nominally mestizo republics of which it has formed part. Finally, ladino (non-indigenous) or mestizo (mixed-race) campesino migrants from the Pacific or Central regions of the isthmus arrived in large numbers throughout the 20th century. Racism, ethnic exclusion, and marginalization were often the response of national states toward these coastal populations. In some contexts, tensions between and among ethnic groups over land and natural resources, as well as between national states and local autonomy, flared into violent conflict. Elsewhere in Central America, the Caribbean coast’s position in national political development permitted a gradual meshing of national and regional cultures during the second half of the 20th century.
Aaron Coy Moulton
Between 1944 and 1959, conflicts with anti-dictatorial exiles and democratic leaders against dictatorial regimes and dissident exiles shaped inter-American relations in the Caribbean Basin. At the end of World War II, anti-dictatorial exiles networked with students, laborers, journalists, and politicians in denouncing the Dominican Republic’s Rafael Trujillo, Nicaragua’s Anastasio Somoza, and Honduras’s Tiburcio Carías. Opponents of and dissident exiles from the 1944 Guatemalan Revolution and Venezuela’s Trienio Adeco (Adeco Triennium) under Rómulo Betancourt likewise turned to dictatorial regimes for aid. By 1947, a loose coalition of anti-dictatorial exiles with the help of Cuba, Guatemala, and Venezuela’s democratic leaders formed what would become known as the Caribbean Legion and organized the abortive Cayo Confites expedition against Trujillo. Seeking regional stability, U.S. officials intervened against this expedition and Caribbean Basin dictators and dissident exiles’ attempts to air-bomb Guatemala City and Caracas.
Caribbean Basin leaders and exiles focused upon these inter-American conflicts, rather than the international Cold War. José Figueres’s rise to power in Costa Rica provided a pivotal ally to democratic leaders and anti-dictatorial exiles, and Caribbean Basin dictators began working with the Venezuelan military regime after the 1948 military coup. In 1949, Trujillo’s regime coordinated a counter-intelligence operation that destroyed the Caribbean Legion’s expedition at Luperón and brought greater attention to the region.
By the early 1950s, dictatorial regimes operated as a counter-revolutionary network sharing intelligence, aiding dissident exiles, supporting Fulgencio Batista’s 1952 coup in Cuba, and lobbying U.S. officials against Jacobo Arbenz in Guatemala and Figueres in Costa Rica. The Central Intelligence Agency (CIA) utilized these dictators and exiles during Operations PBFORTUNE and PBSUCCESS to overthrow the Guatemalan government in 1954, but U.S. officials intervened when the counter-revolutionary network invaded Costa Rica in 1955.
From 1955 onward, anti-dictatorial exiles from Cuba, the Dominican Republic, Guatemala, Nicaragua, and Venezuela continued organizing expeditions against Caribbean Basin dictatorships, and multiple groups conspired against Batista’s regime. Among Cuban exiles, Fidel Castro rose to prominence and received important resources and alliances through anti-dictatorial exiles. Dictators shared intelligence and gave aid to Batista, yet Caribbean Legion veterans, Cuban exiles, Betancourt, Figueres, and others helped Castro undermine Batista. In 1959, Castro supported anti-dictatorial expeditions, most notably those against Trujillo and Luis Somoza. However, Castro disagreed with many former exiles and Betancourt and Figueres’s policies, so the resulting tension separated Castro from democratic leaders and divided the region among dictatorial regimes, democratic governments, and Castro.
Eric Paul Roorda
After more than a century of sporadic immigration from the island of Cuba to the United States, the trajectory of the diaspora accelerated steeply, beginning with Fidel Castro coming to power in 1959. In the ensuing years, as bilateral relations between the Communist regime in Havana and the administrations of President Dwight Eisenhower and John F. Kennedy soured and the exodus of upper-class, then middle-class, Cubans increased until Castro clamped down on it. Thereafter, the pace of departures became episodic, involving mainly working-class people, and their nature turned increasingly desperate. Three major immigration events punctuated the next 30 years: in 1965 from the port of Camarioca, in 1980 from the bay city of Mariel, and, again in 1994, a more general wave of flight that also heavily involved the port of Mariel. These bursts of seaborne migration came against a backdrop of constant, low-level, individual efforts to flee adverse circumstances in Castro’s Cuba. These include manifold political pressures, with opponents of the regime and cultural nonconformists alike facing harassment and imprisonment; as well as other severe economic challenges, with food scarcity, fuel shortages, and unreliable electric power making daily life difficult for the vast majority of Cuban citizens.
U.S. opposition to Castro has taken many forms, beginning with economic sanctions. A complete break in relations followed in early 1961, an invasion attempt at the Bay of Pigs in April 1961, and, later, a Central Intelligence Agency–sponsored campaign of terrorist attacks and assassination attempts code-named Operation Mongoose. Since the Cuban Missile Crisis of October 1962, a nearly complete embargo has prevented any sort of trade or tourism. In response to the influx of new Cuban arrivals, U.S. policy toward the immigrants themselves altered radically, facilitating their arrival and assimilation as political refugees until August 1994, then actively preventing their entry as economic refugees, until this writing.
Anita Casavantes Bradford and Raúl Fernandez
The years between 1989 and 2005 were a period of exceptional musical productivity and creativity, a “second golden age” of Cuban popular music—the first golden age referring to the 1950s explosion of the mambo and the cha-cha-chá. During this more recent golden age multiple and diverse forms of musical expression gained traction, and island artists enjoyed a dramatic increase in international visibility. The exciting new sounds of timba and Latin jazz, the Buena Vista Social Club–styled reinvention of the son cubano, and the reemergence of música guajira during the 1990s all reflected the dynamic tensions between tradition and innovation, the local and global, and between an imaginary “authentic” and the much denigrated “commercial” that have long animated the island’s extraordinary musical culture. Despite the seeming newness and singularity of much of the music produced during this period, this second golden age was in fact characterized as much by cross-genre collaboration and continuities with earlier trends in Cuban music and musical culture as by the impact on musical production of unprecedented circumstances of economic deprivation of those years known as the Special Period. A closer look at this second golden age of popular music reveals a cosmopolitan Cuban musical landscape in which styles from different periods coexisted with ease and remained relevant, both as distinct sounds and in dialogue with one another, bringing together a dynamic community of musicians of all levels and styles, old and young, on and off the island. Dynamically poised between the forces of tradition and innovation, and beloved by both local and global audiences, the artists who rose to prominence or were rediscovered during these years each spoke, in their own unique ways, to the innovation, the cross genre collaborations, and above all to the profound historical continuities that have long animated the island’s extraordinary musical culture.
Reniel Rodríguez Ramos
During the past two decades, many of the traditional conceptions about the configuration of the cultural landscape of precolonial Puerto Rico have been critically addressed from both political and disciplinary perspectives. Colonialist undercurrents embedded in the traditional models used to structure the indigenous history of the island have come into question and some of the fundamental ideas about the social and cultural makeup of the human collectivities that inhabited Puerto Rico have been drastically altered. The timing of the initial occupation of the island has been pushed back to more than five thousand years ago and the potential origin of some of these societies has also been reconsidered, including the possibility that some of groups moved across the Caribbean Sea from the Isthmo-Colombian region from where they brought phytocultural traditions that included the cultivation of a wide array of important economic plants. The cultural landscape of the island later expanded with the arrival of migrants from the surrounding continents who participated in long-distance interaction networks, as demonstrated by the trade of exotic goods mainly used for making personal adornments. The cultural plurality that existed on the island led to the development of distinct traditions that were not only forged by the diverse interactions that took place within Puerto Rico, but also by engagements that continued to take place with the inhabitants of other islands of the Antilles and surrounding continental regions. This all led to the articulation of a mosaic of cultural traditions that were diffusely united through the intersocietal negotiation of a set of codes that allowed the different collectivities to engage with one another while retaining their differences.
The early 19th century was a period of intense turmoil and chaos in the Spanish-speaking world: The Napoleonic Wars and French occupation of the Peninsula in the 1800s, independence movements in the Americas, the liberal constitution of Cádiz, Napoleon’s defeat, and the reinstallation of the Bourbons in the 1810s, and finally, the second constitutional period, the iron fist of restoration, and the eventual loss of most American possessions between 1821 and 1825. The least affected areas in the midst of this turmoil were the loyalist islands of Cuba and Puerto Rico, metaphorically the “eye of the hurricane.” It is within this context that a corpus of some dozen letters, preserved in the Spanish National Archive, were written. They were produced in the circum-Caribbean region—most in Puerto Rico—and addressed mainly to relatives and business partners on the other side of the Atlantic. The letters in question were archived without accompanying documentation, probably seized by authorities loyal to the restoration of the Ancien Régime. As a central element, this digital resource—“En el Ojo del Huracán”—displays these primary sources in an online presentation.
Beyond the historiographic value of the sources, the project explores the differences between traditional and digital edition standards (TEI) for digital letter editions with the aim of showcasing the benefits of implementing the digital paradigm and for different visualizations, functionalities, analysis and incorporation in larger infrastructures.