On March 12, 1956, Basque National and Columbia University lecturer Jesús María de Galíndez Suarez disappeared from New York City never to be seen again. While no conclusive evidence was ever uncovered, it has been widely accepted that he was taken by functionaries of the regime of Rafael Trujillo in the Dominican Republic, flown to the island, tortured, and killed. Galíndez, who had worked for the Trujillo regime after fleeing Spain in 1939 and subsequently immigrated to the United States in 1946, had just completed a dissertation on the Trujillato at Columbia. The regime did not look kindly on his chosen perspective and set in motion a plan to have him disappeared. Following his abduction, many U.S. solidarity activists joined forces with Dominican exile groups to push for greater attention to the atrocities of the Trujillo regime as well as for a closer investigation into Galíndez’s disappearance. While Trujillo had similarly disappeared a number of individuals in the United States and other Latin American countries, the Galíndez case is unique for several reasons. First, Galíndez’s life offers a prime example of a transnational identity, of someone who juggled multiple identities and causes, crossed physical and ideological borders, and operated daily with conflicting alliances and allegiances. Second, the murder of the Basque national mobilized a significant collective of solidarity activists in the United States, garnered considerable national press, and built a foundation for future activism. Moreover, as Galíndez had been working as a U.S. intelligence operative since before his arrival in the United States, his story complicates the traditional nexus of solidarity work. Finally, the case offers a unique window onto the geopolitics of the early Cold War (prior to the Cuban Revolution) and the intricacies of the second half of the Trujillo regime.
There has been a century of Haitian immigration to the neighboring Dominican Republic, initially as seasonal cane cutters. Noteworthy are the manu militari policies and ethnically discriminatory legislation adopted under the Trujillo dictatorship (1930–1961), including the legacy of these under the subsequent mainmise administration of his protégé President Balaguer. The diversification of this migrant labor in recent decades has been accompanied by the struggle between competing ideological factions to revise the obsolete migration legislation at the turn of the 21st century. The ensuing normative bias is detrimental to Haitians and constitutes unwarranted incursions into nationality matters.
Understanding discrimination and anti-Haitianism in the Dominican Republic and how this has been confronted underpin an analysis of current issues. Given the reluctance of political leaders and private-sector interests to address xenophobia and racism affecting Haitians and persons with Haitian ancestry, the role of civil society practitioners has come to the fore. This contestation on the part of civil society is exemplified in the strategic litigation outside and within the country, especially as regards the threat of nationality stripping of Haitian ancestry Dominicans born in the Dominican Republic.
The buildup to the crisis of 2013 stemming from the decision of the Dominican Constitutional Court (CC), La Sentencia (as it became known), which effectively rendered stateless 133,000 Dominicans of Haitian ancestry, is critical to understanding how and why this has happened. It also helps explain the nature of the palliative efforts set in motion by the Dominican authorities to mitigate the effects of the Sentence. Civil society’s response has been characterized by different but interrelated processes mandated by the Sentence and then enacted in twin but different legislation. Both the National Regularization Plan for Foreigners with an Irregular Migration Status (PNRE) and Naturalization Law 169-14 for those persons denationalized in September 2013 are examined.
Finally, taking stock entails examining the prospect of lasting change toward proper integration of Haitian migrants and the recognition of the right for their descendants born in the Dominican Republic to have and to hold Dominican nationality. Heightened judicial engagement is doubtless necessary, but the cultural turn perhaps holds the key to more sustainable gains in compliance with the rights of Haitian migrants and their family members. At most immediate risk is the realization of the acquired citizenship rights of descendants born in country to Haitian immigrants.
The Caribbean’s most emblematic weather symbol is the hurricane, a large rotating storm that can bring destructive winds, coastal and inland flooding, and torrential rain. A hurricane begins as a tropical depression, an area of low atmospheric pressure that produces clouds and thunderstorms. Hurricane season in the Caribbean runs from June 1 through November 30, although there have been infrequent storms that formed outside these dates. Hurricanes are classified according to their maximum wind speed, and when a tropical system reaches the wind speed of a tropical storm (35 mph), it is given a name. Lists of names, which are rotated periodically, are specific to certain regions. If a named storm is responsible for causing a significant number of deaths or property damage, the name is retired and replaced with another.
Most deaths in a storm came from drowning, from storm surge along the coast or from flooding or mudslides in the interior. Storm-related deaths also occur when structures collapse or when victims are struck by flying debris. One important and underestimated cause of death after the passage of a storm is disease. Even if the destruction is not immediate, the passage of a hurricane can leave significant ecological damage along the coast and in the interior.
Hurricanes can have a devastating effect on a community that takes a direct hit. Repeated hurricane strikes can leave a sense of helplessness and hopelessness, “hurricane fatigue.” Conversely, survivors of a disaster are often left with a feeling of confidence that, since they have endured the effects of at least one deadly hurricane, they can do so again.
Until the last half of the 18th century, meteorology remained primitive, but the Age of Enlightenment brought scientific and ideological advances. Major beneficiaries were royal navies whose navigation manuals and nautical charts became increasingly more accurate. In 1821, William C. Redfield established the circular nature of storms and their counterclockwise rotation, while other scientists showed how wind currents within the storms moved upward. Once the coiled structure of hurricanes were established by mid-century, the term “cyclone” was applied, based upon the Greek word for the coils of a snake.
After the mid-19th century, scientists moved from information gathering to attempts to predict hurricane strikes. Technology, in the form of the telegraph, was a key component in creating a forecasting system aided by organizations such as the Colegio de Belén, in Havana, Cuba. Later in the century, governments worldwide created official observation networks in which weather reports were radiotelegraphed from ships at sea to stations on land. The 20th century experienced advances, such as the use of kites and balloons, and the introduction of weather reconnaissance aircraft during World War II. In April 1960, the first satellite was launched to observe weather patterns, and by the early 1980s, ocean buoys and sophisticated radar systems made forecasts increasingly more accurate.
The Atis Rezistans (Resistance Artists) are a collective of sculptors based in downtown Port-au-Prince who have founded their own museum. The artists are best known for using found objects and wood to make politically charged works that draw on the imagery of Vodou. Since launching this artistic movement over a decade ago, co-founder André Eugène has referred to his home and atelier as Le Musée d’Art E Pluribus Unum. While art collectives are common in Haitian art, by designating themselves a “museum” the Atis Rezistans have incorporated aspects of conceptual art and installation art into their art movement. They describe the founding of this museum as a strategic appropriation of an institution that has historically belonged to the bourgeoisie. Conversations with Eugène, and other artists in the collective, reveal that they have carefully considered the power of museums: museums imbue certain objects with cultural capital and monetary value; present certain world views through the display of objects; and may offer visitors encounters with human remains. Becoming a museum has allowed Eugène and the other artists to access networks of art world mobility in ways that their artworks alone would not have. This essay offers context for understanding the Atis Rezistans as part of a tradition of art making among Haiti’s majority. It argues that due to their location, their class, and their overt use of Vodou imagery, scholars have overlooked conceptual elements of their movement, specifically how they play with the idea of the museum.
Eric Paul Roorda
At the highest point on the winding highway over the Dominican Republic’s northern mountains, there is a place that is called what it is: La Cumbre, The Summit. In the daytime, in the sunshine, or under a soft tropical rain, it is a beautiful spot, with the impossibly green mountainsides falling away on both sides of the crest. But on the night of November 25, 1960, it was the scene of unutterable horror, witness to an automobile rolling and tumbling down the cliff, with the violated and mutilated corpses of three women inside. They were three of the four sisters of the Mirabal Reyes family, who were murdered for their political involvement: Patria Mercedes (born on February 27, Dominican Independence Day, in 1924, and accordingly named “homeland”), María Argentina Minerva (born March 12, 1926), and Antonia María Teresa (born October 15, 1935). Their driver, Rufino de la Cruz (born November 16, 1923), was murdered with them. The fourth Mirabal sister, Bélgica Adela “Dedé” (March 1, 1925–February 1, 2014) who was not directly involved in her sisters’ opposition activities, survived to be their witness.
The brutal murder of the charismatic Hermanas Mirabal was the most notorious, and the most widely reviled, of the countless crimes committed by the regime of Rafael Trujillo, dictator of the Dominican Republic from 1930 until 1961. The Mirabal Sisters’ demise mobilized international censure of the Trujillo regime and contributed to its downfall, because they were the most charismatic of his victims, and because their kidnapping and murder constituted the most outrageous of the crimes committed during his lengthy dictatorship.
In 1999, the United Nations designated November 25, the date of the Mirabal Sisters’ murder, to be memorialized as International Day for the Elimination of Violence against Women, which it has been ever since.
On the one hand, Cubans from Havana tend to paint themselves as the quintessential representation of Cubanidad (Cubanness) and often enjoy all the visibility, especially from a global perspective. This trend has become even more pronounced since the restoration of diplomatic relations between Cuba and the United States in December 2014. On the other hand, eastern Cubans often view their culture and history as absolutely crucial to the development and identity of the nation. The central role of Oriente (eastern Cuba) in both the late 19th-century Wars of Independence and the 1959 Cuban Revolution buttresses this alternative discourse. In terms of Cuba’s musical history, Oriente has contributed in major ways to the development of national genres, particularly with son, but also in terms of the 19th-century social dance contradanza and the Haitian influence in popular and folkloric Cuban music. The most recent contribution has been the introduction of reggaeton into the Cuban context by a Santiago-based rapper.
In this study of the discourse of eastern Cuban musicians, as well as the work of Cuban and foreign scholars, the centrality of regional traditions to the development of national genres is considered. Unlike hegemonic representations of Cuban musical history, these narratives often foreground the links to and influences from other Caribbean islands, particularly Haiti. This discursive emplacement of eastern Cuba at the center of Cuban musical creativity is clearly a reaction to the common marginalization of the region within the national production of knowledge, represented by scholars from the capital and some foreign researchers. Havana-centric perspectives are counterbalanced by foregrounding those of eastern Cuba.
Anita Casavantes Bradford
Between the autumn of 1960 and October of 1962, the parents of more than fourteen thousand Cuban children made the difficult decision to send their children alone to the United States, where a young Irish immigrant priest, Father Bryan O. Walsh, arranged for them to be cared for by U.S. foster homes and in Catholic children’s homes and orphanages. The Cuban children’s exodus would later become known as Operation Pedro Pan; the federally funded and Catholic Church–administered program that was established to care for these children would be called the Cuban Children’s Program. Their interconnected trajectories are central to the history of post-revolutionary Cuba and of the Miami Cuban exile community, and shed important light on U.S.-Cuba and U.S.-Latin America relations during the height of the Cold War.
During the last decades of the 18th century, Venezuela witnessed the emergence of several popular rebellions and conspiracies organized against the colonial government. Many of these movements demanded the reduction or elimination of taxes and the Indian tribute, the transformation of the political system, and fundamental changes for the social order with the abolition of slavery and the declaration of equality among different socio-racial groups. While demanding concrete changes in the local contexts, many of these movements reproduced the political language of republican rights enshrined by the American, French, and Haitian revolutions. Obsessed with silencing and containing local echoes of Franco-Caribbean republican values, the Spanish Crown and colonial agents sought to defuse these political movements, which they viewed as destabilizing, seditious, and extremely dangerous. This proved to be an impossible task; Venezuela was located at the center of the Atlantic Revolutions and its population became too familiar with these political movements: hand-copied samizdat materials from the Caribbean flooded the cities and ports of Venezuela, hundreds of foreigners shared news of the French and Caribbean revolutions with locals, and Venezuelans of diverse social backgrounds met to read hard-to-come-by texts and to discuss the ideas they expounded. During the Age of Revolutions, these written and oral information networks served to efficiently spread anti-monarchical propaganda and abolitionist and egalitarian ideas that sometimes led to rebellions and political unrest.
Dario A. Euraque
The relationship between historically specific ideas of race and national identity in Central America between the onset of Spanish colonialism in the region, in about 1500, and the end of the 20th century is very complicated. The relationship is rooted not only in the political economy of the region and subregions that were under Spanish colonialism, but also in Spain’s resistance to incursions of British colonialism in the area, particularly on the North Coast, well into the late 18th century, and in some areas of Central America into the 1850s. The nexus between the political economy of nation-state formation in the postcolonial setting deepened after break of the Federation of Central America in the late 1830s, especially after the rise of coffee and bananas as major regional exports. Independent governments in Guatemala, El Salvador, Honduras, Nicaragua, and Costa Rica tried to impose “imagined political communities” over these exports that would be different from the colonial identities designed by the Spanish imperialism of the past. In this 20th century context, mestizaje, or ladinizaje, became state sanctioned; it promoted racialized national identities in each of these countries, mostly the idea of ethnicity, albeit with critical regional and subregional differences, particularly between Guatemala and Costa Rica. Historiographies that have been influenced by postmodern sensibilities, particularly critical race theory, the new cultural history, and subaltern studies, have influenced recent understanding of the political economy of race and nationality in Central America.
The Cuban film posters produced by the Institute of Cinematic Art and Industry from 1964 to 1974 were the synthesis of an exploratory process that defined new subject matter established by the Revolution. This process created a canon that achieved its own visual language and was supported by specialized critics, followed a formal style, and adopted a variety of composition structures. Elements of that canon can be traced back from contemporary Cuban posters.
European empires would have not existed absent private enterprise both licit and illicit. Private traders, in the first instance, sustained colonies by conveying the labor and merchandise that planters required in exchange for the exports that colonies produced. Moreover, those colonies would not have existed in the first place absent private initiatives since European states in the 16th and 17th centuries customarily lacked the administrative and fiscal resources and often the inclination to oversee such projects. Individual or corporate adventurers, though, did possess such resources and inclination; legitimate operators secured government authority for their activities pursuant to charters that drew upon medieval forms and granted extraordinary powers to their recipients. Under the terms of these documents, grantees pursued public purposes—as they would be called today—that their activities entailed in conjunction with their pursuit of profit. The results of this practice included the establishment of colonies that spanned the Atlantic basin from the Madeira Islands to Newfoundland to Brazil; the emergence of colonial leaderships who pursued their own agendas while they ingratiated themselves into trans-Atlantic political cultures; and incessant conflict over territorial and commercial agendas that involved indigenous people as well as Europeans. Other operators did not bother with legitimacy as they pursued smuggling, piracy, and colonizing ventures that also contributed profoundly to imperial expansion. The domestic and international friction generated by these activities ultimately brought increased state involvement in overseas affairs and increased state ability to direct those affairs.
Communities of runaway slaves, more commonly known as “Maroon communities,” were created throughout the Americas. Enslaved people ran away from their owners all the time, often just for a few days, but some decided never to return to slavery and instead found permanent (or semi-permanent) refuge from the harsh life on the plantations in swamps, jungles, forests, and mountains. Sometimes in very small groups of less than ten people, but more usually in much larger numbers, maroon communities attempted to live independently, free from white interference. White responses to maroon communities varied over time and included military assaults and peace treaties.
Richard Lee Turits
In the past, scholars of Latin America often assumed that Spanish colonists abandoned the Caribbean for the bullion riches of Mexico and Peru almost immediately after their conquest, while many Caribbeanists have imagined that Barbados, colonized by the British in the mid-1600s, was the “first black slave society.” Yet, in fact, more than a century earlier in the colony of Santo Domingo (then officially known as la Isla Española or simply la Española), European colonists built the first major American plantation economy and society made up mostly of enslaved people. Those held in chains on the island reached into the tens of thousands by the mid-1500s, and Santo Domingo became a pivotal crossroads in the early modern Atlantic. At first the enslaved population included thousands of people the Spanish called “Indians,” taken from other parts of the Caribbean and the Americas, and even an occasional enslaved person of European (Orthodox Christian or Muslim) descent. But after the mid-1500s slavery in Santo Domingo became isolated to people of African descent. This contrasted with the preexisting demography of slavery in southern Europe, where the enslaved were of more diverse geographic origins. Santo Domingo thus initiated a trajectory of racial and plantation slavery whose contours would shape the course of history in the Americas overall. Santo Domingo’s slave-based economy would also, though, be the first to collapse, at the end of the 16th century, partly because of sustained resistance by the enslaved—their continual escape and rebellion—that was costly for planters. The enslaved had composed most of society in the prior century. Now the majority were escaped and, to a lesser extent, freed slaves, living with substantial autonomy as independent peasants dispersed across the countryside. These themes are illuminated through an exploration of one of the earliest freedom suits in the Americas. This suit was won on appeal in Santo Domingo in 1531 through remarkable transatlantic collaboration by family members and sailors as well as through the evident power of notarized documents in the Spanish Empire.
Small islands offer an unexplored vantage point from which the Caribbean can be interpreted anew. The small western Caribbean island of San Andrés can be a privileged site to launch this reinterpretation that shifts attention away from the dominant narrative of Caribbean history that centers on the establishment, development, destruction, and legacies of plantation societies. Comparing and connecting San Andrés with other small and historiographically neglected Caribbean islands makes possible an interpretation that highlights three ways in which these islands played a central role in Caribbean history: as dynamic commercial hubs, as pirates’ nests, and as imperial laboratories.
The arrival of Christopher Columbus in the northern Caribbean with three Spanish ships in October 1492 marked the beginning of continuing European contact with the Americas. With his second voyage of 1493 permanent European occupation of the Caribbean began, with enormous consequences for the peoples and ecology of the region. Failing to encounter the wealthy trading societies that Columbus had hoped to find by reaching Asia, Europeans in the Caribbean soon realized that they would have to involve themselves directly in organizing profitable enterprises. Gold mining in the northern islands and pearl fishing in the islands off the coast of Tierra Firme (present-day Venezuela) for some years proved enormously profitable but depended on Spaniards’ ability to exploit indigenous labor on a large scale. The imposition of the Spanish encomienda system, which required indigenous communities to provide labor for mining and commercial agriculture, and the large-scale capture and transportation of Native Americans from one locale to another wrought havoc among the indigenous peoples of the Caribbean and circum-Caribbean, resulting in high mortality and flight. Spaniards in the islands soon sought to supplement indigenous labor by importing African slaves who, in the early 16th century, became a significant if not always easily controlled presence in the region.
From the earliest years the Spanish Caribbean was a complex, dynamic, and volatile region characterized by extensive interaction and conflict among diverse groups of people and by rapid economic and institutional development. Although the islands became the launching grounds for subsequent Spanish moves to the nearby mainland, throughout the 16th century and beyond they played a crucial role in sustaining Spain’s overseas empire and integrating it into the larger Atlantic system.
The Swedish colony of Saint Barthélemy was not large enough to be able to support a plantation economy but managed to gain significant income through neutral trade during the turn of the 19th century. As merchants and mariners migrated to the island from across the Atlantic World and slaves were brought to the colony to work as manual laborers and household servants, Sweden introduced legal and political concepts from other European empires to manage their new colonial venture. The nationality of naturalized Swedish merchants was questioned, especially by the British, who frequently captured ships from St. Barthélemy. Still, St. Barthélemy periodically saw immense amounts of trade, especially in the period following the War of 1812. Yet as war between major Atlantic powers ceased after 1815, the economy of the island dwindled and it was returned to France in 1878. Research on this aspect of Swedish colonialism has been infrequent, yet new access to French colonial archives breathes new life into this seldom-discussed part of Caribbean history.
Reinaldo Funes Monzote
For the greater part of the 19th and 20th centuries, Cuba, the largest island in the Antilles, figured as the principal exporter of sugar cane, a product that dominated the country’s agro-industry. In this way, Cuba became illustrative of the economic, social, political, and environmental impact of basing an economy on monoculture in order to supply foreign markets. This does not mean, however, that sugar cane was the only major crop being grown in the Cuban fields, as there was no dearth of different plants destined for foreign markets, such as tobacco and coffee, or for local markets, such as yucca, plantains, corn, sweet potatoes, and rice, not to mention a long if little-known livestock tradition. However, the dominance of agro-industry almost always eclipses agricultural and economic alternatives that could become potential competitors, despite the periodic adverse circumstances that affect consumers. But, in the 1990s, the production and exportation of sugar suffered an abrupt fall, creating a vacuum that allowed diversification of land use and that prompted a search for alternative agricultural models.
In December 1801, First Consul Napoléon Bonaparte sent a massive expedition to the French colony of Saint-Domingue (today: Haiti). His goal was to restore direct French rule and overthrow Toussaint Louverture, a former slave who, as governor general of Saint-Domingue, had been suspected of plotting independence. Bonaparte’s secondary goal may have been to reinstate slavery, which France had abolished in 1793–1794.
Bonaparte’s brother-in-law, General Victoire Leclerc, headed the expedition. After landing in Saint-Domingue in February 1802 with 20,000 troops, he managed, with great difficulty, to defeat Louverture’s army. He then deported Louverture to France, where he died in exile. In August 1802, however, resistance intensified as plantation laborers became convinced that the French intended to restore slavery. Leclerc, who lost much of his army to yellow fever, embraced increasingly murderous tactics against the black population until he died in November 1802.
For one year, Leclerc’s successor, General Donatien de Rochambeau, battled Louverture’s successor, General Jean-Jacques Dessalines, in a brutal conflict with genocidal overtones. The bravery of Dessalines’s troops, lack of support from France, epidemic disease, and the renewal of Britain’s war with France eventually doomed the French effort. After the departure of the last remnants of the Leclerc expedition, Dessalines declared the independence of Saint-Domingue, now known as Haiti, on January 1, 1804, and then put to death most of the remaining French planters.
Eric Paul Roorda
On August 29, 1916, the USS Memphis wrecked on the coast of Santo Domingo, Dominican Republic. A series of enormous waves drove the heavy armored cruiser ashore, killing forty-five sailors. The fact that the death toll was not much higher is owed to the heroic efforts of Dominicans to rescue the survivors of the shipwreck. This was despite the fact that the US Marine Corps had invaded their country three months before, initiating an occupation with unwonted violence. The US Marine occupation of the Dominican Republic would last for eight years, compiling a record of brutality inflicted on the civilian population that Senate hearings documented in excruciating detail. In the aftermath of the traumatic occupation, the shipwreck of the USS Memphis itself, rusting away in plain sight along the seaside boulevard in the Dominican capital city, became symbolic of US imperialism. The dictator Rafael Trujillo, a Marine protégé who seized power in 1930, pointed to the wreck as a relic of the days before US domination, contrasting it with the happy days after national sovereignty had been attained under his own strong rule. In order to implement the Good Neighbor Policy, an effort to expunge the negative legacy of the era of intervention and occupation known as “Gunboat Diplomacy,” President Franklin D. Roosevelt ordered the removal of the wreck of the Memphis after taking office in 1933. The wreck’s removal finally took place in 1937.
The Midwestern United States is home to several major public museum collections of Haitian art. These collections were established within a short period between the late 1960s and early 1970s. Similarities between the contents of these collections and their formations point to particular dynamics of visual-art production in Haiti and cross-cultural interactions in which works of Haitian art were collected abroad. This examination of particular collection histories of two Midwestern U.S. museums, both in Iowa, demonstrates shifting cultural narratives that have contributed to generalized definitions of “Haitian Art.” Considering the dearth of Haitian-American communities in the state and its far-flung geography, the fact that so many works by Haitian artists reside in the Midwest may appear to be a curious occurrence. However, these collections arose from individual bequests from local collectors who began acquiring Haitian art during the second “Golden Age” of Haitian tourism in the 1960s and 1970s. North American travelers who visited Haiti at this time sustained a market for Haiti’s artists and helped maintain international interest in Haitian visual culture. The common characteristics of these two collections—in the cities of Davenport and Waterloo—and the history of their development speak volumes about cultural intersections between Haiti and the United States, especially in relation to the effects of tourism and international travel on the production, circulation, and reception of Haitian art. More broadly, these histories exemplify wide-ranging shifts in North–South relations in the late 20th century.
In the United States, Iowa is home to two of the largest public collections of Haitian art in the country, one in Davenport at the Figge Museum of Art and the other about 130 miles away in Waterloo at the Waterloo Center for the Arts. Considering both distance and regional context, the Midwest’s relationship to Haitian art may seem incongruous. Almost 2,000 miles separate Haiti from the region, and the largest enclaves of the Haitian diaspora reside in major urban centers like Miami, New York, Boston, Montreal, and Chicago. Additionally, stereotypes of the region as provincial and culturally unsophisticated accompany the Midwest’s reputation and add to the intrigue surrounding the seemingly uncharacteristic presence of Haitian art in regional museums. In order to better understand such seemingly random cultural linkages between Haiti and Iowa, we must examine the routes and circuits through which art objects in these collections have traveled, the individuals who facilitated such movements, and the distances, both physical and conceptual, between artists’ studios in Haiti and museum context in the American Midwest.
For audiences in the United States, the word “Haiti” often accompanies news headlines focusing on one of the country’s many crises: political instability, mass migration, natural disaster, poverty. The focus on Haiti’s many challenges of the past decades obscures the fact that in several key periods in the 20th century the country attracted a steady stream of “First World” visitors. With Haiti only a short plane ride away from the United States, travelers were drawn not only to Haiti’s tropical climate and the many upscale hotel accommodations of the time, but also to the country’s cultural offerings, which included a thriving environment of visual art production. A cottage industry producing paintings, sculptures, and handicrafts greeted tourists, journalists, academics, researchers, and other visitors. Some of these souvenir-ready items could be easily dismissed as cheap, mass-produced “tourist art,” but a great many of them reflected an originality and creative quality that emerged within the supportive context of the “Haitian Renaissance.” Haitian visual arts struck many of these art-buying travelers to such a degree that they would make many return visits to Haiti, amassing enough work that would eventually make up collections of art back in the United States. The cross-cultural interactions of these traveling collectors can be framed through a study of the art objects they collected and their interactions with Haitian artists and arts institutions. Focusing on individual case studies reveals broader trends in the international reception of Haitian art and how collections in Iowa and elsewhere were established.
Beginning in Davenport, whose Figge Museum of Art is the earliest established public and permanent collection of Haitian art in the United States, this examination of collection histories will shed light on how global, regional, and individual contexts and circumstances contributed to Haitian art’s presence in Iowa and its reception abroad. In addition, these collection histories highlight connections among collectors, artists, and other active participants in the circulation of Haitian in the period of the late 1960s and early 1970s. The second example considers the origins and development of the Waterloo Center for the Arts’ Haitian collection and demonstrates one institution’s efforts to connect Haitian art objects with local audiences. Both case studies also underscore histories of engagement between the United States and Haiti, as well as issues that museums have grappled with concerning their Haitian art collections and the shifting circumstances of art production in Haiti.