Low-Fired Earthenwares in the African Diaspora: Problems and Prospects

Local earthenware associated with enslaved African populations in the Americas, variously called Colono-Ware, Afro-Caribbean Ware. Yabbas, and Criollo ware, has received considerable attention from researchers. What unifies this disparate group of ceramics is not method of manufacture, design and decoration, or even form and function but the association or potential association with African diaspora populations. The ceramics incorporate some skills and techniques possibly brought by African potters to the Americas, as well as skills reflecting European and Native American traditions, and local adaptations in form, function, and manufacture. Analogies linking African ceramic traditions to American industries have at times been employed uncritically and have relied on generalized characteristics to infer overly specific meanings. With particular reference to low-fired earthenwares from Jamaica, this paper examines the historical and cultural context of these ceramics and the methodological and theoretical problems faced in their interpretation.     

Variation in Venues of Slavery and Freedom: Interpreting the Late Eighteenth-Century Cultural Landscape of St. John, Danish West Indies Using an Archaeological GIS

An archaeological GIS is used to examine the late eighteenth-century cultural landscape of St. John, US Virgin Islands. Land use patterns are reconstructed using a combination of historic maps, tax records, and survey reconnaissance. The study demonstrates significant, heretofore undocumented, transitions taking place that reflect dynamic cultural and economic change within Danish West Indian plantation society that includes a significant trend towards land ownership by free-colored St. Johnians more than a half a century before emancipation. These venues of freedom are discussed in relation to broader patterns of estate consolidation and economic shifts.     

Frontiers of Contact: Bioarchaeology of Spanish Florida

The arrival of Europeans in the New World had profound and long-lasting results for the native peoples. The record for the impact of this fundamental change in culture, society, and biology of Native Americans is well documented historically. This paper reviews the biological impact of the arrival of Europeans on native populations via the study of pre- and postcontact skeletal remains in Spanish Florida, the region today represented by coastal Georgia and northern Florida. The postcontact skeletal series, mostly drawn from Roman Catholic mission sites, are among the most comprehensive in the Americas, providing a compelling picture of adaptation and stress in this setting. Study of paleopathology, dental and skeletal indicators of physiological stress, stable isotope (carbon and nitrogen) analysis, tooth microwear, and skeletal morphology (cross-sectional geometry) reveals major alterations in quality of life and lifestyle. The bioarchaeological record indicates a general deterioration in health, declining dietary diversity and nutritional quality, and increasing workload in the contact period. The impact of contact in Spanish Florida appears to have been more dramatic in comparison with other regions, which likely reflects the different nature of contact relations in this setting versus other areas (e.g., New England, New France). The bioarchaeological record represents an important information source for understanding the dynamics of biocultural change resulting from colonization and conquest.     

The Insistent Fringe: Moving Images and Historical Consciousness

Using the form of cinematic montage, this essay explores the nature of historical consciousness in a mass-mediated culture where historical discourse takes the form of both showing and saying, moving images and written words. The title draws upon and argues with Roland Barthes's critique of the duplicity of the "insistent fringes" that supposedly reduce and naturalize "Roman-ness" to fringed hair in popular historical film. Barthes presumes a "certainty" in such a cinematic image, and hence deems it mythological—that is, "it goes without saying." Countering Barthes with Walter Benjamin, one might argue that the "insistent fringe" is insistently historical and constitutes, in its insistence, a "dialectical image": a site and sight full of contradictions and open to excavation. That is, it concretizes historiographic saying by showing. Neither historiographic saying nor showing are privileged in medias res —in a culture saturated in images and textuality, in competing modes of expression each of which has its limits. Historical consciousness is sparked and constituted from both showing and saying. Indeed, the "insistent fringe" is precisely not clear-cut—and, if it insists on anything, it is its serrated nature, its articulation as a limit that differs from, but is constituted by, the elements of the two distinct domains which it both separates and connects. Similarly, there is a dynamic, functional, and hardly clear-cut relation that exists between the mythological histories wrought by Hollywood cinema (and other visual arts) and the academic histories written by scholars. They coexist, compete, and cooperate in a contingent, heteroglossic, and always shifting ratio—thus constituting the "rationality" of contemporary historical consciousness.     

Postcolonial cultural governance: a study of heritage management in post-1997 Hong Kong

This paper seeks to unpack the politics of heritage preservation in post-1997 Hong Kong. Referring to international frameworks on heritage preservation, it seeks to position Hong Kong’s cultural resource management on par with international discourses for the advancement of heritage governance. Debates surrounding heritage are indeed a part of the wider picture of Hong Kong’s cultural and identity politics and the Hong Kong-China relationship. By examining various contested cases of heritage conservation, and by linking those debates back to the government’s responses within the context of cultural governance, we suggest that heritage management has become a hot stove for cultural politics in post-colonial Hong Kong with deep repercussions in the political, social and economic spheres. The paper examines the rising social debates concerning the removal and conservation of built heritage, and the various government attempts to address these debates. It argues that the current heritage governance mechanism has failed to meet social needs and provide an articulated heritage policy. We propose that a coherent organisational structure is required to better accommodate diverse and contradictory views and discourses surrounding heritage and cultural governance and to tackle the various cultural challenges in postcolonial Hong Kong.     

‘Hong Kong is my Home’: The 1940 Evacuation and Hong Kong-Britons

Who were the Hong Kong British, and where did they live? This question sat at the heart of anguished and angry debates prompted by the colonial government’s edict in June 1940 ordering the evacuation to Australia of all women and children of ‘pure European descent’. In this article, I focus on thematic strands in the debate on Hong Kong British identity, such as race, class, legal domicile, reputation and migration, to explore the complex character of such British communities outside the Dominions. This article aims to characterise what it meant to be British in the wider empire, and deepen our understanding about the place of such communities in the picture of colonial migration.     

The “Hidden” Code: Coding and Classifying in Rock Art. The Case of Northwestern Patagonia

In spite of its importance for rock art studies, rock art motifs coding and classification process is not always made explicit. In this discussion of the process of rock art classification, we consider an exploratory research employing two different criteria for the coding of a northwestern Patagonian rock art motifs database. One coding makes use of a ‘lumping’ criterion, and the other uses a ‘splitting’ criterion. Each of these criteria will be evaluated using cladistic analysis, recording how each coding criterion affects results. As a conclusion, and given our results, the use of more than one coding criterion is suggested when classifying rock art.