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In: New West Indian Guide / Nieuwe West-Indische Gids
Author: Sally Price

[First paragraph]Caribbean Art. VEERLE POUPEYE. London: Thames and Hudson, 1998. 224 pp. (Paper US$ 14.95)Transforming the Crown: African, Asian and Caribbean Artists in Britain, 1966-1996. MORA J. BEAUCHAMP-BYRD & M. FRANKLIN SIRMANS (eds.). New York: Caribbean Cultural Center, 1998. 177 pp. (Paper US$ 39.95,£31.95)"Caribbean" (like "Black British") culture is (as a Dutch colleague once said of postmodernism) a bit of a slippery fish. One of the books under review here presents the eclectic artistic productions of professional artists with Caribbean identities of varying sorts - some of them lifelong residents of the region (defined broadly to stretch from Belize and the Bahamas to Curacao and Cayenne), some born in the Caribbean but living elsewhere, and others from far-away parts of the world who have lingered or settled in the Caribbean. The other focuses on artists who trace their cultural heritage variously to Lebanon, France, Malaysia, Spain, China, England, Guyana, India, the Caribbean, the Netherlands, the Philippines, and the whole range of societies in West, East, and Central Africa, all of whom meet under a single ethnic label in galleries in New York and London. Clearly, the principles that vertebrate Caribbean Art and Transforming the Crown are built on the backs of ambiguities, misperceptions, ironies, and ethnocentric logics (not to mention their stronger variants, such as racism). Yet far from invalidating the enterprise, they offer an enlightening inroad to the social, cultural, economic, and political workings of artworlds that reflect globally orchestrated pasts of enormous complexity.

Open Access
In: New West Indian Guide / Nieuwe West-Indische Gids
Author: Sally Price

Western commentary on Maroon tembe (woodcarving) has traditionally insisted, despite Maroon denials, that it constitutes a system of symbolic motifs that can be read like a language, transmitting messages from the artist (a man) to the recipient of the art (a woman). Some of the Maroon artists in Guyane, working mainly with paint rather than carving, have adopted and promoted the stereotype in the context of rapid integration into the tourist market. This paper, which includes Maroon women’s views on the subject, underscores the delicacy of questioning the artists’ new discourse.

In: Maroon Cosmopolitics
Author: Sally Price

Western commentary on Maroon tembe (woodcarving) has traditionally insisted, despite Maroon denials, that it constitutes a system of symbolic motifs that can be read like a language, transmitting messages from the artist (a man) to the recipient of the art (a woman). Some of the Maroon artists in Guyane, working mainly with paint rather than carving, have adopted and promoted the stereotype in the context of rapid integration into the tourist market. This paper, which includes Maroon women’s views on the subject, underscores the delicacy of questioning the artists’ new discourse.

In: Maroon Cosmopolitics
Author: Sally Price

Essay on interpretations of visual art in societies of the African diaspora. Author relates this to recent shifts in anthropology and art history/criticism toward an increasing combining of art and anthropology and integration of art with social and cultural developments, and the impact of these shifts on Afro-American studies. To exemplify this, she focuses on clothing (among Maroons in the Guianas), quilts, and gallery art. She emphasizes the role of developments in America in these fabrics, apart from just the African origins.

Open Access
In: New West Indian Guide / Nieuwe West-Indische Gids
Author: Sally Price

Abstract

Fashion has long been a dynamic aspect of Maroon culture in Suriname and French Guiana (Guyane). The textile arts that carry it through from one generation to the next were totally ignored by early writers, who lavished praise on the men’s art of woodcarving but said virtually nothing about the artistic gifts of women—most importantly in calabash carving (referred to by one of them as “doodling”) and clothing. This article, based on more than fifty years of ethnographic work with Maroons, focuses on textile arts and clothing fashions, running briefly through styles of the past before focusing on current directions. Today, with Maroons participating increasingly in life beyond the traditional villages of the rain forest, the women—like their mothers and grandmothers—have continued to enjoy adopting newly available materials and inventing novel techniques. In the process, they have been producing clothing that reflects both their cultural heritage of innovative artistry and their new place in the multicultural, commoditized society of the coast. The illustrations give an opening hint of the remarkable vibrancy of this aspect of Maroon life in the twenty-first century.

Open Access
In: New West Indian Guide / Nieuwe West-Indische Gids
Authors: Sally Price and Richard Price

[First paragraph]"Callaloo" follows, in historically correct sequence, its culinary antecedent, "Caribbean pepper-pot" (NWIG 58:89-98); it is devoted to books that for one or another reason have fallen through the cracks of the review process. Some represent titles for which the book review editors have found it impossible, despite repeated efforts, to find a consenting reviewer; others lie on the periphery of geographical or topical categories we cover; yet others do not, in our view, merit longer review in this journal. But all, we think, deserve to be brought to the attention of NWIG readers. Unlike a Books Received column, Callaloo is retrospective; it is intended to complement the substantial section of the journal devoted to reviews themselves.

Open Access
In: New West Indian Guide / Nieuwe West-Indische Gids
Authors: Sally Price and Richard Price

[First paragraphs]After dishing out consecutive meals of pepper-pot, callaloo, rundown, migan, sancocho, and coo-coo, the NWIG bookcooks are weary and beg a respite. All else is here as usual; the only thing that's missing is the culinary metaphor.Once again it is our sad duty to publish the year's Caribbeanist Hall of Shame. As always, we list those books that (as of press time, January 1997) have not been reviewed because the scholars who agreed to the task have - despite reminder letters - neither provided a text nor relinquished the books so that they could be assigned to someone else. (Rather than listingdelinquent reviewers by initials alone as in the past, we indicate both initial and final letters here, in an attempt to forestall false accusations and protect the reputations of the innocent.) As in past years, these paragraphs may serve as a kind of backlist "books received."

Open Access
In: New West Indian Guide / Nieuwe West-Indische Gids