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Dialogues in Cuban Archaeology

by L. Antonio Curet, Shannon Lee Dawdy, and Gabino La Rosa Corzo

by L. Antonio Curet, Shannon Lee Dawdy, and Gabino La Rosa Corzo

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Early Ceramics <strong>in</strong> the Caribbean / 109<br />

were considered atypical, <strong>in</strong>trusive, unimportant, or, at best, an expression of<br />

cultural superimposition by agricultural groups <strong>in</strong> multicomponent sites. This<br />

l<strong>in</strong>eal and obligatory typology that only valued certa<strong>in</strong> types of artifacts and<br />

cultural characteristics ignored the possible <strong>in</strong>teractions between different<br />

technological and economic traditions or expressions of variability with<strong>in</strong> the<br />

forag<strong>in</strong>g lifeway. In this way, the process of transculturation and <strong>in</strong>®uential<br />

ecological elements that could have either delayed or accelerated many evolutionary<br />

processes were not fully evaluated.<br />

The 1960s and 1970s were marked by important trends <strong>in</strong> the conception<br />

of cultural evolution <strong>in</strong> the Caribbean. Studies carried out at the sites of<br />

Arroyo del Palo and Mejías <strong>in</strong> eastern Cuba began a new stage and a new way<br />

of approach<strong>in</strong>g the emergence of pottery <strong>in</strong> <strong>Cuban</strong> archaeology. The consideration<br />

of these locations—ma<strong>in</strong>ly Arroyo del Palo—as expressions of a new<br />

culture (Tabío and Guarch 1966) that coexisted with the last expressions of<br />

the so-called Ciboney Cayo Redondo and the ¤rst of the Subtaíno agricultural<br />

groups was driven by an <strong>in</strong>terest <strong>in</strong> locat<strong>in</strong>g a context <strong>in</strong> which elements characteristic<br />

of the forag<strong>in</strong>g lifeway converged with the presence of ceramics. Up<br />

to that moment, except for the studies by Felipe Pichardo Moya (1990) and a<br />

few others, pottery had been considered one of the fundamental <strong>in</strong>dicators of<br />

a culturally advanced Neolithic stage among Cuba’s aborig<strong>in</strong>al communities,<br />

without leav<strong>in</strong>g room for sui generis expressions of the transitional process.<br />

The consideration of pottery from Mayarí as a marg<strong>in</strong>al expression of the<br />

so-called Ostionoid series (Tabío and Guarch 1966:75), with chronology between<br />

the n<strong>in</strong>th and eleventh centuries a.d. (Tabío and Rey 1979), added to<br />

doubts about the classi¤cation of early ceramicists. The identi¤cation of<br />

Mayarí as a new culture (Córdova n.d.) spurred exam<strong>in</strong>ations of similar archaeological<br />

assemblages as expressions of differentiated groups, <strong>in</strong>dependent<br />

of their archaic associations. The discovery and study of other sites with very<br />

simple ceramics and forag<strong>in</strong>g technologies, among them the Aguas Verdes<br />

(Febles 1991; Kozlowski 1972), Canímar (Febles 1982), and Playitas (Dacal<br />

Moure 1986) sites, added another perspective to the criteria developed from<br />

considerations of the so-called Mayarí culture. In this case, the center of attention<br />

shifted to the lithic <strong>in</strong>dustry whose particularities became the signature<br />

used to follow these communities <strong>in</strong> their treks through the different<br />

regions of the island (Figure 6.2). Classi¤cations result<strong>in</strong>g from the lithic studies<br />

served as the basis to support supposed cultural differentiations but also<br />

reproduced a unil<strong>in</strong>eal development scheme that had so long been used to<br />

describe forag<strong>in</strong>g groups. Approaches to the lithic <strong>in</strong>dustry show the direct

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