Dialogues in Cuban Archaeology

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Historical Archaeology in Cuba / 71 symbiotic relationship. While not without errors, the results of all these efforts have been signi¤cant. It is everyone’s responsibility to face Havana’s future challenges as this city of wonder and mystery rediscovers its past, just as it is everyone’s responsibility to face the future challenges of the people who inhabit it and dream of it.
5 / Cave Encounters Rock Art Research in Cuba Marlene S. Linville Rock art has been found in nearly every country of the world (Bahn 1996). With over 700 examples, Cuba is no exception. Images painted, pecked, incised, or carved onto rock are among the most distinctive remains left by the early inhabitants of the Cuban archipelago. Since the mid-nineteenth century, intriguing paintings found on cave walls have fascinated not only the Cuban people but others who have contemplated both the makers and the meanings of these human creations left to embellish the natural landscape. Researchers from diverse disciplines, from Cuba and elsewhere, have sought answers to the same questions in the paintings, as well as in petroglyphs and other sculpted images: Who made the images? How did they do it? When? Why? What do they mean? More than 130 rock art sites have been recorded in Cuba (Núñez Jiménez 1990:425). Generally located in caves, grottoes, or rock shelters, most are associated with “dark zone locations” of underground limestone caverns which, Greer suggests, “were speci¤cally selected for special use throughout the island’s occupational history for several thousand years.” 1 For the past six decades, detailed data have been collected for these sites as a part of intensive efforts by researchers to document the speleological features of the Cuban landscape. This extensive set of data continues to fuel analyses of the nation’s rock art. Various techniques used to produce rock art have been identi¤ed in Cuba (Núñez Jiménez 1990:425), including both additive and subtractive processes. In addition to applying pigments to produce paintings (pictographs) on ®at
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DIALOGUES IN CUBAN ARCHAEOLOGY
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Copyright © 2005 The University of
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Contents List of Figures List of Ta
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Figures 1.1. Map of Cuba 23 2.1. Wo
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Figures / xi 9.9. Butcher marks by
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Acknowledgments Both the spirit and
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DIALOGUES IN CUBAN ARCHAEOLOGY
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2 / Dawdy, Curet, and La Rosa Corzo
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10 / Dawdy, Curet, and La Rosa Corz
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Page 46: Part I History of Cuban Archaeology
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Page 83 and 84: 64 / Domínguez and that we have an
Page 85 and 86: 66 / Domínguez our current efforts
Page 87 and 88: 68 / Domínguez been designated a m
Page 89: 70 / Domínguez since many of these
Page 93 and 94: 74 / Linville est of Indocuban pict
Page 95 and 96: 76 / Linville 5.1. Drawing of the
Page 97 and 98: 78 / Linville investigating the “
Page 99 and 100: 80 / Linville 5.3. Manuel Rivero de
Page 105 and 106: 86 / Linville DISTRIBUTION OF ROCK
Page 107: 88 / Linville caves contained just
Page 110 and 111: Rock Art Research in Cuba / 91 twee
Page 112 and 113: Rock Art Research in Cuba / 93 dom)
Page 114 and 115: Rock Art Research in Cuba / 95 pret
Page 116 and 117: Rock Art Research in Cuba / 97 are
Page 118: Rock Art Research in Cuba / 99 grap
Page 122 and 123: 6 / Approaches to Early Ceramics in
Page 124 and 125: Early Ceramics in the Caribbean / 1
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Early Ceramics in the Caribbean / 1
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Early Ceramics in the Caribbean / 1
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7 / El Chorro de Maíta Social Ineq
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El Chorro de Maíta / 127 evidence
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El Chorro de Maíta / 129 the right
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El Chorro de Maíta / 131 El Chorro
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El Chorro de Maíta / 133 7.2. Map
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7.3. Sketch of Excavation Unit 3 wi
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El Chorro de Maíta / 137 Delmonte
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El Chorro de Maíta / 139 symbolic
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El Chorro de Maíta / 141 ability a
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El Chorro de Maíta / 143 second la
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El Chorro de Maíta / 145 In spite
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8 / Mythical Expressions in the Cer
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8.1. Examples of turtle theme handl
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The Ceramic Art of Agricultural Gro
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9 / Subsistence of Cimarrones An Ar
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Subsistence of Cimarrones / 165 lan
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Subsistence of Cimarrones / 167 us
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170 / La Rosa Corzo 9.4. Distributi
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9.6. Degree of completeness of the
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174 / La Rosa Corzo 9.9. Butcher ma
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176 / La Rosa Corzo was located clo
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178 / La Rosa Corzo legal character
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180 / La Rosa Corzo machetes and a
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182 / Singleton 10.1. Map of the Ca
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10.3. Picture of the wall surroundi
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186 / Singleton HISTORICAL BACKGROU
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10.5. Map of the Cafetal del Padre
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190 / Singleton majority of the art
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192 / Singleton gan 1991:1). On man
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194 / Singleton wares has been gene
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196 / Singleton 2002). They have be
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198 / Singleton seriously consideri
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11 / Afterword Samuel M. Wilson I a
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202 / Wilson A growing number of U.
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204 / References Cited Anderson, B.
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206 / References Cited Calvera, J.,
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208 / References Cited De Booy, T.
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210 / References Cited Flannery, K.
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212 / References Cited 1996 La muer
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214 / References Cited Jouravleva,
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216 / References Cited López Baral
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218 / References Cited Núñez Jim
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220 / References Cited Pendergast,
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222 / References Cited Rivero, A. R
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224 / References Cited Shepherd, N.
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226 / References Cited Trincado, M.
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228 / References Cited Whitley, D.
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230 / Contributors Ramón Dacal Mou
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232 / Contributors adjunct lecturer
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Index Academia de Ciencias de Cuba,
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Index / 237 Cruxent, José M., 108
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Index / 239 Maroon. See cimarrón M
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Index / 241 Society of Historians,
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