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Pre-Colombian Jamaica: Caribbean Archeology and Ethnohistory

by Phillip Allsworth-Jones

by Phillip Allsworth-Jones

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12 / Chapter 2.<br />

scription of the site, but fortunately Professor W. F. Harper (1961–1962) was<br />

subsequently able to study 24 of the crania (Appendixes 32–35). In the light of<br />

Lewis’s observations in the caves of Portl<strong>and</strong> Ridge, Howard agreed that some<br />

of them could have been used occasionally for occupation purposes, but in general<br />

he agreed with Duerden that caves were used “almost exclusively for burial<br />

purposes” (Howard 1956:48).<br />

Howard expended much time on the study of the available artifacts, particularly<br />

those in the Institute of <strong>Jamaica</strong>, although, as he pointed out, many<br />

of them had lost all indications of provenance. He found that the pottery was<br />

“remarkably homogeneous,” most of it belonging to one “major style” that he<br />

equated with the Meillac group recognized elsewhere in the Greater Antilles<br />

(Howard 1956:49). He later felt that the time had come to “give the style a<br />

name of its own,” <strong>and</strong> he proposed the term White Marl, “since it is at this site<br />

that the style appears in its most characteristic <strong>and</strong> complete form <strong>and</strong> it is here<br />

that its development can be traced over a period of several centuries” (Howard<br />

1965:252). His description of this style retains its validity today. He pointed<br />

out that there are two basic shape categories: round bowls <strong>and</strong> boat- shaped vessels.<br />

He listed the main decorative techniques as incision, punctation, application,<br />

modeling, <strong>and</strong> perforation, the last intended to permit suspension of the<br />

vessels. Incised designs were “invariably geometric,” a pattern of alternating<br />

oblique parallel lines being especially common. “Lugs <strong>and</strong> h<strong>and</strong>les show the<br />

greatest variation <strong>and</strong> are the most frequently decorated features of <strong>Jamaica</strong>n<br />

pottery” (Howard 1950:148). The only convincing “variant substyle” that he<br />

himself recognized was the one he identified at Fairfield (J3) <strong>and</strong> that he termed<br />

“Montego Bay” (Howard 1950:57–58, 145–146; 1956:54; 1965:254). As he<br />

pointed out, the sherds are thick <strong>and</strong> coarse, <strong>and</strong> they are decorated by means<br />

of deep heavy incisions, often occurring on b<strong>and</strong>s around the rim, usually referred<br />

to in <strong>Jamaica</strong> as fillets (Howard 1965:Figure 1a). Otherwise, Howard<br />

was very cautious, concluding that “as the archaeology of <strong>Jamaica</strong> becomes better<br />

known, it will doubtless be possible to distinguish both areal <strong>and</strong> temporal<br />

differences in the pottery of the isl<strong>and</strong>, but such analysis must await detailed<br />

stratigraphic excavation of a large number of sites” (Howard 1950:158).<br />

In general, Howard concluded that the “<strong>Jamaica</strong>n Indians undoubtedly belonged<br />

to the Sub- Taino branch of the Arawak stock” (Howard 1956:47). He<br />

emphasized that the great majority of the sites known at that time were within<br />

five miles of the coast, almost always on or near the tops of low lying hills, locations<br />

chosen not for reasons of defense, but because they were “healthful <strong>and</strong><br />

pleasant.” His overall assessment of “<strong>Jamaica</strong>n culture” in the prehistoric pe-

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