Physical and Chemical Characterisation of the Pigments of a 17th-Century Mural Painting in the Spanish Caribbean

The arrival of Spaniards in the Caribbean islands introduced to the region the practice of applying pigments onto buildings. The pigments that remain on these buildings may provide data on their historical evolution and essential information for tackling restoration tasks. In this study, a 17th-century mural painting located in the Cathedral of Santo Domingo on the Hispaniola island of the Caribbean is characterised via UV–VIS–NIR, Raman and FTIR spectroscopy, XRD and SEM/EDX. The pigments are found in the older Chapel of Our Lady of Candelaria, currently Chapel of Our Lady of Mercy. The chapel was built in the 17th century by black slave brotherhood and extended by Spaniards. During a recent restoration process of the chapel, remains of mural painting appeared, which were covered by several layers of lime. Five colours were identified: ochre, green, red, blue and white. Moreover, it was determined that this mural painting was made before the end of the 18th century, because many of the materials used were no longer used after the industrialisation of painting. However, since both rutile and anatase appear as a white pigment, a restoration may have been carried out in the 20th century, and it has been painted white.

Traveling a Hard Road: Rites of Passage to Adulthood for Females of Haitian Descent Living in the Dominican Republic

This article examines the rites of passage for poor girls of Haitian descent living in the Dominican Republic. In the Dominican context, preparation for and the transition to wife and mother historically served as an important rite of passage to an adult identity. Industrialization and the global discourse surrounding young motherhood increasingly challenges this culturally sanctioned practice. No research has examined how perceptions around rites of passage to an adult female identity are evolving across generations within the Spanish Caribbean. The author conducted an ethnographic project that included the use of in-depth life history interviews with 42 participants. She interrogates the narratives of three generations of adolescent girls and women of Haitian descent using modified grounded theory to (a) describe current culturally acceptable pathways to becoming an adult woman and (b) examine shifts taking place across time regarding acceptable pathways to womanhood. Findings suggest that, increasingly, younger generations no longer perceive marriage and motherhood as the singular rite of passage to adulthood. Yet, additional skills and characteristics that the participants identified as important to effectively transition to an adult role are either very difficult for the poor to attain, or are acquired through the experience of marriage and motherhood.

The seeds multiply: the AcampaDOC International Documentary Film Festival

Contemporary Central American film cultures can be conceptualised as postconflict, and post-Third-Worldist (Shohat, 2004), small (Hjort & Petrie, 2007) cinemas that, in absence of strong state-regulated support structures, have come to rely heavily on their relations to national and regional film festivals (Ahn, 2012). This paper introduces findings gained through ethnographic fieldwork at film festivals in the Central American and Spanish Caribbean regions, with a focus on the ACAMPADOC International Documentary Film Festival in Panama, the only film festival in the region dedicated exclusively to the documentary film genre. The paper also briefly refers to data from on-going research that maps Central American films and filmmakers in a basic network analysis. The reported findings broadly cover what are identified as five areas of concentration in the study of film festivals, based on the understanding of festivals as nodal interfaces for film cultures (Iordanova, 2015).

“Where’s Barry?”

This chapter analyzes the understudied, multidimensional relationship of New York Jews with Latin music. Jewish engagement with Latin music took place throughout New York beyond the Palladium Ballroom, and the chapter presents the dance announcements in New York newspapers from 1947 to 1961 in order to show the extent of activities. It also details the historical depth of Jewish New Yorkers' involvement in Spanish Caribbean music by examining performance venues and events beyond the Catskills as well as the specific contributions of Eydie Gormé, Abbe Lane, Barry Rogers, and the dancer Ira Goldwasser. Ultimately, the chapter explores Jewish self-representations in Latin music and portrayals of Jews by non-Jews in Latin music. While there have been Jewish performers of Latin music throughout the Americas, Jewish New Yorkers' ongoing and nuanced relationship to Latin music has been unique and distinct.