Mostrando entradas con la etiqueta PROYECTOS. Mostrar todas las entradas
Mostrando entradas con la etiqueta PROYECTOS. Mostrar todas las entradas
jueves, 30 de septiembre de 2021
EXPOSICIÒN BARACOA FERNANDINA E.U 2021
domingo, 1 de agosto de 2021
EVENTO INTERNACIONAL de FRATERNIDAD entre FERNANDINA, EU y BARACOA, CUBA
EVENTO INTERNACIONAL de FRATERNIDAD entre FERNANDINA, EU y BARACOA, CUBA
AUSPICIAN: Museo de Historia de Isla Amelia, Fernandina (Amelia Island Museum of History - Fernandina) EU - Dra. Berta Isabel Arias, Miembro de la Junta Directiva Sociedad Arqueológica de Baracoa (Sociedad Arqueológica Cacique Hatuey; Gabinete de Arqueología de Baracoa, Cuba - Lic. Roberto Ordúñez Fernández, Director OCASION POR EL EVENTO Este evento tiene como tema principal celebrar la amistad establecida entre Fernandina, EU y Baracoa, Cuba cuando de 1894 a 1895 el ilustre y querido héroe José Martí organizó el Plan Fernandina para la liberación de Cuba de los españoles. Hospedado en el hotel Florida Inn en Fernandina, Martí consiguió apoyo local y de cubanos en EU, y abasteció tres barcos con armas y provisiones destinados a desembarcar en Baracoa para asistir en la revolución contra España. FECHAS Y SITIOS DEL EVENTO Esta actividad se desarrollará en el Museo de Historia de Isla Amelia - Fernandina, EU durante los días 17 de septiembre y 30 de noviembre con pósteres de las obras artísticas fotografiadas. Habrá además un espacio en Baracoa, Cuba (salón anunciado pronto) para exhibir las obras originales. La exhibición tendrá lugar simultáneamente en Fernandina y Baracoa desde el 17 de septiembre al 24 de septiembre, y si es posible, se celebrará en YouTube desde los dos locales. FORMATO DE PRESENTACION DE OBRAS Las obras (1) pueden ser elaboradas en madera, piedra, fotografía o pintura, (2) deben llevar el título de la obra, y una descripción sencilla de la historia de la obra y del artista, y (3) deben ser entregadas con la información antedicha al Lic. Roberto Ordúñez Fernández a más tardar el 15 de mayo, 2021. El Lic. Ordúñez se encargará de que las obras sean fotografiadas en Baracoa y dichas fotografías enviadas a la Dra. Arias quien las ampliará en pósteres para la exhibición en el Museo de Fernandina. PREMIOS En Fernandina, la Dra. Arias establecerá un Consejo Evaluador de artistas locales quienes apremiarán las obras con primer, segundo y tercer premio, con galardón de US$150, US$100. y US$50 respectivamente. Premios serán enviados por Western Unión a los ganadores en octubre, 2021. En Baracoa, se hará entrega de diplomas a los participantes en el mismo mes. Coordinadores de este evento: Para Fernandina: Dra. Berta Isabel Arias - berta@bertaariasauthor.com Para Cuba: Lic. Roberto Ordúñez Fernández - arqrofa@gmail.com - Tel. 21043862 Dirección particular: Calle Flor Crombet No.245A - Baracoa. Guantánamo, Cuba
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Etiquetas: ARQUEOLOGIA
Ubicación: Calle Flor Crombet, Baracoa, Cuba
This commemoration is tied to a larger story about his connection to Fernandina and Amelia Island. In January 1895, Martí and a group of supporters were on their way to Cuba via Fernandina, trying to filibuster.
From the Spanish filibustero, which means “freebooter,” filibuster has two meanings. Its more common meaning refers to the tactics used in delaying or stopping action in a legislature, such as filibusters in the United States Congress. The other definition is “to carry out insurrectionist activities in a foreign country.” From the 1850s until the Cuban War for Independence in 1895, Cuba wanted to be independent from Spain, and at times the independence movement had support from outside Cuba. The United States government made it illegal to filibuster or smuggle arms to Cuba. That did not stop the efforts of some of the more determined individuals. One instance of how filibusterers from America were treated was the Virginius Affair in 1873. The crew and cargo of the Virginius were captured, and ultimately the crew of that ship was executed by order of the Spanish government in Cuba.
The Virginius Affair took place in the middle of The Ten Years’ War (1868-1878) – one of the wars between Spain and Cuba over Cuban independence. The conflict was formative for young Martí. He supported the rebellion and was imprisoned and then exiled to Spain. He finished his education while in Spain, studying law. As the historical marker here in town says, he was a writer and a poet. He wrote newspaper articles in support of Cuban independence as well as poetry about freedom. He ended up living in New York City for fifteen years, his home base while he toured the United States to build support for Cuban Independence. He traveled up and down the eastern seaboard visiting and speaking to Cuban immigrants and communities, including stopping in Jacksonville and Fernandina in 1893. He was seeking support, both through money and sympathy, for his cause. However, he did not stop at using only his words. He intended to take guns to Cuba. He was planning to filibuster.
Portrait of José Martí. Image courtesy of Amelia Island Museum of History.
Martí and a group of co-conspirators penned what was called the Fernandina Plan in 1894. The group would arrange for multiple ships to take men and arms to Cuba. With the help of Nathaniel Barnett Borden, a business owner from Fernandina who later built Villa Las Palmas, they chartered three ships: the Lagonda, the Amadis, and the Baracoa – all from northern ports. In order to not tip off the boats’ owners, the boat charters were made for “D. E. Mantell” – Martí’s pseudonym at the time – to “tour the West Indies.” The ships were to go to Fernandina and load supplies and weapons. In preparation, Borden had received and stored supplies and arms for the Fernandina Plan in his warehouse in Fernandina. Once the boats made it to the port and loaded the cargo from Borden’s warehouse, they would stop once more, each boat in yet another port, to pick up a combined estimated force of 1,000 men to go fight in Cuba. The last and trickiest part of the Fernandina Plan included changing the boats’ intended destination to Cuba. Once underway, the filibusterers would have to persuade the boat crews, or even hijack the boats and take control if necessary while remaining undetected.
Of the three ships, only the Baracoa and the Lagonda made it to Fernandina. The Amadis took on water as it was heading south, stopping for repairs in Savannah, Georgia. Only the Lagonda took on cargo because the captain of the Baracoa became suspicious of the situation, refusing to load any cargo without inspecting it, which was not according to the Fernandina Plan.
One of Martí’s conspirators, Colonel Fernando López de Queralta, contributed to the plan’s failure. He reportedly refused to operate without legal support and caused attention to be drawn to the boat charters through careless actions that ended up alerting the United States Treasury Department and their agents, even before the ships arrived in Fernandina. Yellow journalism – the popular sensationalist style of reporting prominent in the United States that was driven by the speed of the telegraph – was active in the early 1890s leading up to the Spanish-American War of 1898, and the American press played a part in spreading the information about the conspirators and the Fernandina Plan. With the telegraph, fast communication meant that if the Plan was found out, agents would be more quickly informed. The Collector of Customs, George L. Baltzell, was zeroing in on the conspirators and sending telegrams to his superiors all while the press was also investigating.
Though Martí and his compatriots sought to go and fight, they faced agents from the Treasury Department while in Fernandina. Because filibustering involved smuggling and was not just a form of freedom fighting, tracing and inspecting this activity and any suspicious cargo fell to those in charge of goods passing through ports. George Baltzell – as the Collector of Customs – was the local agent working for the United States Treasury Department. He was the main antagonist, chasing and investigating the Lagonda and the filibusterers while they were in Fernandina.
The Florida House Inn in Fernandina in 2021. The top of the Martí plaque column can be seen at the bottom of the photo. Image courtesy of Jennifer England.
While Baltzell was investigating, one of the conspirators ordered the guns on the Lagonda thrown overboard to evade discovery. The arms were ruined, a loss worth $58,000. The conspirators left Fernandina and evaded authorities. Martí himself was in Jacksonville instead of in Fernandina at the time. He was not arrested and he also managed to travel back to his home base in New York City. Baltzell had not caught the filibusterers and was left with only a telegraph bill to pay for all his efforts.
After touring and speaking and raising funds for a few years, the Fernandina Plan demonstrated that Martí was actually doing something with the funds raised by his fellow Cuban patriots during that time. It showed that he could organize and execute a plan privately, without official support from another nation, in the pursuit of Cuban independence, even if it ultimately failed. It provided some hope for the Cuban independence movement.
Later in 1895, Martí did go back to Cuba. He fought at the Battle of Dos Ríos where he died on May 19, 1895. He may not have lived to see Cuba’s independence from Spain, but he was instrumental in bringing it about through his writing and his actions.
Sources
Note: all sources can either be found in the archives at the Amelia Island Museum of History or online (if a url is provided).
Belcher, Hal. Filibustering Fernandina Style. Manuscript, 1993.
De la Cova, Antonio Rafael. “Fernandina Filibuster Fiasco: Birth of the 1895 Cuban War of Independence.” Florida Historical Quarterly 1, vol. 82 (Summer 2003): 16-42.
Litrico, Helen Gordon. “José Martí and the Fernandina Filibuster” Amelia Now (Fall 1989): 30-35.
Ripoll, Carlos. “Introduction”, Thoughts/Pensamientos. New York: Las Americas Publishing Co., 1985.
Youngblood, Alice P. “(Notes for) Seeing Fernandina – A Guide to the City.” Unpublished manuscript connected to the Works Progress Administration Guide Series, 1940.
Merriam Webster, “Filibuster.” Accessed June 23, 2021. https://www.merriam-webster.com/dictionary/filibuster
Featured image: The plaque commemorating Martí staying at the Florida House Inn in 1893. Image courtesy of Jennifer England.
By aimh|June 30th, 2021|Uncategorized|0 Comments
Share This Amazing Location!
This commemoration is tied to a larger story about his connection to Fernandina and Amelia Island. In January 1895, Martí and a group of supporters were on their way to Cuba via Fernandina, trying to filibuster.
From the Spanish filibustero, which means “freebooter,” filibuster has two meanings. Its more common meaning refers to the tactics used in delaying or stopping action in a legislature, such as filibusters in the United States Congress. The other definition is “to carry out insurrectionist activities in a foreign country.” From the 1850s until the Cuban War for Independence in 1895, Cuba wanted to be independent from Spain, and at times the independence movement had support from outside Cuba. The United States government made it illegal to filibuster or smuggle arms to Cuba. That did not stop the efforts of some of the more determined individuals. One instance of how filibusterers from America were treated was the Virginius Affair in 1873. The crew and cargo of the Virginius were captured, and ultimately the crew of that ship was executed by order of the Spanish government in Cuba.
The Virginius Affair took place in the middle of The Ten Years’ War (1868-1878) – one of the wars between Spain and Cuba over Cuban independence. The conflict was formative for young Martí. He supported the rebellion and was imprisoned and then exiled to Spain. He finished his education while in Spain, studying law. As the historical marker here in town says, he was a writer and a poet. He wrote newspaper articles in support of Cuban independence as well as poetry about freedom. He ended up living in New York City for fifteen years, his home base while he toured the United States to build support for Cuban Independence. He traveled up and down the eastern seaboard visiting and speaking to Cuban immigrants and communities, including stopping in Jacksonville and Fernandina in 1893. He was seeking support, both through money and sympathy, for his cause. However, he did not stop at using only his words. He intended to take guns to Cuba. He was planning to filibuster.
Portrait of José Martí. Image courtesy of Amelia Island Museum of History.
Martí and a group of co-conspirators penned what was called the Fernandina Plan in 1894. The group would arrange for multiple ships to take men and arms to Cuba. With the help of Nathaniel Barnett Borden, a business owner from Fernandina who later built Villa Las Palmas, they chartered three ships: the Lagonda, the Amadis, and the Baracoa – all from northern ports. In order to not tip off the boats’ owners, the boat charters were made for “D. E. Mantell” – Martí’s pseudonym at the time – to “tour the West Indies.” The ships were to go to Fernandina and load supplies and weapons. In preparation, Borden had received and stored supplies and arms for the Fernandina Plan in his warehouse in Fernandina. Once the boats made it to the port and loaded the cargo from Borden’s warehouse, they would stop once more, each boat in yet another port, to pick up a combined estimated force of 1,000 men to go fight in Cuba. The last and trickiest part of the Fernandina Plan included changing the boats’ intended destination to Cuba. Once underway, the filibusterers would have to persuade the boat crews, or even hijack the boats and take control if necessary while remaining undetected.
Of the three ships, only the Baracoa and the Lagonda made it to Fernandina. The Amadis took on water as it was heading south, stopping for repairs in Savannah, Georgia. Only the Lagonda took on cargo because the captain of the Baracoa became suspicious of the situation, refusing to load any cargo without inspecting it, which was not according to the Fernandina Plan.
One of Martí’s conspirators, Colonel Fernando López de Queralta, contributed to the plan’s failure. He reportedly refused to operate without legal support and caused attention to be drawn to the boat charters through careless actions that ended up alerting the United States Treasury Department and their agents, even before the ships arrived in Fernandina. Yellow journalism – the popular sensationalist style of reporting prominent in the United States that was driven by the speed of the telegraph – was active in the early 1890s leading up to the Spanish-American War of 1898, and the American press played a part in spreading the information about the conspirators and the Fernandina Plan. With the telegraph, fast communication meant that if the Plan was found out, agents would be more quickly informed. The Collector of Customs, George L. Baltzell, was zeroing in on the conspirators and sending telegrams to his superiors all while the press was also investigating.
Though Martí and his compatriots sought to go and fight, they faced agents from the Treasury Department while in Fernandina. Because filibustering involved smuggling and was not just a form of freedom fighting, tracing and inspecting this activity and any suspicious cargo fell to those in charge of goods passing through ports. George Baltzell – as the Collector of Customs – was the local agent working for the United States Treasury Department. He was the main antagonist, chasing and investigating the Lagonda and the filibusterers while they were in Fernandina.
The Florida House Inn in Fernandina in 2021. The top of the Martí plaque column can be seen at the bottom of the photo. Image courtesy of Jennifer England.
While Baltzell was investigating, one of the conspirators ordered the guns on the Lagonda thrown overboard to evade discovery. The arms were ruined, a loss worth $58,000. The conspirators left Fernandina and evaded authorities. Martí himself was in Jacksonville instead of in Fernandina at the time. He was not arrested and he also managed to travel back to his home base in New York City. Baltzell had not caught the filibusterers and was left with only a telegraph bill to pay for all his efforts.
After touring and speaking and raising funds for a few years, the Fernandina Plan demonstrated that Martí was actually doing something with the funds raised by his fellow Cuban patriots during that time. It showed that he could organize and execute a plan privately, without official support from another nation, in the pursuit of Cuban independence, even if it ultimately failed. It provided some hope for the Cuban independence movement.
Later in 1895, Martí did go back to Cuba. He fought at the Battle of Dos Ríos where he died on May 19, 1895. He may not have lived to see Cuba’s independence from Spain, but he was instrumental in bringing it about through his writing and his actions.
Sources
Note: all sources can either be found in the archives at the Amelia Island Museum of History or online (if a url is provided).
Belcher, Hal. Filibustering Fernandina Style. Manuscript, 1993.
De la Cova, Antonio Rafael. “Fernandina Filibuster Fiasco: Birth of the 1895 Cuban War of Independence.” Florida Historical Quarterly 1, vol. 82 (Summer 2003): 16-42.
Litrico, Helen Gordon. “José Martí and the Fernandina Filibuster” Amelia Now (Fall 1989): 30-35.
Ripoll, Carlos. “Introduction”, Thoughts/Pensamientos. New York: Las Americas Publishing Co., 1985.
Youngblood, Alice P. “(Notes for) Seeing Fernandina – A Guide to the City.” Unpublished manuscript connected to the Works Progress Administration Guide Series, 1940.
Merriam Webster, “Filibuster.” Accessed June 23, 2021. https://www.merriam-webster.com/dictionary/filibuster
Featured image: The plaque commemorating Martí staying at the Florida House Inn in 1893. Image courtesy of Jennifer England.
By aimh|June 30th, 2021|Uncategorized|0 Comments
Share This Amazing Location!
domingo, 3 de enero de 2021
CEREMONIA DE LA COHOBA. BARIGUA. BARACOA. CUBA
CEREMONIA DE LA COHOBA
EL GRUPO DE MUSICA TAINA DEL PROYECTO MIRADAS DE LA PRE HISTORIA DE BARIGUA. EN PLENO DESARROLLO DE LA CEREMONIA DE LA COHOBA.
Una actividad importante y necesaria en nuestro antiguo pueblo Taino. En este proceso en su inicio se procede a una manera figurativa con la espátula vomita donde el Cacique usa el instrumento para provocar el vómito antes de comenzar con la ceremonia
Según describe el Dr. Rivero de la Calle (1986): y Ramón Pané en su libro El Caribe Pre Colombino
La cohoba consistía en polvos alucinógenos, que en un principio se estimaban obtenidos únicamente del tabaco y que se absorbían de un inhalador que se introducía en la nariz. Esta ceremonia era precedida por una purificación; la cual consiste en un vómito ritual, que debía dejar al individuo bien dispuesto para abosorber estos polvos. En general el rito de purificación; así como la inhalación del polvo alucinógeno formaba parte de las operaciones más complejas que realizaban el cacique y el behique, tanto con fines de curación, como en los más importantes ritos, desde el punto de vista colectivo, por medio de los cuales se procedía después de estar en el estado tóxico conveniente a adivinar aquellas cuestiones que eran de interés para la comunidad y en especial para el cacique o el behique (2).
Por su parte el clérigo español Ramón Pané quien vivió durante muchos tiempos con los nativos del Caribe, para aprender de ellos sus costumbres, nos deja un testimonio muy claro de esta ceremonia, en el libro El Caribe Pre Colombino este nos deja ver con claridad como era este rito y de los materiales empleados, Pané no menciona en ningún momento el empleo del tabaco, este plantea que para la preparación inicial de la sustancia alucinógena, esta se preparaba a partir de semillas de cohoba, la que se mezclaba con una sustancia alcalina obtenida de caracoles marinos molidos, donde para este propósito se usaban manos de mortero muy elaboradas usadas exclusivamente para esta ceremonia y preparar los brebajes medicinales usados para curar enfermos
En el Ritual de la Cohoba intervenían un conjunto de instrumentos o artefactos de cierta connotación. Estos eran:
.La espátula vómica, con la cual se provocaba el vómito.
.La bandeja donde se colocaban los polvos alucinógenos.
.El inhalador en forma de "Y", que se introducía en la nariz.
.El dujo o asiento de madera donde se sentaba el behique o el cacique.
.El ídolo mortero ante el cual se desarrollaba el ritual.
La mano de mortero bien elaborada para este propósito
Las semillas para obtener la cohoba.
Pequeñas vasijas para echar la sustancia obtenida de la cohoba y los caracoles marinos.
En el proyecto Miradas de la Pre Historia de Barigua la actividad de la Cohoba se realiza con los propios descendientes Tainos del lugar, para lograr adquirir la semilla de la Cohoba hubo que efectuar muchas consultas bibliográficas y búsquedas en la región de la planta que proporciona esta semilla, una vez localizada se trató de hacer la actividad lo más real posible, por eso se construyó en el Proyecto Miradas de la Pre Historia una Plaza Ceremonial de piedras, al estilo de la Plazas Ceremoniales Taínas, lugar donde se realiza esta ancestral ceremonia la que comienza con la iniciación del Cacique y el Chamán quienes desarrollan la actividad con los mismos métodos y medios que en un pasado emplearon nuestros anteriores pobladores Tainos.
FUENTES
LA ESPÁTULA VÓMICA DE PLAYA SARDINDERO Y EL RITO DE LA COHOBA
Santiago F. Silva García (1), Reynaldo Pérez Jiménez (2)
Culturas Aborígenes de Cuba. Manuel Rivero de la Calle.
El Caribe Pre Colombino. Ramón Pané.
Historia y Arqueología de los Pueblos Originarios de Cuba en Baracoa. Roberto Ordúñez Fernández
s.
FUENTES
LA ESPÁTULA VÓMICA DE PLAYA SARDINDERO Y EL RITO DE LA COHOBA
Santiago F. Silva García (1), Reynaldo Pérez Jiménez (2)
Culturas Aborígenes de Cuba. Manuel Rivero de la Calle.
El Caribe Pre Colombino. Ramón Pané.
Historia y Arqueología de los Pueblos Originarios de Cuba en Baracoa. Roberto Ordúñez Fernández
miércoles, 14 de noviembre de 2018
PROYECTOS
PROYECTOS
La Sociedad Arqueológica de Baracoa y su
Gabinete de Arqueología, han desarrollados múltiples proyectos científicos,
comunitarios y de iniciativa local, dentro de estos se pueden mencionar El
Museo Arqueológico Cueva del Paraíso, El Gabinete de Arqueología de Baracoa.
Plan de Manejo Yara-Majayara, Reproducción Facial de un Rostro Aruaco, Rincón
Taino de Boma, Sostenibilidad Para un Trabajo de Prospección Arqueológica en la
Región de Baracoa.
En la actualidad se trabaja en el proyecto ¨La Cueva Perdida del Ídolo
de Boruga¨ , la puesta en práctica del proyecto Primer Campamento Rebelde de
Boma y el proyecto Murales de la Pre-Historia.
RINCÓN TAINO DE BOMA
RINCÓN TAINO DE BOMA
Rincón Taino de Boma
Vivir una Realidad Ancestral
Una experiencia que no olvidará
Desde época milenarias, nuestros ancestros
desarrollaron muchas facetas culturales, que hoy la comprendemos gracia al
legado que nos dejaron con su trabajo en la piedra, la cerámica, la madera,
hueso, así como por su modo de ver las cosas
en las paredes de las cuevas y las abultadas estalagmitas, mediante
pinturas y tallados, elementos que hoy nos han servido para conocer nuestras
raíces, sumado a esto otros aspectos importantes como la música y sus bailes, que hoy comprendemos gracia a los testimonios
que nos dejaron los Cronistas de Indias. Nuestra antigua raza trató de mantener
su cultura, pero los europeos en su afán conquistador y más aun tratando de
imponer su religión, su cultura, trataron de desaparecer nuestra raíz ancestral,
Pese a este lastimoso desastre quedan huellas ocultas de nuestros antepasados,
que aún no fueron destruidas, y que hoy mediante este proyecto “Rincón Taino de
Boma”, hemos logrado rescatar y lo ponemos para el disfrute de todo aquel
quiera conocer, aprender y valorar las diferentes actividades ceremoniales
desarrolladas en tiempos Pre Colombinos.
En esta plaza ceremonial como centro
principal del proyecto, se desarrolla por el Grupo de Descendientes Tainos de
Boma, una actividad inicial con la entrada del grupo Taino donde practican un
acto muy impresionante con la iniciación al Tabaco, son mostradas diferentes
maneras del Chaman de como curar enfermos mediante esta planta tan milenaria.
La actividad continúa después con la música ancestral como festejando el
triunfo sobre la enfermedad. Comienza entonces el Areito, la danza Taina, con
toques de tambores y otros instrumentos como el mayo guacán, las maracas, el
guamo y sonajeros, bailan hasta cansarse.
Culmina la ceremonia con una invitación a
observar diferentes pinturas primitivas que quedaron como legado en las paredes
de las cuevas de la Vigía y a disfrutar de diferentes platos típicos
tradicionales, como la tulanga, el frangollo, el cazabe y la procesada y
deliciosa leche de coco.
El Grupo Musical Taino de Boma en el momento del baile del Areito Cubano
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