Shetlanders wore knitted hats when off fishing, and the the multicoloured patterns contrasted with the brown oilskins and boots they wore. Visitors to the islands two hundred years ago were much taken with these vivid caps, and bartered them from the fishermen – hence why they survive. Harvest from the Sea gallery TEX 7738
The Giant Land Snail, Megalobulimus oblongus. A species of air-breathing land snail, a terrestrial pulmonate gastropod mollusk in the family Strophocheilidae. Native to a large part of the neotropical world including Argentina, Brazil, Columbia and Uruguay. They have spread however to various parts of the Caribbean including Jamaica, Martinique, Barbados and the Lesser Antilles and can live up to 14 years. Part of the collection of the Barbados Museum and Historical Society. The Barbados Museum and Historical Society (BMHS) is a non-profit, non-governmental organization with a membership of over 1,000 individuals and companies. The Barbados Museum and Historical Society is housed in historic buildings which were originally used as the military prison at St. Ann’s Garrison.
"Barbara" by Karl Broodhagen Terracotta bust
A 3D model digitised during the EU-LAC Museums Digital Workshops.
Human femur, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Decorative Temple elephant, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Small bowl, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Mounted human cranium, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Oil stone, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Mortar, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Drum, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Wood figurine, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Sea turtle, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Bust from Trinidad, part of the collection of the National Museum and Art Gallery of Trinidad and Tobago. The National Museum and Art Gallery was established originally as the Royal Victoria Institute (RVI) in 1892 in commemoration of the Jubilee of Queen Victoria and as part of a general British Colonial policy to build cultural institutes throughout the Commonwealth. This is a general museum that has a permanent collection of over 10,000 items. Many of these are displayed in seven major galleries- Art, Social History, Natural History, Economic History, Petroleum and Geology.
Decorative pipe, part of the collection of the Moruga Museum. The Moruga Museum was established in November 2013 by founder of the St Vincent Ferrer Society, Eric Lewis. Based in the rural, seaside community of Gran Chemin in south Trinidad, the Moruga Museum's collections include natural and man-made artefacts that span the prehistoric to post-colonial periods. Although the Museum is focused on exploring the history and people of Moruga, artefacts have been gathered from multiple sites throughout Trinidad and Tobago.
Comb case, part of the collection of the National Museum of Jamaica. The National Museum Jamaica is the national agent for the collection, preservation and documentation of Jamaica’s material culture and aims to stimulate serious research and reflection on Jamaica’s history and contemporary life.
Calabash purse, part of the collection of the National Museum of Jamaica. The National Museum Jamaica is the national agent for the collection, preservation and documentation of Jamaica’s material culture and aims to stimulate serious research and reflection on Jamaica’s history and contemporary life.
Female bust, part of the collection of the National Museum of Jamaica. The National Museum Jamaica is the national agent for the collection, preservation and documentation of Jamaica’s material culture and aims to stimulate serious research and reflection on Jamaica’s history and contemporary life.
Jamaica's Heroes Wedgwood mug, part of the collection of the National Museum of Jamaica. The National Museum Jamaica is the national agent for the collection, preservation and documentation of Jamaica’s material culture and aims to stimulate serious research and reflection on Jamaica’s history and contemporary life.
University of London medical medal won by UCWI graduate Owen Barrow in 1964. Owen Barrow was a consultant physician who graduated from the UCWI in 1964 – one of the last couple of batches of UCWI/UWI medical students to earn a University of London degree. A reluctant med student, he swept most of the distinction medals awarded in 1964, including the University of London medal – a significant mark of distinction even beyond the confines of the UCWI.
Dr Owen Minott was one of the pioneering 33 medical students of the UCWI in 1948 and subsequently a noted amateur photographer. He was one of the early (perhaps the earliest) chroniclers of the UCWI, producing hundreds of 2.25” black and white negatives and prints and subsequently 33mm images of the campus and its population. This was his second camera, according to his widow Margaret.
Early University of West Indies seal stamp
An early university seal stamp. The University of the West Indies Museum, commonly called the UWI Museum, was established in 2012. Its focus is the history and development of the University of the West Indies, and its relationship to the West Indies – now more commonly known as the Caribbean – region, which it serves.
The tale is told that Taylor Hall was first occupied by 101 students, including 8 freshmen who moved from the old building of Gibraltar Hall on Gibraltar Camp Road to Blocks A and B, formally called Hall 111. These two blocks, the only two on Taylor Hall at the time, were soon joined by Block C in 1952, the same year the hall was officially opened. In this year, The Empire was granted the honour of being named after Sir Thomas Weston Johns Taylor, the first principal of the University College of the West Indies. The late Sir Sydney Martin would be named as the first warden of this great empire. By 1954, Block D had been constructed and fully occupied. From their chapel, the vanguards from Gibraltar had brought the bell – a continuous source of contention between the Empire of Tayloria and Chancellor Hall. In rivalry, Taylor Hall lost the bell, but this was soon replaced by another emblem – the cast iron ball. Taylor Hall since then has made the transition from the cast iron ball to the Pelican – still the insignia of The Empire to date. Blocks E, F and G, affectionately called ‘New Block’ were added to the Taylor Hall fraternity in 1962. Initially occupied by male residents, The Empire was graced with feminine elegance as ‘New Block’ became Excellencia , Falconia and Galaxia in 1965 as females, for the first time, lived on Taylor Hall . Erected were also the television room and the sub warden’s flat in 1963. The new university was completely residential for several years, and students developed strong connections within their halls of residence. Each hall, during the 1950s and 1960s, was fully stocked to cater for students’ room and board; including having their own marked crockery, cutlery etc which was used for meals which students took together.
Metal military helmet, part of the collection of the University of the West Indies Museum. The University of the West Indies Museum, commonly called the UWI Museum, was established in 2012. Its focus is the history and development of the University of the West Indies, and its relationship to the West Indies – now more commonly known as the Caribbean – region, which it serves.
The Charles Town Maroons occupied Crawford Town high in the Blue Mountains before signing the Peace Treaty with the British when they moved down to Charles Town on the Buff Bay River, where they remain today. The leader of the Charles Town Maroons was Nanny’s captain, Quao. Maroon communities are lead by an elected leader – the Colonel.
Metal flat iron, part of the collection of the Charles Town Maroons Museum. The Charles Town Maroons occupied Crawford Town high in the Blue Mountains before signing the Peace Treaty with the British when they moved down to Charles Town on the Buff Bay River, where they remain today. The leader of the Charles Town Maroons was Nanny’s captain, Quao. Maroon communities are led by an elected leader – the Colonel.
Our Five Star, award winning Museum and Archives is a multifunctional visitor attraction in the heart of Shetland's capital town of Lerwick. Begin your journey through the history of our beautiful islands here, with an enjoyable and interactive visitor experience discovering our world renowned collections.
[EN]Unst Heritage Trust and Unst Boat Haven are dedicated to the cultural heritage and history of this most northerly island in Scotland. The collection includes fine original wooden boats of various types that have been in use over the past 140 years. [ES]El Unst Heritage Trust y el Unst Boat Haven están dedicados al patrimonio cultural y a la historia de esta isla más septentrional de Escocia. La colección incluye los barcos de madera originales de varios tipos que han estado en uso durante los últimos 140 años.
Unst Heritage Trust and Unst Boat Haven are dedicated to the cultural heritage and history of this most northerly island in Scotland. The collection includes fine original wooden boats of various types that have been in use over the past 140 years.
For many hundreds of years Unst has lain in the midst of one of the richest fishing grounds in the world. The small wooden boats fished for cod and ling which were cleaned, split, salted and dried on the stony beaches. The dried fish were then shipped abroad in massive quantities. Boats like the sixereen ‘FAR HAAF’ were capable of fishing thirty miles off shore., while sturdy fourereens fished nearer the coast. With the onset of sudden storms there were disastrous results.
Skye Ecomuseum is Scotland's only Ecomuseum. Located on the Isle of Skye in the north east of Scotland, itn is managed by Staffin Community Trust. The Skye Ecomuseum has had funding from a variety of European and national sources, including the Heritage Lottery Fund (HLF), 10 years ago. Also known as Ceumannan, which is “footsteps” in Gaelic, the project is estimated to have helped attract thousands of extra visitors annually to Staffin and encouraged them to stay longer, which boosts the local economy. El eco-museo de Skye es el único eco-museo de Escocia. Localizado en la Isla de Skye, al noreste de Escocia, es gestionado por la Organización de desarrollo de la comunidad de Staffin. El eco-museo de Skye ha recibido fondos de varias fuentes nacionales y europeas como el UK Heritage Lottery Fund (HLF), hace 10 años. Conocido también como Ceumannan que significa “pasos” en gaélico, se estima que el proyecto ha ayudado a atraer miles de visitantes extras al año a Staffin y ha fomentado que se queden por más tiempo, lo que estimula la economía local.
Part of the collection of the Unst Community Museum. For many hundreds of years Unst has been in the midst of one of the richest fishing grounds in the world. The small wooden boats fished for cod and ling which were cleaned, split, salted and dried on the stony beaches. The dried fish were then shipped abroad in massive quantities. Boats like the sixereen ‘FAR HAAF’ were capable of fishing thirty miles off shore., while sturdy fourereens fished nearer the coast. With the onset of sudden storms there were disastrous results.
Timespan is a meeting place between our past, our present and our future. Located in the Far North of Scotland in one of the remotest areas of Europe, Timespan provides a unique experience and resource for visitors, artists, researchers and locals. timespan.org.uk/
Taigh Chearsabhagh Museum and Art Gallery
Taigh Chearsabhagh Museum & Arts Centre is the arts and heritage centre for the Uists. Throughout the year they have visual art exhibitions, poetry and literary events, traditional music events and small festivals. They host world class contemporary art exhibitions, they have an award winning museum, they work with local and international artists, academics and writers. We also have a strong and growing specialism in film. They partner with both the University of the Highlands and Islands (hosting fine art courses to degree level) and with Sabhal Mor Ostaig offering a number of courses including Gaelic. They are a unique organisation in an incredible location. They provide a hub for the arts, heritage and economic development of North Uist, and the Centre’s work reflects the Gaelic community, language and culture that makes the ‘place’. Taigh Chearsabhagh sits on the solid rock overlooking the tidal bay that is Lochmaddy (Loch nam Madadh – the Loch of the Dogs). There organisation is community focused, offering a stimulating and dynamic cultural programme of activities all year round for the people of Uist and visitors. Lochmaddy is the main port of entry to North Uist, and the Centre is situated on the shoreline of a marine Special Area of Conservation. The sea and sky dominate our environment and directly influence the artistic and cultural life here. Inspired by the island location there is a vibrant and stimulating exhibition and events programme throughout the year.
The National Museum of Archaeology is the largest archaeological museum in Portugal and one of the most important museums devoted to ancient art found in the Iberian Peninsula. Located in Lisbon, the museum was founded in 1893 by the archaeologist José Leite de Vasconcelos.
O Ecomuseu Municipal do Seixal (EMS) tem por missão investigar, conservar, documentar, interpretar, valorizar e difundir testemunhos do Homem e do meio, reportados ao território e à população do concelho, com vista a contribuir para a construção e a transmissão das memórias sociais e para um desenvolvimento local sustentável. Funcionalmente, baseia-se na gestão integrada de serviços, por que se reparte uma equipa permanente de cerca de 45 pessoas, abrangendo a investigação, a documentação, a conservação, a exposição, a difusão e a educação, centradas num vasto acervo museológico e num património muito diversificado. Territorialmente, o EMS integra oito sítios (cinco núcleos museológicos e três extensões) e gere três embarcações tradicionais de recreio. Os núcleos são sítios ou espaços de propriedade e tutela municipais, musealizados ou com aproveitamento museológico atual ou programado. As extensões são sítios ou patrimónios integrados em espaços de tutelas mistas, com parcial aproveitamento museológico. O acervo do Ecomuseu Municipal do Seixal é constituído por património cultural imóvel, por património flutuante e por bens móveis, incluindo coleções arqueológicas, técnicas e industriais, artísticas e etnográficas e fundos documentais, na sua maioria provenientes do território do concelho. Destacam-se: - as coleções arqueológicas, nomeadamente da Olaria Romana da Quinta do Rouxinol; - as coleções industriais, nomeadamente da fábrica de cortiça da Mundet & C.ª, Lda. (Seixal); - as coleções etnográficas e de cultura flúvio-marítima, nomeadamente de estaleiros navais tradicionais do estuário do Tejo; - as coleções de azulejaria (séculos XVI a XX); - as coleções e fundos documentais (imprensa local, fotografia, bibliografia e documentos variados, incluindo fundo antigo da Câmara). Para além do património material incorporado no seu acervo, o Ecomuseu Municipal do Seixal (EMS) integra e dinamiza um importante património cultural imaterial, nomeadamente através da preservação e da transmissão de técnicas e saber-fazer ligados à tipografia, à moagem, à construção naval tradicional em madeira, à navegação à vela tradicional no estuário do Tejo e à produção de energia mecânica a vapor, que no contexto do trabalho museológico estão associados respetivamente à oficina tradicional de artes gráficas no Espaço Memória –Tipografia Popular do Seixal, ao Moinho de Maré de Corroios, à oficina de modelismo naval no Núcleo Naval, às embarcações tradicionais, e ao circuito da pólvora negra, na Fábrica de Pólvora de Vale de Milhaços.
The museum is a center where the cultural heritage of the region of l'Horta Sud is exposed. It performs the functions of exhibition, conservation and diffusion of the ethnographic heritage of the municipalities of the south of Valencia. Among its objectives is the social and cultural dynamization of its territory based on the elements and signs of identity that have shaped the personality of the region, where the rural heritage and its landscape are fundamental. El museo expone el patrimonio cultural de la comarca de l’Horta Sud. Desempeña las funciones de exposición, conservación y difusión del patrimonio etnográfico de los municipios del sur de Valencia. Entre sus objetivos se halla la dinamización social y cultural de su territorio en base a los elementos y señas de identidad que han configurado la personalidad de la comarca, donde el patrimonio rural y su paisaje son fundamentales. l Museu Comarcal de l'Horta Sud Josep Ferrís March nace por iniciativa de la Fundación para el Desarrollo de l’Horta Sud dentro de sus programas de actuación con la finalidad de dar a conocer la cultura tradicional de la comarca que durante siglos ha constituido, sin duda, la señal de identidad que ha otorgado una personalidad propia a este territorio. En noviembre de 1995 la Fundación adquiere la propiedad de un inmueble situado en la antigua calle del Pi para instalar el museo. A partir de ese momento empieza la tarea de recogida de piezas que han aportado los vecinos de la comarca para poder configurar las colecciones. El museo, de acuerdo con la legislación autonómica vigente, fue reconocido como tal mediante orden del Concejal de Cultura, Educación y Ciencia de la Generalitat Valenciana el 28 de febrero de 1996. Para gestionar el museo se ha adoptado la forma jurídica de un consorcio, que actualmente está formado por cuatro instituciones: la Mancomunitat Intermunicipal de l’Horta Sud, el Ayuntamiento de Torrent, la Fundación para el Desarrollo de l’Horta Sud y Caixa Rural Torrent. Este consorcio se constituyó el 3 de mayo de 2000, motivo por el que la Fundación para el Desarrollo de l’Horta Sud cedió al consorcio el uso del edificio y de las colecciones aportadas hasta ese momento. Las obras de rehabilitación del inmueble finalizaron a finales del año 1999, cuando empezaron los trabajos de montaje de la exposición permanente. Las instalaciones fueron inauguradas y abiertas al público el 28 de junio de 2000 por parte del entonces Presidente .
The museum is a center where the cultural heritage of the region of l'Horta Sud is exposed. It performs the functions of exhibition, conservation and diffusion of the ethnographic heritage of the municipalities of the south of Valencia. Among its objectives is the social and cultural dynamization of its territory based on the elements and signs of identity that have shaped the personality of the region, where the rural heritage and its landscape are fundamental. El museo expone el patrimonio cultural de la comarca de l’Horta Sud. Desempeña las funciones de exposición, conservación y difusión del patrimonio etnográfico de los municipios del sur de Valencia. Entre sus objetivos se halla la dinamización social y cultural de su territorio en base a los elementos y señas de identidad que han configurado la personalidad de la comarca, donde el patrimonio rural y su paisaje son fundamentales. l Museu Comarcal de l'Horta Sud Josep Ferrís March nace por iniciativa de la Fundación para el Desarrollo de l’Horta Sud dentro de sus programas de actuación con la finalidad de dar a conocer la cultura tradicional de la comarca que durante siglos ha constituido, sin duda, la señal de identidad que ha otorgado una personalidad propia a este territorio. En noviembre de 1995 la Fundación adquiere la propiedad de un inmueble situado en la antigua calle del Pi para instalar el museo. A partir de ese momento empieza la tarea de recogida de piezas que han aportado los vecinos de la comarca para poder configurar las colecciones. El museo, de acuerdo con la legislación autonómica vigente, fue reconocido como tal mediante orden del Concejal de Cultura, Educación y Ciencia de la Generalitat Valenciana el 28 de febrero de 1996. Para gestionar el museo se ha adoptado la forma jurídica de un consorcio, que actualmente está formado por cuatro instituciones: la Mancomunitat Intermunicipal de l’Horta Sud, el Ayuntamiento de Torrent, la Fundación para el Desarrollo de l’Horta Sud y Caixa Rural Torrent. Este consorcio se constituyó el 3 de mayo de 2000, motivo por el que la Fundación para el Desarrollo de l’Horta Sud cedió al consorcio el uso del edificio y de las colecciones aportadas hasta ese momento. Las obras de rehabilitación del inmueble finalizaron a finales del año 1999, cuando empezaron los trabajos de montaje de la exposición permanente. Las instalaciones fueron inauguradas y abiertas al público el 28 de junio de 2000 por parte del entonces Presidente.
Cortes de Pallás is a municipality in the comarca of Valle de Cofrentes in the Valencian Community, Spain.
The Barbados Museum and Historical Society (BMHS) is a non-profit, non-governmental organization with a membership of over 1,000 individuals and companies. A fourteen-member Council and the Director are responsible for its policies and operation. Nine council members are elected annually from the membership of the BMHS; the remaining five are appointed by Government.
The National Museum and Art Gallery of Trinidad and Tobago
The National Museum and Art Gallery is the national museum of Trinidad and Tobago, in Port of Spain on Trinidad island. It is located at the top of Frederick Street, opposite the Memorial Park, and just south of the Queen's Park Savannah. The museum was established in 1892, as the Royal Victoria Institute.
The Moruga Museum is dedicated to the prservation of the Sociohistoric culture of the People of Moruga, Trinidad and Tobago by extension the World. The collection is diverse and is not limited to items or from a region only, however, is open to collections from all cultures and eras.
The National Museum Jamaica is the national agent for the collection, preservation and documentation of Jamaica’s material culture and aims to stimulate serious research and reflection on Jamaica’s history and contemporary life. As the repository of Jamaica’s National Collection, the National Museum Jamaica houses over 17, 000 historic, ethnographic and archaeological artefacts that are germane to Jamaica’s material culture from the prehistoric era to the contemporary. The work of the museum is focused in three areas: Preservation, Research and Communication through education programmes.
In its more than 60 years of existence, UWI has evolved from a fledgling college in the Caribbean island of Jamaica with 33 students to a full-fledged University with over 45,000 students, approximately 9000 graduates annually and more than 120,000 alumni. This impressive network of UWI Alumni includes one Nobel Laureate, dozens of Rhodes Scholars and more than 18 current and former Caribbean Prime Ministers and Heads of State.
Charles Town Maroons Cultural Center and Museum
The Maroon’s Cultural Center, nestled in rural Charles Town along a lazy rolling white water river coming down from the Blue Mountains. The Maroon’s autonomy from the island’s government dates back to centuries old treaties and remains to this day. The “Colonel “of the local Maroons has created a rustic cultural museum of artifacts, tools, instruments and documents that date back to the time of pirates and the slave trade. His main goal in creating this museum was to teach the locals their culture and restore them to their Maroon identity.
Ecomuseo de la Cerámica Chorotega, San Vicente de Nicoya
This project is a response to the need of the people of San Vicente to manage their natural and cultural resources. It is an instrument for the education, preservation and diffusion of the Cultural and Natural Heritage of San Vicente. Este museo es una iniciativa comunitaria, en la cual se ha desarrollado una exhibición que se basa en las tradiciones orales, el pasado precolombino, la vida cotidiana y la fabricación de alfarería tradicional como su base narrativa. Se combina además con visitas a los lugares tradicionales de la comunidad, y a los talleres de los alfareros del lugar.
This project is a response to the need of the people of San Vicente to manage their natural and cultural resources. It is an instrument for the education, preservation and diffusion of the Cultural and Natural Heritage of San Vicente.
El museo busca resaltar las técnicas ancestrales de fabricación y tejido natural de artesanía, concretamente los tejidos con hilos, bejucos y el labrado de máscaras. Además pretende revitalizar la cultura tradicional de Boruca. El inmueble mismo del museo es un ejemplo del tipo de rancho que se utilizó en la antigüedad como vivienda tradicional de los indígenas. The museum seeks to highlight the ancestral techniques of manufacturing and natural weaving of craftwork, specifically weavings with threads, vines and the carving of masks. It also aims to revitalise the traditional culture of Boruca. The museum's building itself is an example of the type of ranch that was used in ancient times as a traditional housing of indigenous people.
El museo busca resaltar las técnicas ancestrales de fabricación y tejido natural de artesanía, concretamente los tejidos con hilos, bejucos y el labrado de máscaras. Además pretende revitalizar la cultura tradicional de Boruca. El inmueble mismo del museo es un ejemplo del tipo de rancho que se utilizó en la antigüedad como vivienda tradicional de los indígenas. The museum seeks to highlight the ancestral techniques of manufacturing and natural weaving of craftwork, specifically weavings with threads, vines and the carving of masks. It also aims to revitalise the traditional culture of Boruca. The museum's building itself is an example of the type of ranch that was used in ancient times as a traditional housing of indigenous people..
The Museum of Popular Culture is located in the district of Santa Lucia.
Museo Comunitario Yimba Cajc Rey Curré
El museo está hecho por la comunidad y para la comunidad, donde se cuenta la memoria del pueblo con la voz y el trabajo de sus propios pobladores. En su arquitectura representa los diferentes momentos históricos de la vivienda en la comunidad y al igual que la museografía, es producto del trabajo talentoso de artesanos y constructores de Curré. Representa además una ventana al pasado precolombino, el cual se complementa con las esferas de piedra que resguardan la entrada del museo. También tiene en exposición, los orígenes de la comunidad, la vida de sus primeros pobladores y las luchas por la autonomía del territorio indígena. The museum is made by the community and for the community, where the memory of the people is told with the voice and work of its own inhabitants. Its architecture represents the different historical moments of housing in the community and, like the museography, it is the product of the talented work of artisans and builders of Curré. It also represents a window to the pre-Columbian past, which is complemented by the stone spheres that protect the entrance to the museum. It also displays the origins of the community, the life of its first settlers and the struggles for the autonomy of the indigenous territory.
Museo Comunitario Yimba Cajc - Rey Curré
The Museological Department is the dependent unit of the Universidad Austral de Chile dedicated to the enhancement, conservation and study of regional cultural, historical and archaeological heritage. It is made up of the Maurice van de Maele de Valdivia Historical and Anthropological museums, the Rudolph Amandus Philippi Exploration, and the German Colonial Frutillar. The laboratories of Conservation, Archeology and Audiovisual Anthropology are also part of this Directorate. La Dirección Museológica es la unidad dependiente de la Universidad Austral de Chile dedicada a la puesta en valor, conservación y estudio del patrimonio cultural, histórico y arqueológico regional. Está integrada por los museos Histórico y Antropológico Maurice van de Maele de Valdivia, de la Exploración Rudolph Amandus Philippi, y Colonial Alemán de Frutillar. Los laboratorios de Conservación, Arqueología y Antropología Audiovisual forman parte también de esta Dirección.
El Museo Túcume se ubica en la costa norte del Perú, en la provincia de Lambayeque, depende del Sistema Nacional de Museos del Ministerio de Cultura del Perú. Desarrolla un trabajo de investigación científica y social al incorporar a las comunidades locales en un proceso permanente de acercamiento, buscando no sólo la conservación del patrimonio cultural, sino su adecuado manejo. Esta labor se desarrolla en diversos campos como la educación escolar, la exploración y aprendizaje de tecnologías ancestrales, la recuperación de las tradiciones orales, la gastronomía, saberes productivos y la revaloración de la música y danzas locales tradicionales. The Túcume Museum is located on the north coast of Peru, in the province of Lambayeque, it depends on the National System of Museums of the Ministry of Culture of Peru. It develops scientific and social research by incorporating local communities in a permanent approach process, seeking not only the conservation of cultural heritage but its proper management. This work is carried out in various fields such as school education, the exploration and learning of ancestral technologies, the recovery of oral traditions, gastronomy, productive knowledge and the revaluation of traditional local music and dances.
The Museo Nacional Sicán is a museum situated in the city of Ferreñafe within easy reach, 20 Km north of the city of Chiclayo. It is along the road to the Bosque de Pómac Historical Sanctuary. The museum was inaugurated in November 2001.
El Museo Nacional Sicán es un centro de investigación, conservación y difusión de las manifestaciones culturales de la población lambayecana, en particular de las matrices étnico cultural muchik y quechua de las comunidades rurales de la costa y sierra de la provincia de Ferreñafe. Sus colecciones proceden mayormente de contextos arqueológicos ubicados en el Santuario Histórico Bosque de Pómac y la Cuenca Hidrográfica del río La Leche. El museo realiza labores de defensa del bosque seco de Pómac, recurso natural importante para la región y el país a través de la educación, prevención y preservación de la naturaleza. Además lidera el tema del algodón nativo para su recuperación y puesta en valor con grupos organizados de mujeres. The Sicán National Museum is a center for research, conservation and dissemination of the cultural manifestations of the Lambayecan population, particularly the muchik and Quechua ethnic cultural matrices of the rural communities of the coast and mountains of the province of Ferreñafe. Its collections come mostly from archeological contexts located in the Historic Sanctuary of Pomac Forest and the La Leche River Hydrographic Basin. The museum works to defend the dry forest of Pómc, an important natural resource for the region and the country through education, prevention and preservation of nature. He also leads the issue of native cotton for recovery and enhancement with organized groups of women.
Para mantener el agua fresca. También sirve para dar a conocer nuestra leyenda y cultura tradicionales Brunkas como están representados en esta pieza. For maintaining/preserving cold water. In addition it serves to acquaint/inform about the legends and culture of the Indigenous Borucans which are represented in this piece.
Sirve para sentar a los niños para que las ágüelas se sienten a tejer. Serves as a place where children can sit; as a place where grandmothers can sit down for knitting.
Una réplica de incensario utilizado en rituales indígenas. A replica incense burner was used in indigenous rituals.
The museum was born in 1996 from a community-school proposal with the purpose of rescuing the mapuche culture’s memory and remember and make present the belonging of these people to the community. Currently, the museum has become a great family chest, holding objects that have been preserved and passed down for generations to be donated and shared with the new generations and thus strengthen and share the identity of all who are apart of the Malalhue community. El museo nace el año 1996, de una propuesta comunitaria-escolar, con el propósito de rescatar la memoria de la cultura mapuche, y de recordar y hacer presente la pertenencia de este pueblo a la comunidad. Actualmente el Museo se ha convertido en un gran baúl familiar, albergando objetos que se han conservado y traspasado por generaciones, para luego ser donados y compartidos con las nuevas generaciones y de esta forma fortalecer y compartir la identidad de todos quienes forman parte de la Comunidad malalhüina.
Artefacto macizo de fierro con la cabeza deformada e incisiones en uno de sus costados, empleado para la partición de trozos de madera. Donado por Eriberto Pérez. Solid iron artifact with a deformed head and incisions in one of its sides, used to split pieces of wood. Donated by Eriberto Pérez.
Artefacto aerófono similar a la flauta, confeccionado de piedra talco (esteatita) con 2 canales. Recopilado en Valdivia en Quinta Kramer el 21 de marzo de 1991 y re-armada en abril de 1991. Flute-like aerophone artifact made of talc stone (soapstone) with 2 channels. Compiled in Valdivia at Quinta Kramer on March 21, 1991 and re-assembled in April 1991.
Est pieza utilizada para el juego del tradicional juego de los Diablitos. Su uso es para comunicar or reunir los Diablitos. This piece is used for the traditional game of Little devils: Its usage is to communicate with or to gather Little devils characters during the ritual celebration.
Figura antropomórfica de entierro 2 - Burial anthropomorphic figure 2
Figura antropomórfica de entierro en miniatura del entierro en pirámides de Túcume. Miniature burial anthropomorphic figure from burial in Túcume pyramids.
[ES] [EN]For carrying out different articles
Cántaro con caras colmillos - Fanged faces pitcher
Cántaro escultórico. Su cuello es evertido con decoración de líneas y bandas pintadas de color blanco. El cuerpo es globular con representaciones de 4 rostros humanos que presentan colmillos, cada rostro está en un lado y tiene líneas finas de color negro que complementa la imagen de los rostros. Por ejemplo, la nariz, en relieve, tiene delineados los orificios y debajo de esta presenta dos círculos con un punto en el centro. También los labios semi abiertos dejan ver los dientes delineados y a los extremos se observan dos colmillos hacia abajo y junto a estos, hacia el interior, dos colmillos hacia arriba. Finalmente, presenta una base pedestal que tiene decoración de círculos negros. A clay sculpture pitcher (also known as a Cántaro). Its neck is covered with decoration of lines and bands painted white. The body is of round shape with representations of 4 human faces with fangs. Each face is situated on a side and has fine black lines complementing it. Per example, the embossed nose is delineated and has defined orifices below which is presented 2 circles with points in the centre. In addition, the lips of the faces are half opened allowing us to see the teeth which are also delineated and at both extremities of each mouth, two fangs are seen pointing downward and, next to these from the inside, two fangs pointing upwards. Finally, the object has a pedestal base delineated with decorations of black circles.
Elaborado en la época Sican (750-1350 AD)
Un método tradicional para llamar a la comunidad en caso de trabajo. A traditional method to call the community in case of work.
Cuenco decorativo hecho de calabaza. Decorative bowl made from a gourd.
Este objeto es de instrumento musical el cual era usado en ceremonias indígenas y también para alegrar las fiestas. This object is a musical instrument that is used in indigenous ceremonies and is also used to rejoice and entertain the crowds in festivals.
Máscara de boruca tradicional - Traditional Borucan mask
La máscara representa la lucha en el momento de la conquista española. Se usa para la Danza de los Diablitos. The mask represents the struggle at the time of the Spanish conquest. It is worn for the Dance of the Little Devils.
Molde de madera para hacer queso. El molde en forma de cazuela tiene una protuberancia en el centro que le da la forma característica al queso. En la parte inferior tiene cuatro agujeros para que drene el suero. Mould of wood for making cheese. The mould in shape of casserole has ones protuberance in the centre that gives the characteristic shape to the cheese. At bottom it has four holes in order that it drains the whey.
Clavo macizo de hierro empleado para la fijación de los durmientes en la línea del ferrocarril. Donado por Eriberto Pérez. Solid iron nail used to fix the sleepers on the railway line. Donated by Eriberto Pérez.
Objeto esférico con una perforación diametral que sirve de plomada para el huso o fuso para hilar. Donado por Claudio Paillalef. Spherical object with a diametrical perforation that serves as a plumb line for the spindle or spindle for spinning. Donated by Claudio Paillalef.
Candil pássaro islâmico - Islamic bird oil lamp
Lâmpada a óleo de metal zoomórfica. Tem a forma de um pássaro em pé com uma cauda aberta. O bico do canal nasce na área do peito. Na cauda e na crista tem orifícios circulares para suspensão. As patas de três dedos e "esporão" estão aparafusadas. Essa lucerna representa uma pomba que, para o mundo islâmico, não possui um valor iconoclasta ou religioso como na arte copta ou bizantina, mas foi usada por seu valor estético em todos os tipos de objetos. Apesar das diferenças em relação a outras lâmpadas metálicas islâmicas, este espécime mostra algumas características formais, decorativas e técnicas que o vinculam a produções do Oriente Médio dos séculos 10 a 13; a representação de um pássaro também é conhecida em vasos e queimadores de incenso de bronze da Anatólia, Irã, Afeganistão, Síria ou Egito dos séculos 11 a 12. Zoomorphic metal oil lamp. It has the shape of a standing bird with an open tail. The channel spout is born in the chest area. On the tail and crest it has circular holes for suspension. The three-toed and "spur" paws are screw-on. This lucerne represents a dove that, for the Islamic world, does not have an iconoclastic or religious value as in Coptic or Byzantine art, but was used for its aesthetic value in all types of objects. Despite the differences regarding other Islamic metallic lamps, this specimen shows us certain formal, decorative and technical characteristics that link it to near-eastern productions from the 10th to the 13th centuries; the representation of a bird is also known in bronze incense burners and vases from Anatolia, Iran, Afghanistan, Syria or Egypt from the 11th - 12th centuries.
Se utilizaba para hacer los techos de las casas It is used for tiling the roofs of houses.
Pipa ceremonial de forma antropomorfa, elaborada de piedra talco. Encontrada en el sector norte del fortín Curiruka. Anthropomorphic ceremonial pipe, made of talc stone. Found in the northern sector of the Curiruka fort.
Artefacto de madera empleado como utensilio doméstico en la contención de líquidos, pre-senta asa sin orificio. Donado por Bladimir Zúñiga. Wooden appliance used as a household utensil for liquid containment, it has a handle without a hole. Donated by Bladimir Zúñiga.
Objeto antropomorfo - Bronze Anthropomorphic Object
Artefacto de metal con características antropomorfas, hecha en bronce. De la cabeza sobresale un semicírculo con una perforación. La figura se trabajó en volumen sólo por el anverso, el reverso permanece totalmente plano. Presenta un cinturón hecho con círculos. Los Ngenpines, Machis y Caciques, los usaban como un elemento protector representante de un Ngen: si es la imagen de un hombre con los brazos abajo simboliza poder, por el contrario, si es una mujer de brazos abajo es de malas energía. Se dejaba bajo la almohada o se llevaba en la mano como una herramienta de poder. Normalmente era de bronce. Metal artifact with anthropomorphic characteristics, made of bronze. A semicircle with a perforation protrudes from the head. The figure was worked in volume only by the obverse, the reverse remains totally flat. It features a belt made with circles. The Ngenpines, Machis and Caciques, used them as a representative protective element of a Ngen: if it is the image of a man with his arms down, it symbolizes power, on the contrary, if he is a woman with his arms down, it is of bad energy. It was left under the pillow or carried in the hand as a power tool. Usually it was bronze.
Instrumento musical de viento, confeccionado de piedra talco (esteatita) con 1 canal circular interno que se hace más fino en la parte inferior y dos asas de forma circular perforadas en el centro. Similar al silbato, posee una sola nota. Presenta faltantes en la parte superior e inferior. Recoplectadi en San José -Quintrehueque. Wind musical instrument made of talc stone (soapstone) with 1 internal circular channel that is made thinner at the bottom and two circular perforated handles in the center. Similar to the whistle, it has a single note. It has gaps at the top and bottom. Recoplectadi in San José -Quintrehueque.
Tamiz de madera y tela perforada, utilizado para tamizar harina. Sieve made of wood and perforate fabric, used to sift flour.
El señuelo del pato de madera solía practicar tiro. Marcas de bala en la madera. Wooden duck decoy used to practice shooting. Bullet marks on the wood.
Part of the collection of the National Archaeology Museum of Lisbon. The National Archaeology Museum of Lisbon, founded in 1893 by notable archaeologist José Leite de Vasconcelos, is one of the most important Portuguese museums dedicated to Archaeology.
Cerámica de animal con bebe - Ceramic of animal with baby
Botella escultórica con representación zoomorfa. Presenta gollete de paredes ligeramente divergentes rectas, asa estribo posterior, cuerpo escultórico, base pedestal y fondo plano. La superficie externa ha sido bruñida. Representa a un mamífero cargando a su cría. A clay sculpture in the form of a bottle with zoomorphic representations. It presents a neck slightly divergent from an exact straight line. It has a posterior stirrup handle and a sculpturesque body with a pedestal base and a flat bottom. The external surface was burnished. This artefact represent a mammal carrying its puppies {or baby mammals}.
Museo Historico y Antropológico Maurice van de Maele
Museo de la Exploracion Rudolph Amandus Phillippi
Objeto de piedra trabajado conocido como “calero”, con forma ovoide, Tiene una representación zoomorfa en relieve. Object of sculpted stone known as “calero” which has an ovoid form (i.e. egg form). It has a zoomorphic representation.
Artefacto empleado como recipiente de almacenamiento, confeccionado con una ubre de vaca, vacía y seca. Le falta una de las tetillas, y en la parte superior hay indicios de una posible amarra que en algún momento se usó para cerrar el conjunto. Artifact used as a storage container, made with a cow's udder, empty and dry. One of the nipples is missing, and at the top there are indications of a possible tie that at some point was used to close the set.
Bola de peidra - Stone ball / Petrosphere
Las bolas de piedra parecen detener el tiempo para que veamos la habilidad, ingenio y sabiduría de nuestros ancestros, quienes dominaron este territorio en los tiempos precolombinos. Principalmente por su cantidad, significado y casi perfección las esferas de piedra son únicas del Sur de Costa Rica, testimonio de las sociedades pasadas y por ende poseedoras de relevancia mundial. The Stone balls have held up the test time for us to see the ability, ingenuity and wisdom of our ancestors that dominated this territory in pre-Columbian times. Mostly for their quantity, significance and being almost perfect in shape, the stone spheres are unique to the south of Costa Rica, acting as a testimony for past societies and therefore possess global relevance. Estos objetos representan la identidad grupal y el poder. Según las historias de nuestros antepasados las esferas eran sagradas y usadas como símbolos de rango y marcadores territoriales. También, las esferas encontradas en sitios de la zona sugieren un significado astronómico y ritual. La manufactura de las esferas se dio entre los años 400 y 1500 d.C desarrollándose la mayor producción entre 800 y 1500 d.C. En cuanto a su tamaño, se han encontrado esferas desde los pocos centímetros hasta los 2,5 metros, con un peso de 16 toneladas. Los materiales utilizados para elaborarlas son gabro, granodiorita y algunas en piedra caliza. These objects represent group identity and power. According to the stories of our ancestors the spheres were sacred and used as rank symbols and territorial markers. Also, the spheres found in sites in the area suggest astronomical and ritual significance. The manufacture of the spheres occurred between 400 and 1500 A.D., with the greatest production being developed between 800 and 1500 A.D. As for its size, spheres from a few centimeters to 2.5 meters have been found, weighing 16 tons. The materials used to make them are gabbro, granodiorite and some in limestone.
Cántaro de cerámico ceremonial, su forma es la representación del vientre de la madre y se crea a partir del nacimiento del bebe, se le da a la madre con semillas en su interior y de-pendiendo de la germinación es como vendrá él bebe (si la semilla crece verde y fuerte, de igual modo nacerá el bebé, o si crece triste y marchita, entonces la madre debe cuidarse). Donado por Jorge Chandía, cuando se estaba haciendo el camino forestal. Ceremonial ceramic pitcher, its shape is the representation of the mother's womb and is created from the birth of the baby, it is given to the mother with seeds inside and, depending on the germination, it is how he will come (if the seed grows green and strong, in the same way the baby will be born, or if it grows sad and withered, then the mother must take care of herself). Donated by Jorge Chandía, when the forest road was being made.
Jarro de metal esmaltado - Enameled metal jug
Artefacto de hierro esmaltado, empleado como tetera que es parte de un juego de té infantil (compuesto por tetera con tapa, azucarero con tapa, lechero, 4 tazas con sus platos y bandeja, total 14 piezas). Fueron propiedad de Emilia Balde Schilling, abuela de la donante Johanna Saelzer Roeschamnn. Enameled iron artifact, used as a teapot that is part of a children's tea set (consisting of teapot with lid, sugar bowl with lid, milkman, 4 cups with their plates and tray, total 14 pieces). They were owned by Emilia Balde Schilling, grandmother of the donor Johanna Saelzer Roeschamnn.
Mortero de piedra de uso doméstico, con orificio contenedor usado para la molienda de semillas y granos. Donado por Luis Silva. Stone mortar for domestic use, with container hole used for grinding seeds and grains. Donated by Luis Silva.
Ferramenta usada por carpinteiros navais para puxar o cinzel de calafetagem durante a operação de calafetagem, que enche e calafeta as articulações ou bloqueia rachaduras em vasos de madeira. A calafetagem permite que barcos e embarcações de madeira flutuem. O martelo para calafetagem de madeira tem a forma de um martelo com uma cabeça cilíndrica grande com bordas de metal e uma alça. Tool used by naval carpenters to draw down the caulking chisel during the caulking operation which fill up and caulk the joints or block up cracks in wood vessels. Caulking allows wood boats and vessels to float. Wood caulking-mallet has the shape of a hammer with a large cylindrical shape head with metal edges and a handle.
Vasija trípode jaguar - Jaguar tripod vessel
Figura zoomorfa tripada, representa el poder y la fuerza. Réplica del jaguar precolombino. A zoomorphic tripod figure that represents power and strength. Pre-Colombian jaguar replica.
It was common for men to do weaving in West African countries. By means of heddle pulleys the weavers separate the warp threads into ‘fans’ by means of foot pedals. Then the weft threads are ‘shot through’ these ‘fans’. Thus, fabric is created. These heddle pulleys were often carved, and with this one, a face can be made out on one of the sides. Often the faces were of goddesses, so the weavers could look at beauty while they work. Sources: Smithsonian National Museum of African Art
Artefacto de uso doméstico, usado como recipiente de base plana, cuerpo cónico y un asa lateral de forma romboidal. De color café oscuro. *Llicampi: Tazas pequeñas sin asa usados en Lanalhue localidad del sur de Chile dentro del área de la cultura mapuche (tesauroregional.cl). Household appliance, used as a flat-bottomed container with a conical body and a rhomboidal side handle. Dark brown in color. *Llicampi: Small cups without handles used in Lanalhue, a southern Chilean town within the Mapuche culture area (tesauroregional.cl).
Figura antropomórfica de entierro - Burial anthropomorphic figure
Cuchillo de sacrificio - Sacrificial knife
Cuchillo utilizado en personas sacrificadas encontradas en entierros en pirámides de Túcume. Knife used on sacrificed people found in burial in Túcume pyramids.
Vasija trípode precolombino - Pre-Columbian tripod vessel
El trípode precolombino no tiene patas. Pre-columbian tripod vessel missing its legs.
Su uso era para llevar agua a trabajar. Its usage is for carrying water to work (due to the ability of preserving freshness and temperature of water).
Pequeña máscara de madera - Small wooden mask
Sirve para proteger la identidad del indígena Brunka. Réplica de una máscara indígena más grande Serves for protecting the identity of the indigenous Brunca (i.e from being revealed). Replica of larger indigenous mask.
Réplica del buque trípode indígena con pico animal. Replica of indigenous tripod vessel with animal spout.
Taza de madera de Boruca. Wooden cup from Boruca.
Se usa para mantener agua fria en el hogar. It is used to keep cold water in the home.
Plancha con la inscripción S4 (indica tamaño y modelo), palabra ininteligible y la palabra BARATO. Iron with inscription S4 (indicates size and model), unintelligable word, and the word CHEAP.
Caja de madera con muela para afilar cuchillos y hachas. Wooden box with grindstone for sharpening knives and axes.
Barbados has long been an important stop over site for migrating birds on their southbound migration to South America where they pass the non-breeding (southern summer) season. Ospreys are migratory birds that eat fish. The Osprey (Pandion haliaetus) seen here, is almost as old as the Barbados Museum itself, entering the collection in 1935.
Artefacto cerámico de diseño rojo sobre blanco, de cuello largo evertido y dos pequeñas asas en la parte superior del cuerpo. De uso doméstico. Fue donado en el tiempo en que se hizo la haciendo la carretera. Ceramic artifact of red on white design, with an everted long neck and two small handles on the upper body. For domestic use. It was donated at the time the road was made.
Réplica rastra de clavo - Harrow Replica
Réplica de un utencilio de madera, alargado y con cabeza triangular, para las faenas agrico-las, por medio del arrastre por tracción animal para la formación de zanjas para el cultivo. Replica of an elongated wooden utensil with a triangular head, for agricultural tasks, by means of animal traction dragging to form ditches for cultivation.
Jarro de cerámica con incrustaciones - Inlaid ceramic jug
Jarro de cerámica de base plana, con una franja en sobrerelieve a la altura del cuello, donde se le han incrustado 7 fragmentos de loza blanca refinada decorada con motivo “Blue Willow”. Presenta asa en arco de correa. Recuperada en Cocule, comuna de la Unión, en 1968. Ceramic jug with a flat base, with an embossed stripe around the neck, where 7 fragments of refined white earthenware decorated with the “Blue Willow” motif have been embedded. It has a strap bow handle. Recovered in Cocule, commune of the Union, in 1968.
Cuerno Kull-kull. Objeto de tradición mapuche. Artefacto aerófono confeccionado de una asta de res. De uso ceremonial en Nguillatunes y Machitunes. Tiene una escotadura en la punta, formando una boquilla. Kull-kull horn. Mapuche tradition object. Aerophone artifact made from a beef horn. For ceremonial use in Nguillatunes and Machitunes. It has a notch at the tip, forming a mouthpiece.
Cocina con ollas - Wood stove child's toy
Conjunto de juguetes, confeccionados en metal con asas de bronce. Representan una cocina a leña con y implementos. Son 5 objetos que se describen a continuación: Olla de metal con asas de bronce, con tapa. Alto: 5,9 cms, diámetro 7 cms. Olla de metal con asas de bronce, con tapa. Alto: 5,9 cms, diámetro 7 cms. Sartén con tapa y mango de metal negro. Alto 4,5 cms, diametro 7 cms. Fuente para sopa de forma ovalada, con tapa y asas de bronce. Eje focal 11,8 cms. Eje normal 6,2 cms. Alto 4,5 cms. Rallador confeccionado en metal plateado. Largo 11 cms 4,5 cms de ancho. Set of toys, made of metal with bronze handles. They represent a wood stove with and implements. There are 5 objects that are described below: Metal pot with bronze handles, with lid. Height: 5.9 cm, diameter 7 cm. Metal pot with bronze handles, with lid. Height: 5.9 cm, diameter 7 cm. Frying pan with lid and handle in black metal. Height 4.5 cm, diameter 7 cm. Oval-shaped soup bowl with a lid and bronze handles. Focal axis 11.8 cm. Normal axis 6,2 cms. Height 4.5 cms. Grater made of silver metal. Length 11 cm 4.5 cm wide.
Artefacto de uso doméstico, conformado por 2 cuchillos paralelos de forma curva y con dos mangos de madera. Sirve para picar verduras. Household appliance, consisting of 2 parallel curved knives with two wooden handles. It is used to chop vegetables.
A. Jacob y Cía. Suc. De Burmeister y Cía. Valparaíso.
Piel de ubre de vaca con forma de olla. Función de almacenamiento de alimentos (guardaba harina y todo tipo de semillas). Donado por José Manuel Lienlaf. Pot-shaped cow's udder skin. Food storage function (stored flour and all kinds of seeds). Donated by José Manuel Lienlaf.
Réplica aspa para enrollar lana / Aspawe - Wool winder replica
Utencilio doméstico hecho con caña de quila, utilizado para armar/madejar lana (puede ser confeccionado con maderas variadas). Household utensil made with quila cane, used to assemble / skein wool (can be made with various woods).
Artefacto textil en hilo de oro sobre fondo de raso color crema y bordes de tela roja, es utilizado como objeto litúrgico del rito tradicional católico, disponiéndolo sobre el cubre-cáliz y cáliz respectivamente. Su color depende del día litúrgico en que se utiliza. A partir del Concilio Vaticano (Papa Juan XXIII, 25 enero 1959), su uso fue disminuyendo. Textile device in gold thread on a cream satin background and red cloth edges, it is used as a liturgical object of the traditional Catholic rite, placing it on the chalice and chalice cover respectively. Its color depends on the liturgical day in which it is used. From the Vatican Council (Pope John XXIII, January 25, 1959), its use decreased.
Jarro pitrén/ Metawe - Striped Pitcher
Jarro asimétrico de forma anfibiomorfa. Presenta asa puente. Su color es rojo decorado con técnica negativa mediante ahumado de color negro. La pieza se encuentra restaurada. Asymmetric jug with an amphibiomorphic shape. It has a bridge handle. Its color is red decorated with negative technique through black smoked. The piece is restored.
Ornamento parte del vestuario, zapatos de taco talla 76, confeccionados con raso blanco. Presenta inscripciones "34 cm, Tb, 48, L5." Ornament part of the wardrobe, heels size 76, made of white satin. It has inscriptions "34 cm, Tb, 48, L5."
Candelabro Bávaro - Bavarian Candlestick
Artefacto de madera policromada, en color blanco y con motivo de la rosa de los Alpes. Per-teneció a una misión Capuchina en el sur de Chile. Polychrome wooden artifact, in white and with the motif of the rose of the Alps. It belonged to a Capuchin mission in southern Chile.
Barril en proceso de fabricación formado por 12 tiras de madera unidas por tres anillos de hierro. Barrel in process of manufacture formed by 12 strips of wood joined by three rings of iron
Forma de zapato de madera - Wooden shoe form
Par de formas inglesas del número 34, con suelo de hierro. El tercio superior de la forma se corta para facilitar su extracción una vez que se termina el zapato. La forma se emplea como una superficie de trabajo para la preparación de zapatos, así como un modelo, que se distingue por la puntera y el corte superior. Pair of English shapes of the number 34, with soil of iron. The upper third of the shape is sawed to facilitate his extraction once the shoe is finished. The shape is employed like a surface of work for the preparation of shoes, as well as a model, distinguised by the toe and the upper cut.
Contenedor de pollo - Chicken feed container
Ceramic container of cylindrical form manufactured by Wheel used to drink the hens. Recipiente cerámico de forma cilíndrica fabricado por Wheel para beber las gallinas.
Botella escultórica representando la cabeza de una llama; tiene gollete cónico, asa cintada que une el gollete y el cuerpo, presenta soporte pedestal troncocónico, se aprecia bruñido como tratamiento de la superficie externa, la pasta es de color gris claro con tonalidades oscuras producto de la cocción en horno de atmosfera reductora. Como elemento decorativo presenta una aplicación que representa una soga sobre el hocico del animal, demarcando los detalles de la soga mediante pequeñas incisiones oblicuas. A clay sculpture in the form of a bottle representing the head of the llama animal. It has a conical neck. The handle is in the form of a belt that joins the neck and the body presenting a support for a pedestal which is in turn in the form of cone trunk. The external surface appears to be burnished. The paste of such surface is of light grey colour with obscure tones produced from oven baking/oven cooking in a reduced atmosphere. On the object, as decorative element, we can see a rope like shape acting as a snout on the face of the animal, in which the details (of such rope) are demarcated as small oblique incisions.
Botella escultórica representando un camarón; es una vasija pulida, la pasta es de color naranja. A clay sculpture in the form of a bottle representing a Caridean shrimp, it is a polished vessel, the paste of the surface is of orange colour.
Whales are common in the North Atlantic, and since ancient times people have used their meat and oil. In regions with no trees, bones were fashioned into household items that would usully be made from timber; this handled cup is made from a backbone. It is unfinished, and you can see the inside isn’t fully hollowed-out. Early People gallery ARC 85130
Tradional Shetland farmsteads had outbuildings connected to the house, so people could go through to the byre to tend to the cattle, even in the strongest winter gale. For centuries light came from fish-oil lamps. Once imported glass became common around 1800, people used candle lanterns because they protected the flame from draughts. Home & the Land gallery FPL 65678
Mujer con tambor ceramico - Woman with drum ceramic
Vasija labio recto y gollete ligeramente evertido, en la cara posterior se puede observar a un personaje femenino que observa hacia unos de sus lados sujetando un instrumento de percusión entre sus manos y sus rodillas, los pies están juntos, en la cara posterior se observa un asa tubular semicircular que parte de uno de los costados de la cabeza de este personaje y que se adhiere a la espalda de este personaje. A clay sculpture in the form of a bottle with a straight lip vessel and a slightly pointed neck. On the back face of this vessel, you can see a female character which gazes in the direction of one of its sides holding between her hands and her knees a percussion instrument with her feet being together. We can observe also on the back face, a semi-circular tube-shaped handle that exits one of the sides of the head toward the back of this person’s figurine.
Botella Huaco Rey pintada de cara-gollete. Presenta labio adelgazado, gollete de paredes convergentes rectas, cuerpo esférico achatado horizontal, y base pedestal con el fondo ligeramente convexo. Tiene un asa cintada ubicada en la cara posterior, que une la mitad del gollete con el diámetro máximo del cuerpo. La superficie externa ha sido bruñida. El color no es uniforme debido a manchas de cocción. A Huaco Rey bottle with a neck in the form of a face. This object has a neck of straight converging sides with a thin lip. It has a horizontal flattened spherical body, and a pedestal base with a slightly convex bottom. It has a belted handle located on the back side, which joins the half of the neck with the maximum diameter of the body. The outer surface has been burnished. The colour is not uniform across the surface and this is due to cooking and baking stains.
Huaco Rey en Blackware - Blackware Huaco Rey
Botella Huaco Rey de cara-gollete. Presenta labio adelgazado, gollete de paredes convergentes rectas, cuerpo esférico achatado horizontal, base pedestal, y fondo convexo. Tiene un asa cintada ubicada en la cara posterior, que une la mitad del gollete con el diámetro máximo del cuerpo. La superficie externa ha sido bruñida. El color no es uniforme debido a manchas de cocción. A Huaco Rey bottle with a neck in the form of a face. It has, a neck of straight converging sides with a thin lip. It has also a horizontal flattened spherical body, and a pedestal base with a convex bottom. It has a belted handle located on the back face, which joins the half of the neck with the maximum diameter of the body. The outer surface has been burnished. The colour is not uniform across the surface and this is due to cooking and baking stains.
Figura sosteniendo un animal Blackware - Figure holding an animal Blackware
Botella escultórica con representación antropomorfa. Presenta labio adelgazado, gollete de paredes convergentes rectas, cuerpo escultórico, y base plana. Tiene evidencias de una asa cintada, ubicada en la cara posterior, que une el extremo inferior del gollete con el diámetro máximo del cuerpo escultórico. La superficie externa ha sido bruñida. El color no es uniforme debido a manchas de cocción. Sculptural bottle with anthropomorphic representation. It has a neck of straight converging sides with a thin lip. It has a sculptural body and a plane base. It has a belted handle located on the back face which joins the lower extremity of the neck with the maximum diameter of the sculptural body. The outer surface has been burnished. The colour is not uniform across the surface and this is due to cooking and baking stains.
Se trata de un molusco que en su cara anterior presenta franjas semicirculares sobre su superficie, en la cara posterior tiene una forma cónica con una concavidad en uno de sus extremos cubierta por su propia estructura. Este molusco es un Strombus que usualmente se usa como instrumento musical. This model represents a mollusc animal which has on its frontal face surface semi-circular fringes and on its back face it has a conical form with a concavity in one of its extremities covered by its own structure. This mollusc is a Strombus which is usually used as a musical instrument.
Cántaro antropomórfico - Anthropomorphic cántaro
Cántaro escultórico miniatura con representación antropomorfa. Presenta labio ligeramente engrosado, cuello de paredes divergentes rectas, cuerpo escultórico, y base plana. La superficie externa ha sido bruñida. A miniature clay sculpture pot or pitcher (also known as a Cántaro) with anthropomorphic representation. It has lips that are slightly thickened, a divergent straight neck, a sculptural body, and a flat base. The outer surface has been burnished.
Vasija de perro gruñendo - Snarling dog vessel
La mitad superior del cuerpo tiene una representación escultórica de un personaje zoomorfo (probablemente un perro). En la cara anterior del cuerpo del cántaro presenta la cabeza escultórica de forma ovalada con los ojos circulares moldeados e incisos, hocico prominente, nariz trapezoidal con 02 orificios nasales incisos, boca horizontal rectangular mostrando los dientes triangulares moldeados, y orejas redondeadas con una depresión excisa en el centro. El rostro está cubierto con líneas curvadas moldeadas, a manera de arrugas. Alrededor del cuello presenta un collar moldeado decorado con una serie de semicírculos moldeados. El extremo superior de la mitad superior del cuerpo del cántaro, tiene un elemento circular moldeado que representa el cuerpo del personaje zoomorfo. De este elemento se desprende 04 patas flexionadas moldeadas. Los extremos de las patas están decorados con 02 líneas horizontales incisas, complementadas con una serie de líneas verticales incisas, a manera de dedos. Presenta una cola de forma triangular. The upper half of the body has a sculptural representation of a zoomorphic character (probably a dog). On the anterior or frontal face of the body of this Cántaro (pitcher), there is a sculpted head which has an oval shape with circular and incised eyes and prominent and trapezoidal snout with 2 incised nostrils. The mouth is of rectangular and horizontal shape and showing triangular shaped teeth. The ears are rounded with a depression in the middle. The face is covered with molded curved lines, like wrinkles. Around the neck features a molded necklace decorated with a series of semi-circles which are also molded. The upper end of the upper half of the body of the Cantaro or pitcher has a circular shaped element that represents the body of the zoomorphic character. From this element, 4 molded flexed legs comes off. The ends of the legs are decorated with two incised horizontal lines, complemented by a series of incised vertical lines, the shape of fingers. This artefact has also a triangular shaped tail.
Botella escultórica con representación zoomorfa. Presenta labio ligeramente adelgazado, gollete de paredes verticales rectas, 02 agarraderas semicirculares con una perforación central, cuerpo escultórico, y base convexa. La superficie externa ha sido bruñida. El color no es uniforme debido a manchas de cocción. A sculptural bottle with zoomorphic representation. It has a vertical straight neck with a slightly thin lip. It has 2 semi-circular handles with a central perforation. It has a sculptural body and a convex base. The outer surface has been burnished. The colour is not uniform across the surface and this is due to cooking and baking stains.
Estátua de bronze de mercúrio - Mercury bronze statue
Escultura antropomórfica encontrada na vila romana da Quinta de S. João / Quinta da Laranjeira (Arrentela, Seixal), utilizada nas práticas culticais do período romano (entre os séculos III e IV). Fundido em bronze, foi posteriormente modificado pela aplicação de uma haste de latão soldada ao braço direito, parcialmente amputado. Mercúrio está de pé e é considerado um jovem nu, coberto apenas com um manto sobre o tronco. Vestindo um chapéu com duas asas pequenas e segurando na mão esquerda o caduceu, pau onde entrelaçam duas cobras. O fim dos membros inferiores está quebrado. Um dos atributos mais comuns está faltando, a bolsa de moedas tradicional realizada pela mão direita, substituída pela haste de latão. A superfície achatada disto na extremidade inferior sugere que pode representar um remo, talvez pedindo proteção divina para a navegação e o comércio fluvial e marítimo que na época já caracterizavam o estuário do rio Tejo. Anthropomorphic sculpture found in the roman villa at Quinta de S. João / Quinta da Laranjeira (Arrentela, Seixal), used in cultic practices in the Roman Period (between 3rd and 4th centuries). Casted in bronze, was further modified by application of a brass rod welded to the, partially amputated, right arm. Mercury is standing and figured as a young naked man, covered only with a mantle over his torso. Wearing a hat with two small wings and holding in the left hand the caduceus, stick where interlace two snakes. The end of the lower limbs is broken. One of the most common attributes is missing, the traditional coin purse held by the right hand, replaced by brass rod. The flattened surface of this at the lower end suggests that may represent an oar, perhaps calling for divine protection for navigation and the fluvial and maritime trade which at the time already characterized the estuary of the Tagus river.
Tigela de louça comum com excesso de queima, produzida na oficina de cerâmica romana da Quinta do Rouxinol (Seixal) (finais do século II e III) para consumo de alimentos à mesa. O fragmento restante corresponde a aproximadamente metade do objeto. Exibe um aro virado para dentro, a parede é vertical com uma carinação baixa e pouco pronunciada, a superfície externa é finalizada na forma de polimento. Complete over-fired common ware bowl, produced in the roman pottery workshop of Quinta do Rouxinol (Seixal) (late 2nd century and 3rd century) for food consumption at the table. The remaining fragment corresponds to approximately half of the object. Displays a rim turned inwards, the wall is vertical with a low and little pronounced carination, external surface is finished in the form of burnishing.
Lâmpada de cerâmica - Pottery lamp
Candeeiro romano completo, feito de barro caulinítico, usado para iluminação na época romana, produzido na oficina de cerâmica romana da Quinta do Rouxinol (Seixal) (entre a segunda metade do século IV e o início do século 5). A lâmpada tem uma forma elíptica e um tanque fechado. Complete roman lamp made on kaolinitic clay, used for lighting in roman times, produced in the roman pottery workshop of Quinta do Rouxinol (Seixal) (between the second half of the 4th century and the beginning of the 5th century). The lamp has an elliptical shape and closed tank.
Argamassa comum romana - Roman commonware mortar
Argamassa quase completa encontrada na vila romana da Quinta de S. João / Quinta da Laranjeira (Arrentela, Seixal), utilizada na preparação de alimentos, especificamente para moagem. A parte restante possui mais da metade da borda, sobre ela desenvolve o vertedouro. Nearly complete mortar found in the Roman villa at Quinta de S. João / Quinta da Laranjeira (Arrentela, Seixal), used for food preparation, specifically for grinding. The remaining part has more than half of the rim, over it develops the spillway.
Estatueta de terracota de touro romano - Roman bull statuette
Escultura zoomórfica em terracota representando um animal da família bovidae, produzido na oficina de cerâmica romana da Quinta do Rouxinol (Seixal). A estatueta está quase completa, sem apenas um dos chifres. Sob um corpo paralelepipédico, existem quatro pernas cilíndricas. Nas extremidades do corpo também existem duas protuberâncias que podem representar a cauda e a cabeça. Zoomorphic sculpture in terracotta representing an animal of the bovidae family, produced in the roman pottery workshop of Quinta do Rouxinol (Seixal). The figurine is almost complete lacking only one of the horns. Under a parallelepipedic body there are four cylindrical legs. At the extremities of the body are also two bulges that could represent the tail and head.
Pote pequeno de louça comum produzido na oficina de cerâmica romana da Quinta do Rouxinol (Seixal) (segunda metade do século IV e início do século V) para consumo de líquidos à mesa. O aro é virado para o exterior. O corpo tende a um perfil ovóide, com uma base ligeiramente côncava. Duas alças verticais que começam no aro e terminam no meio do corpo. Common ware small pot produced in the roman pottery workshop of Quinta do Rouxinol (Seixal) (second half 4th century and beginnings of the 5th century) for consumption of liquids at the table. The rim is turned outwards. The body tends to a ovoid profile, with a slightly concave base. Two vertical handles that start on the rim and end in the middle of body.
Jarro de cerâmica - Pottery pitcher
Arremessador de louça comum romana (século III), produzido na oficina de cerâmica romana da Quinta do Rouxinol (Seixal) e usado para servir líquidos à mesa. O objeto está completo. Está decorado com linhas cruzadas polidas. Roman common ware pitcher (3rd century), produced in the roman pottery workshop of Quinta do Rouxinol (Seixal) and used for serving liquids at the table. The object is complete. It is decorated with burnished crossed lines.
A hand plane used for shaping wood by hand. To reduce thickness and smooth the surface of the wood. Used by pushing the plane away from the user with both hands. Hand planes have been used since the Romans and continued through Medieval Europe and Asia. Tool used in boat building.
Traditional fishing gear had two main parts – a baited hook to catch the fish, and a weight to sink the line into the sea. This is a specialised sinker that people used where there was a very strong tide, where big fish could be caught. The pointed shape and concave face allowed it to be pulled through the current, but sometimes stones were lost if the line broke. Harvest from the Sea gallery FIS 7479
Around 1900 hundreds of Shetlanders left their native home. It was a time of hardship but also opportunity. People settled elsewhere in Britain, or further afield in the world. This doll belonged to a girl in a seaport where islanders settled as mariners and domestic servants. On the Move gallery SPO 1990.427
Corncrake birds lived in Shetland for thousands of years, nesting in cornfields. However, they have nearly disappered from the islands for over thirty years. People had come to use imported food and animal fodder, so farmers stopped growing oats and barley, and the corncrake’s habitat vanished. Trade & Industry gallery NAT 2007.22
When off on a boat trip, people used this kind of box, known in Shetland as a bøst, to carry food or fishing flies. These boxes were made around Hordaland province, and imported in the 18th century as part of the islands’ trading links with coastal Norway. Boats gallery CON 8153
Jaundice is a symptom, rather than a disease. Shetlanders used folk-remedies to try to cure the condition. One way was to drink water from a stream where three landlords’ estates met. The water was scooped with the big bowl, called a kapp, and the patient sipped it with the little dish. This dish is made from whalebone. Customs & Folklore gallery FPL 2012.480
Communication sped up throughout the twentieth century, but news wasn’t that new by the time it got to Shetland by sea. The wireless meant islanders were up-to-the minute by the 1930s. Radios ran on batteries that were periodically re-charged. Most people went to a firm with a generator, although some homes had a wind-generator. On the Move gallery IMP 1997.16
Bico romano de fonte de jardim com rosto humano e corimbus no topo da cabeça, feito de bronze. A boca é a abertura para a passagem da água. A parte de trás é plana com restos de chumbo que se conectariam a um duto de água. Roman garden fountain spout with human face and corymbus on top of its head, made out of bronze. The mouth is the opening for the water to pass through. The back side is flat with remains of lead that would have connected to a water duct.
Figura de bronze da carruagem romana - Bronze Roman chariot figure
Peça formada por uma quadriga estacionária de cavalos ligados pelas rédeas. Assenta numa plataforma quadrangular com abas com rebordo em três dos lados. Esta está sobre uma base de forma cúbica, oca. Os cavalos têm corpo alongado, pernas hirtas, afastadas umas das outras, e a cauda é bastante espessa, curta e levantada. Mantêm a cabeça inclinada para o centro, parecendo controlados pelo auriga que puxa as rédeas para os suster. Apresentam uma alta crina, que avança para a testa, e duas orelhas arrebitadas. Os olhos são salientes e a boca não está marcada mas encoberta pelas rédeas. A face do cubo voltada para a frente é preenchida, quase na sua totalidade, por uma cabeça de leão que se prolonga pela aba da plataforma. O leão tem uma farta juba, olhos bem assinalados, pequenas orelhas, nariz achatado e uma boca aberta com dois orifícios laterais, donde podia pender uma argola. As arestas são decoradas por incisões em semicírculos irregulares, com um sulco diametralmente colocado, com intenção provável de esquematizar a folhagem. A mesma ornamentação, um pouco ampliada, é utilizada na aba pendente da plataforma; o rebordo desta é recortado por pequenos sulcos paralelos e verticais. De ambos os lados da caixa de inserção, na zona posterior superior dois orifícios, para cravejar a peça à haste de madeira que a suportava. Piece formed by a stationary quadriga of horses connected by the reins. It rests on a quadrangular platform with flaps with flange on three sides. This is on a hollow cubic base. The horses have an elongated body, straight legs, apart from each other, and the tail is quite thick, short and raised. They keep their heads tilted towards the center, seeming to be controlled by the charioteer who pulls the reins to sustain them. They have a high mane, which advances to the forehead, and two protruding ears. The eyes are prominent and the mouth is not marked but covered by the reins. The face of the cube facing forward is filled, almost in its entirety, by a lion's head that extends over the flap of the platform. The lion has a large mane, well-marked eyes, small ears, a flat nose and an open mouth with two side holes, from which a ring could hang. The edges are decorated by incisions in irregular semicircles, with a groove diametrically placed, with the probable intention of schematizing the foliage. The same ornamentation, slightly enlarged, is used on the platform's pendant flap; its edge is cut by small parallel and vertical grooves. On both sides of the insertion box, in the upper rear area, two holes, to secure the piece to the wooden rod that supported it.
A Dentist tool from the 1800s, used to extract teeth. The claw would be fixed between the tooth and gum, and ideally then it would take one turn to remove the tooth.
"Margaret's Head" by Karl Broodhagen terracotta bust
Karl Broodhagen (1909-2002) Margaret’s Head 1955 Terracotta bust Karl Broodhagen (1909–2002) was a Guyanese-Barbadian artist, working mostly in sculpture and paint. Originally arriving to the island to become a tailor’s apprentice, he was awarded a British Council scholarship in 1952 and migrated to London during the Windrush era to study at Goldsmith’s College in London. His experience there exposed him not only to European art, but to non-European cultures, particularly African Art. He returned to Barbados after his studies. He is known for the creation of public statues in Barbados: The Emancipation Statue (officially titled “Slave in Revolt”) on the J.T.C Ramsay roundabout, of Grantley Adams at the Prime Minister offices, and of Garfield Sobers, at Kensington Oval. In addition to these public works, Broodhagen created many portrait busts, citing an interest in the people of Barbados and a desire to decolonize Eurocentric beauty standards. This bust is an example of his fascination with the female figure, not only in physical forms but in the expressions of inner qualities of strength, reflective of so many Caribbean women. He once shared his aims with art critic Derek Bickerton, that he wished “to replace the European standards of beauty still slavishly accepted in the West Indies by standards based on the local inhabitants themselves.” As art writer and artist Chris Cozier states: “Busts like those of social worker and philanthropist John Beckles or Dame Nita Barrow….were clearly about the power of the individual voice and the individual presence in the social space.” His works have toured internationally and are included in UNESCO’s collections, and he was awarded the Gold Crown Merit in 1982. Broodhagen was also a passionate arts educator. In 1947 he established the art department at Combemere School, and on his return from the UK worked as a teacher there until 1996. Source: Art in Barbados: What Kind of Mirror Image? Authors: Alissandra Cummins, Allison Thompson, Nick Whittle. Published 1999.
This is a typical school bell, and is in the collection of the Barbados Museum & Historical Society as one of the visual indicators of the history of education on the island. The foundations of education in Barbados were laid by the philanthropic efforts of private individuals and by the humanitarian interest of the Churches. Most of the existing older public secondary schools were founded by endowments originally intended for the education of white children, during colonization and the period of enslavement. The elementary schools grew out of the modest attempts by the Anglican, Moravian and Methodist Churches to give a Christian education to the enslaved in the period preceding emancipation. These efforts were intensified in the postemancipation period, that is, after 1834, and the setting up of small schools near the church became a common feature of the work of the church in those days. Although the legislature gradually took into its own hands the financing and administration of education, there has remained a close association with the Anglican, Moravian and Methodist Churches as far as education is concerned. The present system developed largely from the 1890 Education Act, which established rigid distinctions between and even within levels of education. In 1932, the Marriot-Mayhew Commission carried out a comprehensive investigation of the Barbados’ educational service. It recommended additional educational programs to cater to specific groups, especially teachers, and to the wider community. As a result, a new Teachers' Training College was opened, new secondary schools were established, and a loan fund was created to assist individuals in obtaining higher education abroad. Technical and vocational training was also introduced. A new Education Act emerged in 1981 that sought to provide greater equality of opportunity. Once universal access to basic education was achieved, the country turned its attention toward reform of the education system to stay current with economic and technological change. The Planning Section of the Ministry of Education, Youth Affairs and Culture compiled a White Paper on Education Reform for Barbados in 1995. Sources: 1. “Historical Developments of Education in Barbados 1686”, Ministry of Education, Barbados. 2. “Barbados: Educational System Overview”, https://education.stateuniversity.com/pages/130/Barbados-EDUCATIONAL-SYSTEM-OVERVIEW.html
Anthropomorphic statue, part of the collection of the Moruga Museum. The Moruga Museum was established in November 2013 by founder of the St Vincent Ferrer Society, Eric Lewis. Based in the rural, seaside community of Gran Chemin in south Trinidad, the Moruga Museum's collections include natural and man-made artefacts that span the prehistoric to post-colonial periods. Although the Museum is focused on exploring the history and people of Moruga, artefacts have been gathered from multiple sites throughout Trinidad and Tobago.
Su uso es de ahorrar dinero. It is used for saving or setting aside money.
Mujer con niño ceramica - Woman with child ceramic
Blackware de cerámica que representa a la mujer que detiene a un niño. Blackware ceramic depicting woman holding a child.
Figura en tocado de plumas de entierro en las pirámides de Túcume. Figure in headdress made from feathers from burial in Túcume pyramids.
Vasija pintada para perros - Painted dog vessel
Gran recipiente de cerámica pintada para perro. El perro es gordo, lo que indica que los perros fueron comidos. Large painted dog ceramic vessel. The dog is fat indicating dogs were eaten.
Cerámica Huaco Blackware - Blackware Huaco ceramic
Vasija de cerámica Blackware Huaco con dos pequeñas criaturas a los lados. Blackware Huaco ceramic vessel with two small creatures on the sides.
Vasija perfilado de dos cabezas - Two-headed profile vessel
Vasija de cerámica de perfil de dos cabezas, rota en trozos y conservada. Two-headed profile ceramic vessel, broken in pieces and conserved.
Pájaro conectado de cerámica - Connected bird ceramic
Vasija de cerámica conectada con figura del aves. Ceramic vessel connected with bird figure.
Vasija de cerámica de cangrejo negro en forma de estribo. Blackware crab ceramic vessel in stirrup shape.
Vasija de cerámica conectada - Connected ceramic vessel
Vasija de cerámica conectada utilizada para ceremonias. Connected ceramic vessel used for ceremonies.
Vasija con forma de cabeza humana utilizada para ceremonias con agua. Blackware. Human head shaped vessel used for ceremonies with water. Blackware.
Vaso réplica con escena mitológica - Replica beaker with mythological scene
Réplica de un vaso de plata de doble pared con escena mitológica. Original se encuentra en el Museo de Arte de Denver. Las imágenes, que cubren las paredes y el fondo de la copa, incluyen una serpiente gigante llena de peces que pueden representar un río. Compuestos arquitectónicos, jardines, botes, cazadores de venados y seres sobrenaturales están incluidos en lo que pueden ser los episodios de una historia mitológica. Replica of a silver double-walled beaker with mythological scene. Original is located at the Denver Art Museum. The imagery, which covers the cup’s walls and bottom, includes a giant serpent filled with fish that may represent a river. Architectural compounds, gardens, boats, deer hunters, and supernatural beings are all included in what may be the episodes of a mythological story.
Humpback Whale vertebral plate. The shore whaling in Barbados started in 1867, primarily hunting humpback whales, which were known to frequent Barbados’ waters in the early part of each year as they migrate from the colder Northern waters of the Atlantic to warmer, Southern climates to mate and calve. The vertebral plate here is from a humpback whale captured in the early 1900s.
This anthropomorphic figurine possibly depicts a carving of a bound ‘prisoner’. The artifact is made of conch shell and was discovered at Fresh Water Bay in St. Michael on the island’s West Coast.
Pez raya de cerámica - Ray fish ceramic
Una cerámica Blackware en forma de pez raya. A Blackware ceramic in the shape of a ray fish.
Una vasija Balckware usada para ceremonias con agua. A Blackware vessel used for ceremonies with water.
Bull's horn, part of the collection of the Charles Town Maroons Museum. The Charles Town Maroons occupied Crawford Town high in the Blue Mountains before signing the Peace Treaty with the British when they moved down to Charles Town on the Buff Bay River, where they remain today. The leader of the Charles Town Maroons was Nanny’s captain, Quao. Maroon communities are led by an elected leader – the Colonel.
It was common for men to do weaving in West African countries. By means of heddle pulleys the weavers separate the warp threads into ‘fans’ by means of foot pedals. Then the weft threads are ‘shot through’ these ‘fans’. Thus, fabric is created. These heddle pulleys were often carved, and with this one, a face can be made out on one of the sides. Often the faces were of goddesses, so the weavers could look at beauty while they work. Baule peoples and their neighbors to the West, the Guro, are famous as weavers, and are known for their fine indigo-and-white cotton fabrics. Scholars have suggested that the prominent display of pulleys, hanging over the weaver’s loom in the public place, afforded artists their best opportunity to showcase their carving skills, in the hope to attract commissions for figures and masks. This figurative pulley with carved a head demonstrates the efforts put by Baule and Guro artists into beautifying the simplest functional object. Sources: Smithsonian National Museum of African Art
The Dan live mostly in the western part of the Côte d’Ivoire and into Liberia. All Dan masks are sacred; they do not represent spirits of the wilderness, they are these spirits. Dan masks are characterized by a concave face, a protruding mouth, high-domed forehead and are often covered in a rich brown patina. There are a variety of Dan face masks, each of which has a different function. They may be the intermediaries, who acts between the village and the forest initiation camp, may act against bush fires during the dry season, used in pre-war ceremonies, for peace-making ceremonies, for entertainment. Over time, many among them have lost their original function and have been recycled into contexts related to entertainment, emerging only for festivals or events organized for visitors. Sources: Zyama Tribal African Art
Escorpión deidad cerámica - Scorpion deity ceramic
Cerámica Blackware que representa una deidad escorpión. Blackware ceramic depicting a scorpion deity.
The monkey jar is a pottery jug used for holding drinking water and keeping it cool. This is because clay is a poor conductor of heat and since the jar is unglazed, water is able to evaporate from its surface to cool the jar. It is known for keeping the water cool. The Monkey jar shows similarity with similar vessels from Africa in its shape and function, giving evidence to support that the design and skill of making this vessel was passed down from enslaved people.
A lamp used in the rooms of the first students (it belonged to an alumna who matriculated in 1949, the second year of the university). Part of the collection of the University of the West Indies Museum. The University of the West Indies Museum, commonly called the UWI Museum, was established in 2012. Its focus is the history and development of the University of the West Indies, and its relationship to the West Indies – now more commonly known as the Caribbean – region, which it serves.
Drone footage of the Barbados Museum and Historical Society
Video: Barbados Museum and Historical Society
Video: The National Museum and Art Gallery of Trinidad and Tobago
Video: National Archaeology Museum Lisbon
Video: Museum of the Universidad Austral de Chile
Video: Ecomuseo de la Cerámica Chorotega, San Vicente de Nicoya
Museo de la Exploracion Rudolph Amandus Phillippi 4
Museo de la Exploracion Rudolph Amandus Phillippi 3
Museo de la Exploracion Rudolph Amandus Phillippi 2
Museo de la Exploracion Rudolph Amandus Phillippi 1
Museo Historico y Antropológico Maurice van de Maele 4
Museo Historico y Antropológico Maurice van de Maele 1
Museo Historico y Antropológico Maurice van de Maele 2
Museo Historico y Antropológico Maurice van de Maele 3
This Amerindian artefact is most recognisable as a face that adorned the Barbados Museum and Historical Society’s logo
The University of St Andrews is Scotland's first university, founded in 1413. Like the University, its Museums are rooted in and draw inspiration from this 600-year history of research and teaching, and the pursuit of knowledge for the common good. The Museums' collections are of national and international interest and importance and consist of around 115,000 artefacts and specimens. Museum collections are featured at the Wardlaw Museum and the Bell Pettigrew Museum, stored and studied in a dedicated Collections Centre, displayed across the University campus, and lent for exhibition nationally and internationally.
The Bob Marley Museum is a museum in Kingston, Jamaica, dedicated to the reggae musician Bob Marley. The museum is located at 56 Hope Road, Kingston 6, and is Bob Marley's former place of residence.
The Museum of Antigua and Barbuda is a museum in St. John's, Antigua and Barbuda. It is housed in the colonial Court House, constructed in 1747 on the site of the first city market, and is the oldest building still in use in the city.
The National Art Gallery of The Bahamas is an art gallery in Nassau, The Bahamas. In September 2011 the gallery announced Amanda Coulson, as the new Director and 4 new staff appointments. John Cox joined the gallery in January 2012 as Chief Curator.
The Museum of Art of Puerto Rico is an art museum in San Juan, Puerto Rico.
Quaint museum featuring African art, history & exhibits relating to the local slave trade.
Modern museum with exhibits on local ecology, art & history, plus a garden, restaurant & auditorium.
Museo de Arte de Ponce is an art museum located on Avenida Las Americas in Ponce, Puerto Rico. It houses a collection of European art, as well as work by Puerto Rican artists.
The Musée du Panthéon National Haïtien is a museum featuring the heroes of the independence of Haiti and the Haitian history and culture.
Indian Caribbean Museum of Trinidad and Tobago
The Indian Caribbean Museum of Trinidad and Tobago in Waterloo, on Trinidad, Trinidad and Tobago. The museum is dedicated to preserving the history of Indo-Caribbean culture.
Contemporary museum offering historical exhibits on the Caribbean's slave trade & indigenous people.
Established in 1828, this former fort is a waterfront mall with a courtyard, stores & bars/eateries.
Castillo Serrallés is a mansion located in the city of Ponce, Puerto Rico, overlooking the downtown area. It was built during the 1930s for Juan Eugenio Serrallés, son of businessman Juan Serrallés, founder of Destilería Serrallés.
The National Archaeological Museum Aruba is an archaeological museum in the city of Oranjestad in Aruba. The collections covers from 2500 BCE to the 19th century. In 1981, the Archaeological Museum of Aruba was opened.
The Parque de Bombas is a historic firehouse building in Ponce, Puerto Rico. It is one of Puerto Rico's most notable buildings, with some considering it "by far the most easily recognized landmark in the Island."
The Museo de las Casas Reales is one of the important cultural monuments built during the colonial era in Hispaniola, now the Dominican Republic. It is located in the Colonial district of Santo Domingo.
The Turks and Caicos National Museum is the national museum of the Turks and Caicos Islands. It is located in Guinep House on Front Street to the north of Cockburn Town on Grand Turk Island, which is also the capital of the archipelago.
Fort Charles was built between 1650 and 1660, the first fort constructed in Port Royal, Jamaica.
Museum documenting city's history as 18th-century pirate base, with replica pirate ship & exhibits.
The Cayman Islands National Museum is a museum in the Cayman Islands. It is housed in the former Old Courts Building on Harbor Drive in George Town, Grand Cayman.
La Pagerie (Maison Familiale de l'Impératrice Joséphine)
The Museum of the Revolution is a museum located in the Old Havana section of Havana, Cuba. The museum is housed in what was the Presidential Palace of all Cuban presidents from Mario García Menocal to Fulgencio Batista.
Exhibits in an 1800s army barracks showing pre-Columbian to modern art from the Americas.
The Grenada National Museum is a museum in St. George's, Grenada. It is housed in a building which served as the French barracks from 1704, built on the foundations of the Fort George.
George Washington House in Barbados is a historic house where the future first U.S. President George Washington visited, in 1751. He was 19 years old at the time, and with his ailing half-brother, Lawrence Washington.
Museo Nacional de Bellas Artes de La Habana
The National Museum of Fine Arts of Havana in Havana, Cuba is a museum of Fine Arts that exhibits Cuban art collections from the colonial times up to contemporary generations.
Interactive children's museum offering exhibits on science & the nation's culture & ecosystems.
The University of the West Indies Zoology Museum
Cork Factory Ecomuseu Municipal do Seixal
Summer Festival on Anguilla is a typical Caribbean emancipation celebration, it has been occurring on the island for over a quarter century. It’s roots however, are found in the decades of old traditional August Monday fairs, Bazaars and the old time Christmas festivities, which features many African influenced cultural expressions of island life. These activities were organized by the churches and featured wirewalkers, May pole dancers, Mock-a-Jumbies and games among other things.
Virgin Gorda Easter Festival Celebrations
When the carnival begins in Santiago de Cuba, the whole city turns into one big party! The carnival of Santiago de Cuba is the largest, most famous, and most traditional carnival in all of Cuba, and is an explosion of colour, contagious drum rhythms, and dance. It is also a time for Cubans to re-gather themselves and remember their history, community, and culture, and is often punctuated by the Cuban national holiday of July 26th.
Poster for the 1974 Carnival of Santiago de Cuba by Leon Petrosyan licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.
Havana's Carnival provides a spectacular display of music, dancing, conga lines, fanciful outfits, fireworks and rum. Carnival comes with some traditions, like effigies of well known people being paraded along the coastal road, Parades run the length of the Malecon and rich traditional music competes with more contemporary sounds. Thousands of Cubans look forward to the traditional carnival festivities, a colorful and explosive show of allegoric floats and dancers. As a complement, dishes from Cuban cuisine and beverages, Cuban cold beer and Cuban rum offered by the Malecon.
After mid 20th century all these influences started to merge together and melt down into one huge national cultural expression on the island that features people from almost fifty different nationalities.
Carnival, or 'The Real Mas', is a pre-Lenten festival, and usually falls in February or March each year. It is unquestionably the most festive season in Dominica. It is hard to miss the fervour of the people's loyalty to their favourite calypsonian or pageant during the preceding months of the Calypso Final and the National Queen Show.
The Carnival in the Dominican Republic is a Dominican celebration that takes place throughout February; although some Dominicans (rarely) celebrate it during Holy Week in March. [1] Dominicans are usually most festive on February 27th, which is the Dominican Independence Day. In Santo Domingo, celebrations include a large military display with the Dominican air force, navy, and army. Festivities often include the wearing of colorful costumes that symbolize Dominican religious and traditional characters such as Calife, Guloya, and Diablo Cojuelo. Festivities take place all over the island, with each town adding its own twist to the celebration.
Carriacou Carnival encompasses wild and wonderfully expressive street dances, soca, fancy mas bands, calypso, the Jab Jab and even the authentic Shakespeare Mas.
In Guadeloupe Islands, Carnival is a major cultural event, which is celebrated over three months: January , February and March. If you are in Guadeloupe Islands during this period, you cannot miss out on this spectacular and colorful event. You will attend parades floats, and many contests! Like for costumes, lyrics and also for choreographies. Count also on the multiple Dance marathons all across the cities to delve into the hypnotic rhythm of Guadeloupe!
Mashramani, often abbreviated to "Mash", is an annual festival that celebrates Guyana becoming a Republic in 1970. The festival, usually held on 23 February (except for the 2016 event, this was held on Guyana's Independence Day, 26 May, to celebrate Guyana's 50th Independence Anniversary)– Guyanese Republic Day – includes a parade, music, games and cooking and is intended to commemorate the "Birth of the Republic".The word "Mashramani" is derived from an Amerindian language and in translation means "the celebration after hard work". It is one of the most colourful of all the country's festivals. There are spectacular costume competitions, float parades, masquerade bands, and dancing in the streets to the accompaniment of steel band music and calypsos. Masquerades frequent the streets performing acrobatic dance routines, a vivid reminder of Guyana's African heritage. Calypso competitions with their witty social commentaries are another integral part of "Mash", and this culminates in the coronation of a King or Queen for the particular year.
Haitian Carnival is a celebration held over several weeks each year leading up to Mardi Gras.
User:Doron, CC BY-SA 3.0 <http://creativecommons.org/licenses/by-sa/3.0/>, via Wikimedia Commons
Martinique's version of Carnival, is a four-day event beginning just before Lent and ending on its first day, with the burning of Vaval, a papier-mâché figure symbolizing Carnival. Businesses close during Carnival.
The Carnaval de Ponce, officially Carnaval Ponceño, is an annual celebration held in Ponce, Puerto Rico. The celebration lasts one week and it ends on the day before Ash Wednesday.
The Toronto Caribbean Carnival is the official Caribbean festival overseen by the Festival Management Committee recognized as a major international event. It’s the largest cultural festival of its kind in North America.
Basile Pachkoff Basili, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons
The Leeds Carnival, also called the Leeds West Indian Carnival or the Chapeltown Carnival, is one of the longest running West Indian carnivals in Europe, having been going since 1967. The carnival is held in the Chapeltown and Harehills parts of Leeds every August bank holiday weekend. Attendance is estimated at about 150,000.
The Notting Hill Carnival is an annual event that has taken place in London since 1966 on the streets of Notting Hill, in the Royal Borough of Kensington and Chelsea, each August over two days (the August bank holiday Monday and the preceding Sunday). It is led by members of the British West Indian community, and attracts around one million people annually, making it one of the world's largest street festivals, and a significant event in Black British culture. In 2006, the UK public voted it onto the list of icons of England. Despite its name, it is not part of the global Carnival season preceding Lent.
S Pakhrin from DC, USA, CC BY 2.0 <https://creativecommons.org/licenses/by/2.0>, via Wikimedia Commons
Leicester Caribbean Carnival is an annual event, held in early August in Leicester, England.
The Nottingham Carnival Weekend, formerly the Nottingham Caribbean Carnival, is a superb multi-cultural event held every summer. The Carnival has been going from strength to strength, developing local artists and practitioners and improving year on year.
St Pauls Carnival is an annual African Caribbean carnival held, usually on the first Saturday of July, in St Pauls, Bristol. The celebration began life in 1968 as the St Pauls Festival, when the idea was "to create an event to help improve relationships between the European, African, Caribbean and Asian inhabitants of the area."
governadoreduardocampos, CC BY-SA 2.0 <https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons
The annual Cambridge Carnival International festival uses the Trinidad and Tobago model to bring together Cambridge’s diverse community for a spectacular annual costume parade and celebration.
White kaolin clay ball tobacco pipe, partial bowl and heel/spur. Decorated with star shapes in relief on both sides, with a vertical feather/leaf pattern down the length of the bowl on two sides. The artifact was found in church village; it is unknown who would have used the pipe, as the village was home to a mixed community of enslaved people and poor whites. It is unknown where the pipe originated, but the shape of the pipe resembles pipes found at archaeological sites in England and on other Anglophone Caribbean islands. The star relief pattern resembles patterns found in the Bahamas. The pipe was likely used pre-Emancipation in Barbados. Photographs and metadata completed by Kaya Hill, Brown University History of Art and Architecture A.B. candidate 2018, during a visit to BMHS.
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Polar bear skull from the collections in the Bell Pettigrew Natural History, part of the Museums of the University of St Andrews.
Porpoise skull from the collections in the Bell Pettigrew Natural History, part of the Museums of the University of St Andrews.
Black Bear Skull from the collections in the Bell Pettigrew Natural History, part of the Museums of the University of St Andrews.
The tailor's goose iron was a long and thin iron, compared to its household counterpart, with handles that resemble that of a goose's neck. It was traditionally used by tailors for smoothing fabric and pressing seams. There were usually multiple irons in rotation: one in use and at least one other being heated over coals or stove. Early flat irons needed to be gripped with some sort of rag to avoid burns to the user's hand. Later designs incorporated methods of having cooler handles for example: a wooden handle.
The iron ball was part of punishment for enslaved people in Barbados. The ball would be fastened to a short chain that was shackled to an enslaved person’s legs. The enslaved person would have to continue labour whilst shackled to the ball, which could weigh from 8 – 10 lbs. Digitized by Toni-Q Harris during the 2018 BMHS 3D Photogrammetry Summer Intensive
This small figurine is a Taíno Zemi. A Pre-Columbian artefact from the Taíno people who inhabited the Caribbean centuries before the arrival of the Europeans around 1492. They were wiped out by European colonialism. This figurine was an important aspect of their culture, representing their religious beliefs. The zemis were modelled after Taíno deities and the Taíno would communicate with them through the inhalation of a hallucinogenic substance called cohoba, which they placed on top of the figurine's small bowl above its head. This figurine is a replica. The original zemi was excavated in Jamaica, and now resides in the British Museum, though not on display.
Scrapers made from a variety of materials were popular tools for Amerindian communities. Scrapers are typically formed by chipping the end of a flake of stone in order to create one sharp side and to keep the rest of the sides dull to facilitate grasping it. Most scrapers are either circle or blade-like in shape. The working edges of scrapers tend to be convex, and many have trimmed and dulled lateral edges to facilitate hafting. In Barbados, as the island is made of limestone and not volcanic rock, scrapers were usually made of conch shell. So it is likely that this stone scraper originated from another Caribbean country. Digitized by Toni-Q Harris during the 2018 BMHS 3D Photogrammetry Summer Intensive
The Cassava grater was part of the preparation process for Cassava by Amerindian communities. Jerome Handler, in his article “Aspects of Amerindian Ethnography in 17th Century Barbados” stated that: “ in processing the cassava, traditional Amerindian techniques generally involved first the scraping off of the skin and then the grating of the root with a grater made of thorny branches, coral, or wood and stone splinters set in a board. In squeezing the juice out of the grated cassava, a cylindrical basketry strainer or press (commonly known as a matapi or tipiti in the ethnographic literature) was employed.” (63) This particular grater also has a motif of a lizard. Animals such as lizards, frogs or turtles were frequent in Taíno art. Source: “Aspects of Amerindian Ethnography in 17th Century Barbados”. Author: Jerome S. Handler. Caribbean Studies, Vol. 9, No. 4 (Jan., 1970), pp. 50-72. Digitized by Toni-Q Harris during the 2018 BMHS 3D Photogrammetry Summer Intensive
The pennywhistle or tin whistle is a musical instrument of the woodwind family. The modern pennywhistle originates in the British Isles, particularly England and Ireland. It is used in all manner of musical genre from Celtic to Jazz music. The pennywhistle found its way to Barbados through British colonialism and is featured prominently in the Barbados Landship and Tuk Band.
The museum is housed in a late 19th century building and is dedicated to diplomat and Nobel-prize-winning poet Alex Leger (pseud. Saint-John Perse). The ground floor is one main room which is a period room. This shows the style in which Leger grew up as a boy in the plantation houses of his parents. Besides the furniture a large collection of 19th and 20th century women’s dresses (from slave clothing to upper class gowns) is on display. The second floor contains 20th and 21st century artworks, mainly by local or French-Caribbean artists. The top floor, an attic room, tells the story of the life and works of Alex Leger. Panels with photographs discuss his youth, his diplomatic life and his poetry (of course, crowned by the Nobel Prize). There are objects here from his personal life.
In 1883 Victor Schoelcher made a donation to Guadeloupe: his collection of statues and reliefs plus objects from his many voyages (wood work from Benin, pre-Columbian Caribbean axes and slave shackles). The museum was opened in 1887. The ground floor is dedicated to Schoelcher's idea for the museum, his donation of objects and his family life. The second floor is divided into his different voyages with objects from each place. It also contains many items related to slavery. The eclectic collection is tied to the reason for his voyages: his political struggle to end slavery in the French colonies. The objects are incredibly diverse. There are plaster casts of famous statues that were made at the Louvre on Schoelcher’s request, porcelain from his father’s factory and the travel collections.
The museum is dedicated to Edgar Clerc, Guadeloupe's first archaeologist. In 1972 he donated his collection for the creation of an archaeological museum. Recently, archaeologists from Leiden University opened an exhibition here, which functions as a new narrative of text panels to accompany the existing objects and displays. It begins with some contextual panels, setting the island within the archipelago and its other Amerindian cultures. The first wing has an example excavation as its center piece. Panels here focus on archaeology as a profession. Display cases show lithics, tools, pottery and burials. The route leads through an activity room to the other wing with materials from later periods and the contact period. The center piece here is a model village. The display cases include burials, facial reconstructions and ornaments. Finally, there is information on indigenous peoples today, including the Kalinago and Garifuna.
Title Ecomusee CreoleArt Description This museum was begun in 1989 by Jocelyn Roumbo and made collaboratively to preserve and show the nature, history, culture & traditions of Guadeloupe. The visit is self-guided and begins with the Jardin Creole, a walkway with herbal, medicinal or edible plants. The panels provide basic information and recipes, myths or anecdotes, making nature a part of culture by discussing customs, traditions and beliefs. Then there are 32 cabinets, each with different objects and texts to represent the communes of Guadeloupe. Each is made by the respective commune. Throughout, there are ateliers where local initiatives are demonstrated (live or on video), combining natural and cultural heritage to work towards environmental and cultural sustainability. The final aspect of the ecomuseum is the history section of period rooms and houses like life-size dioramas from Columbus to local convenience store.
This is a museum on the grounds of a working distillery (which cannot be visited). The first part, opened in 1990, focuses on the production of sugar and rum. There are photographs, but also a wooden sugar cane mill, a model ox cart and other objects. A second room, from 1992, contains a number of reconstructions, such as a traditional distillery, a sugar refinery and a cooper’s workshop. A wall panel shows machetes from around the world. In a small auditorium they show a 15 minute film. The museum continues upstairs. One room, opened in 1994, has a collection of insects and butterflies, donated by natural scientist Fortuné Chalumeau. Outside this room is an exhibit on trades and crafts, which was set up in 1997. Intermingled with these displays are large plastic creatures, from camels to polar bears. The last exhibit, also from 1997, shows models of the grand sailing vessels of the world.
The visit to this operational distillery is essentially a tour of the estate, both by foot and on a small train. The walk is self-guided, following a map with descriptions of 11 points. It begins with the mill where sugar cane is being crushed, past a water wheel, the distillation column, the fermentation vats and the store house. A small Jardin Creole leads to the great house. After the family moved out, this house was a restaurant for a while. Recently it was opened to the public as a period-style museum that you can explore freely. The trail leads on to a reconstructed 1950s worker’s house which is wallpapered with magazines and filled with antiques. The train ride takes about 40 minutes, leading beyond the main grounds of the estate to the sugar cane fields, the pineapple plantation and into the landscape. An audio recording tells the history of the island, the production process of sugar and rum and the family history.