Cuentos de los dioses taínos: como se creó el Mar Caribe es una divertida fantasía profusamente ilustrada basada en el misterioso mundo mitológico de los indios taínos de Puerto Rico y las Antillas Mayores. La trama está inspirada en la obra de Fray Ramón Pané Relación Acerca de las Antigüedades de los indios (1494-98), que formó parte del diario de Cristobal Colón. Las ilustraciones del cuento, por el fenecido joven pintor puertorriqueño Juan Negrón, fueron elaboradas mediante un guión visual del autor. Incluye además el autor un educativo glosario ilustrado. Tales of the Taíno Gods: How The Caribbean Sea Was Born, is an entertaining fantasy, based on the mysterious mythological world of the Taíno Indians of Puerto Rico and the Greater Antilles. The plot is inspired by the writings of Friar Ramón Pané’s An Account of the Antiquities of the Indians (1494-98), which was part of Christopher Columbus’ diary. The illustrations of the tale were painted using a visual script by the author, who directed the skillful brush of the late young puertorrican painter Juan Negrón. The author also includes an illustrated educational glossary.

The Ta�no ABCs, written by Lynne A. Guitar (Ph.D.) and illustrated by Joel Villalona, provides a glimpse into the rich lexicon and culture of the Ta�no Indians of the Hispanic Caribbean, whose language was used as a common trade language among the varied groups of Natives who had populated the Caribbean islands for thousands of years before Europeans and Africans arrived. Pronunciation guides of the Ta�no words used are provided for English and French speakers, as well as a reference guide for those who wish to learn more about the Ta�no.LYNNE A. GUITAR (Ph.D.) has studied the Ta�nos for more than 25 years. She earned two B.A.s from Michigan State University and an M.A. and Ph.D. from Vanderbilt University. Lynne lived in the Dominican Republic for 19 years and one year in Puerto Rico.JOEL A. VILLALONA CASTILLO, a multi-talented Dominican artist, was born in San Juan de la Maguana, a region long renowned for its strong Ta�no heritage. He was trained in Santiago de los Caballeros, where he now resides, at the School of Fine Arts, Casa de Arte, and Eduardo Le�n Jimenes Cultural Center. ---El Abecedario de los Ta�no, escrito por Lynne A. Guitar (Ph.D.) e ilustrado por Joel Villalona, ofrece un vistazo al rico l�xico y a la cultura de los indios ta�nos del Caribe Hispano, cuyo lenguaje se us� como un lenguaje comercial com�n entre los variados grupos de nativos que hab�an poblado las islas del Caribe durante miles de a�os antes de que llegaran los europeos y los africanos. Se proporcionan gu�as de pronunciaci�n de las palabras en ta�no para los hablantes de ingl�s y franc�s, as� como una gu�a de referencia para aquellos que deseen aprender m�s sobre los ta�nos.LYNNE A. GUITAR (Ph.D.) ha estudiado los ta�nos por m�s de 25 a�os. Ella obtuvo dos B.A.s de la Universidad de Michigan State y una maestr�a y doctorado de la Universidad de Vanderbilt. Lynne vivi� en la Rep�blica Dominicana durante 19 a�os y un a�o en Puerto Rico.JOEL A. VILLALONA CASTILLO, artista dominicano de m�ltiples talentos, naci� en San Juan de la Maguana, una regi�n reconocida por su fuerte herencia ta�na. Se form� en Santiago de los Caballeros, donde ahora reside, en la Escuela de Bellas Artes, la Casa de Arte y el Centro Cultural Eduardo Le�n Jimenes.---L'Alphabet Ta�no, �crit par Lynne A. Guitar (Ph.D.) et illustr� par Joel Villalona, donne un aper�u du riche lexique et de la culture des Indiens Ta�no des Cara�bes Hispaniques, dont la langue �tait utilis�e comme langue commerciale commune parmi les divers groupes d'indig�nes qui avaient peupl� les �les des Cara�bes pendant des milliers d'ann�es avant que les Europ�ens et les Africains n'arrivent. Les guides de prononciation des mots Ta�no utilis�s sont fournis pour les anglophones et les francophones, ainsi qu'un guide de r�f�rence pour ceux qui souhaitent en savoir plus sur le Ta�no.LYNNE A. GUITAR (Ph.D.) a �tudi� les ta�nos pendant plus de 25 ans. Elle a obtenu deux baccalaur�ats de l'Universit� du Michigan State et une ma�trise et un doctorat de l'Universit� Vanderbilt. Lynne a v�cu en R�publique Dominicaine pendant 19 ans et un an � Porto Rico.JOEL A. VILLALONA CASTILLO, artiste dominicain aux multiples talents, est n� � San Juan de la Maguana, une r�gion longtemps connue pour son fort h�ritage ta�no. Il a �t� form� � Santiago de los Caballeros, o� il r�side actuellement, � l'�cole des Beaux-Arts, � la Casa de Arte et au Centre Culturel Eduardo Le�n Jimenes.

"JosÉ [Barreiro] writes the true story in TaÍno—the Native view of what Columbus brought. Across the Americas, invasion, and resistance, the TaÍno story repeated many times over." – Chief Oren Lyons (Joagquisho), Turtle Clan, Onondaga Nation The story of what really happened when Columbus arrived in the "New World," as told by the TaÍno people who were impacted In 1532, an elderly TaÍno man named GuaikÁn sits down to write his story—an in-depth account of what happened when Columbus landed on Caribbean shores in 1492. As a boy, GuaikÁn was adopted by Columbus, uniquely positioning him to tell the story of Columbus's "discovery," directing our gaze where it rightfully belongs—on the Indigenous people for whom this land had long been home. Revised and updated by author JosÉ Barreiro (himself a descendant of the TaÍno people) with new information and a new introduction, this richly imagined novel updates GuaikÁn's carefully crafted narrative, chronicling what happened to the TaÍno people when Columbus arrived and how their lives and culture were ruptured. Through GuaikÁn's story, Barreiro penetrates the veil that still clouds the "discovery" of the Americas and in turn gives

The significance of food and feasting to Pre-Columbian Mesoamerican cultures has been extensively studied by archaeologists, anthropologists and art historians. Foodways studies have been critical to our understanding of early agriculture, political economies, and the domestication and management of plants and animals. Scholars from diverse fields have explored the symbolic complexity of food and its preparation, as well as the social importance of feasting in contemporary and historical societies. This book unites these disciplinary perspectives — from the social and biological sciences to art history and epigraphy — creating a work comprehensive in scope, which reveals our increasing understanding of the various roles of foods and cuisines in Mesoamerican cultures. The volume is organized thematically into three sections. Part 1 gives an overview of food and feasting practices as well as ancient economies in Mesoamerica. Part 2 details ethnographic, epigraphic and isotopic evidence of these practices. Finally, Part 3 presents the metaphoric value of food in Mesoamerican symbolism, ritual, and mythology. The resulting volume provides a thorough, interdisciplinary resource for understanding, food, feasting, and cultural practices in Mesoamerica.

Takes a close look at the relationship between humans and other (non-human) beings that are imbued with cemí power, specifically within the Taíno inter-island cultural sphere encompassing Puerto Rico and Hispaniola Cemís are both portable artifacts and embodiments of persons or spirit, which the Taínos and other natives of the Greater Antilles (ca. AD 1000-1550) regarded as numinous beings with supernatural or magic powers. This volume takes a close look at the relationship between humans and other (non-human) beings that are imbued with cemí power, specifically within the Taíno inter-island cultural sphere encompassing Puerto Rico and Hispaniola. The relationships address the important questions of identity and personhood of the cemí icons and their human “owners” and the implications of cemí gift-giving and gift-taking that sustains a complex web of relationships between caciques (chiefs) of Puerto Rico and Hispaniola. Oliver provides a careful analysis of the four major forms of cemís—three-pointed stones, large stone heads, stone collars, and elbow stones—as well as face masks, which provide an interesting contrast to the stone heads. He finds evidence for his interpretation of human and cemí interactions from a critical review of 16th-century Spanish ethnohistoric documents, especially the Relación Acerca de las Antigüedades de los Indios written by Friar Ramón Pané in 1497–1498 under orders from Christopher Columbus. Buttressed by examples of native resistance and syncretism, the volume discusses the iconoclastic conflicts and the relationship between the icons and the human beings. Focusing on this and on the various contexts in which the relationships were enacted, Oliver reveals how the cemís were central to the exercise of native political power. Such cemís were considered a direct threat to the hegemony of the Spanish conquerors, as these potent objects were seen as allies in the native resistance to the onslaught of Christendom with its icons of saints and virgins.