The book of cures is a small notebook from the 1800s. It was recovered from the remains of Pierre Beauperthuy’s museum in The Old House in St. Martin in late 2017. The house had been unattended for some years following Pierre’s death, and it was badly damaged during Hurricane Irma. Much of Pierre’s collection was still inside The Old House. It had been battered by the winds and rain, left exposed where the roof was torn open. Luckily, the notebook was one of the items that survived. In fact, it has survived many hurricanes since the first entries were written in it, perhaps 200 years ago.
This notebook, written by an unknown 19th-century author on the island of St. Martin with medical remedies and other useful information, provides a unique window into life on St. Martin.
Author Mark Yokoyama dives into the book’s different ‘cures’, from curing the ‘flux’ (dysentery) to recipes for improved rum. As such it provides interesting insight into the daily preoccupations of an 18th-century islander.
In this study Rose-Mary Allen presents the key factors determining the social and cultural life of Afro-Curaçaoans during the first fifty years after the abolition of slavery in 1863. This is done through a socio-cultural analysis of the social system of which they formed part. Their position within slave society will be the starting point, followed by an evaluation of the two principle elements of social control after emancipation: the State and the Roman Catholic Church. Rather than viewing Afro-Curaçaoans as mere objects to be acted upon, in this analysis they are cited as resilient agents, rising to – and often resisting in a variety of ways – the challenges and restrictions they faced in a free society. Their resilience and resistance are best demonstrated through the factors from which they drew their sustenance; these being mainly their social networks – such as families, peer groups, co-workers, local communities – and their culture, brought to the fore, for example, in their songs, stories and rituals.
Sentral den e disertashon di Rose-Mary Allen ta e prosesonan kultural ku a influensiá bida di tur dia di afro-kurasoleñonan despues ku na 1863 a abolí sklabitut. A pone den foko e influensia ku gobièrnu kolonial, doñonan di katibu den nan tempu i prinsipalmente Iglesia katóliko a ehersé riba bida di afro-kurasoleñonan despues di emansipashon. A verifiká tambe kon e grupo akí a duna kontenido propio na e libertat ku nan a haña i kon e hendenan akí a anda ku intervenshon di gobièrnu. E konsepto ‘poder’ den e kaso akí ta di mayor importansia. Poder tabata repartí di forma desigual: desigualdat ekonómiko, sosial i rasial a karakterisá e sosiedat kurasoleño di siglo djesnuebe. E pregunta klave den e tésis akí ta: ki papel gobièrnu, e shonnan, doño di katibu i Iglesia katóliko tabatin den bida di afro-kurasoleñonan despues di emansipashon i di ki manera afro-kurasoleñonan por a duna kontenido na nan bida material, sosial i spiritual tantu paden komo pafó di e ambiente di influensia di e institushonnan akí.
In deze dissertatie van Rose-Mary Allen staan de culturele processen centraal die het dagelijkse leven van Afro-Curaçaoënaars na de afschaffing van de slavernij (1863) hebben beïnvloed. Er wordt gekeken naar de invloed die de koloniale overheid, de voormalige slavenhouders en vooral de Rooms-Katholieke kerk uitoefenden op het leven van de Afro-Curaçaoënaars na de emancipatie.
Ook wordt nagegaan hoe deze groep een eigen invulling gaf aan de vrijheid en hoe zij omging met de interventies van hogerhand. Het begrip macht staat hierbij centraal. Deze was zeer ongelijk verdeeld: economische, sociale en raciale ongelijkheid kenmerkten
de negentiende-eeuwse Curaçaose maatschappij.
De hoofdvraag in het proefschrift luidt: welke rol speelden de overheid, de voormalige slavenhouders en de Rooms-Katholieke kerk in het leven van de Afro-Curaçaoënaars na de emancipatie, en op welke wijze hebben de Afro-Curaçaoënaars zowel binnen als buiten de beïnvloedsferen van deze instituten invulling kunnen geven aan hun materiele, sociale en geestelijke leven.
Scharloo, a quarter of Willemstad already existing in the eighteenth century, developed in a magnificent way during the second half of the last century. Many Jewish families, who had become the richest in Curacao during those years thanks to their commercial activities, chose this part of the town to build monumental houses in a new style: the classicist style. Their luxurious dwellings often closely recalled American plantation houses or English or Italian villas, from which they were indirectly copied.
In these homes the Jews led a particular way of life, marked by a grandeur typical of that group of families called hende di Scharloo, Scharloo people. Though nowadays this way of life has disappeared and many of the houses are decayed, this book brings back to life through the memories of elderly people, supported by deep research in archives and libraries, a golden period in the history of Curacao, which had its highlight in Scharloo.
Durante di seis aña, for di aña 1958, Paul (Pader) Brenneker i Elis Juliana a kolektá un gran kantidat di historianan oral, kantikanan i músika serka e hende grandinan di Kòrsou. Asina nan a mapa partinan importante kultural di e bida diario di Kòrsou di antes. Nan informante más grandi a nase na 1853, dies aña promé ku abolishon di sklabitud. E informashón kolektá a bira kolekshon Zikinzá. E kolekshon ta konsistí di 1400 kantikanan, historianan i historianan di bida. Anèkdotanan, rekuerdonan di antes, ritualnan i kantikanan di pueblo di 267 informantenan ta grabá. E meta di Brenneker i Juliana tabata pa konservá konosementu i sabiduria di e hendenan grandi i rural di pueblo, ku ahinda no tabata den kontakto ku e modèrnisashon di suidat.
Na aña 1974 nan a transferensha e herensia kultural antropológiko aki pa Fundashon Zikinzá. For di 2010 e kolekshon Zikinzá ta bou di manejo di NAAM (National Archeological Anthropological Memory Management).
During six years, from 1958 on, Father Brenneker and Elis Juliana collected a big amount of oral history, songs, pieces and music from the elderly people of Curaçao. This is how they could map important cultural aspects of everyday life in Curaçao. Their oldest informant was born in 1853, ten years before the abolition of slavery. The collected information is stored in the Zikinzá collection. The collection contains 1400 songs, stories and life stories. Anecdotes, childhood memories, riltuals and folklore songs of 267 informants were recorded. The goal of Brenneker and Juliana was to record knowledge and wisdom of the elderly, rural population, that was still isolated from the modernisation happening in the more urbanised areas. In 1974 this cultural anthropological heritage was transferred to the Zikinzá Foundation. From 2010 on the Zikinzá collection is under management of NAAM (National Archeological Anthropological Memory Management).
Zes jaar lang, vanaf 1958, hebben Paul Brenneker en Elis Juliana een grote hoeveelheid mondelinge geschiedenis, liederen en muziek verzameld bij de ouderen van Curaçao. Op deze manier hebben zij belangrijke culturele aspecten van het dagelijks leven van Curaçao in kaart gebracht. Hun oudste informant werd geboren omstreeks 1853, tien jaar voor de afschaffing van de slavernij. De meeste van de door Juliana en Brenneker verzamelde informatie is opgeslagen in de Zikinzá-collectie, een databank bestaande uit 1.400 liederen, verhalen, en levensverhalen. Anekdotes, jeugdherinneringen, rituelen en volksliedjes werden bij 267 informanten op band opgenomen. Inhoudelijk ging het Brenneker en Juliana om het vastleggen van de kennis en de wijsheid van de oudere, rurale bevolking, die nog geïsoleerd leefden van de stad en de oprukkende modernisering in de stad. In 1974 werd dit cultureel antropologische erfgoed overgedragen aan Stichting Zikinzá. In 2010 is de Zikinzá collectie bij NAAM (Nationaal Archeologisch, Antropologisch Memory Management) in beheer gebracht.
Kanal di Youtube ku musika Afro-Kurasoleño, ku ta kai bou di herensia kultural di Kòrsou.
Youtube kanaal met Afro-Curaçaose muziek, wat valt onder cultureel erfgoed van Curaçao.
Youtube channel with Afro-Curaçaoan music that is part of Curaçao cultural heritage.
Layo de Palm A Curaçaoan anthropologist, music fanatic and great storyteller
Selwyn “Wincho” de Wind’s fascination with Afro-Cuban music genres led him to explore the similarities between Cuba, Curaçao, and Africa, particularly the Congo. During his visit to Layo de Palm in Curaçao – an autodidact anthropologist and great storyteller – he delved into the rich cultural heritage of the island. Where he discovered the strong African influences on our music, particularly in the rhythms and melodies of Rumba, Son Montuno, and Bolero.
Tambú di Kompayo 2024 | Selwyn de Wind selects Tambú on vinyl
The Afro-Curaçaoan Tambú genre is not only a dance-able genre, but also a way of life and belief. Tambú was a crucial element for enslaved people during colonial times. In order to resist repression on all expressions of afro descendants on Curaçao. Till today it is mostly played and practiced during the end of the year. The typical instruments – ‘Kueru’ and ‘Chapí’ – are being played and accompanied by critical lyrics till the early morning.
Track list
01 Donny – Kompa Nanzi i Shon Arei
02 Pincho i su grupo & Elia Isenia – Victoria
03 Pincho i su grupo & Basilel – Santeria
04 Norma Gosepa – Trampa
05 Beno Martis – Piep Piep
06 Watawa y su Plantacion nobo – Telegram
07 Shon Cola i Grupo Trinchera – Banana
08 Zojojo i su grupo – Dal un dal dos Spanta
09 Pincho i su grupo – E ta sirbibu
10 Pincho i su grupo – Nan a batie
11 Zojojo i Mystica Stefania – Rin tin tin
12 Basilel – Porongombe ya cayo
13 Pincho i su grupo & Elia Isenia – Baha fo’i mi lomba
14 Los Locos Samson – Mirabal
15 Doble RR Super Special Stars – Auto bieuw
16 Super 8 – Chela
17 Grupo Enos – Mucha Mester Tende
18 Indiscutible Super Dynamic – Hulanda Mi Ta Bai, Atrobe
Produced by Selwyn de Wind & Mathijs Reinen
Camera: Daniel Milton
Gaffer: Neldrick Martis
Photography: Tamira Koeiman
Sound mixing: Selwyn de Wind
History of the first Tambú recordings in Curaçao
E género Afro Kurasoleño Tambú no ta solamente e musika i baile pero un estilo di bida i tambe kerensia. For di den temporada kolonial Tambú tabata un di e elementonan prinsipal pa e hende esklavisá por a resistí e represhon riba tur ekspreshon di dje ku ta Afro-desendiente. Te ku awe ku hopi difikultat e pueblo di Kòrsou tin su temporada di Tambú, kual ta e ultimo luna di aña. Kueru i Chapi ta zona akompañá ku letranan kritiko te den marduga. Awe mi ta komparti en breve historia di grabashon di tambú na Kòrsou.
Erquimides ‘Kimu’ Kandelaria
Today we share with you the honourable mural of Erquimides ‘Kimu’ Kandelaria A well known folksinger from Otrobanda who got his local fame in the 40s, 50s and 60s together with his “Trio Melodia”. He was known for his merengues and tumbas. ‘Kimu’ used his high voice to compose humoristic, but also critical songs which took the fancy of the Curaçaoan population. It is great to see people of today honouring Kimu’s influence and importance within the local ‘farandula’. Bo ta bon bezig Aemy @niafeliz_art Not to forget the important work Patrick Martijn has done over the last decade. Documenting his work and life-story.
Ava & Gabriel soundtrack (1990)
In connection with two important expositions of living legend Felix de Rooy in The Stedelijk & Eye Filmmuseum, Selwyn de Wind shares with you today the Ava & Gabriel soundtrack. (1990)
El Gran Combo de Puerto Rico – Disfrútalo hasta el cabo (1974)
Today Selwyn de Wind shares with you Disfrútalo hasta el cabo (1974), one of the many albums that El Gran Combo De Puerto Rico released for the past 60 years. An international touring salsa band that has also a great connection with Curaçao. Disfrútalo…..
Shleu Shleu “Plat Creol” (1973)
Selwyn de Wind shares with you “Plat creol” from the Shleu Shleu album Grille ta cigarette (1973) And the reinterpretation “Zagalatelema” of Clovis Bazur with Conjunto San José from Curaçao. The influence of Haitian music especially in the Caribbean and South America is out of this world.
August 31, 2023
Grupo Harmonia y Kueru Volume 1 (1989), Dedicated to Ellis Juliana “Ko’i mi tera” (Salsa Antiyana/ Sehú)
We gebruiken cookies om ervoor te zorgen dat onze site zo soepel mogelijk draait. Als je doorgaat met het gebruiken van deze site, gaan we ervan uit dat je ermee instemt.Ok
