OBJECT ARCHIVE

http://www.traveladventures.org/continents/americas/tap-tap.html

The Mini-Bus

  • Throughout the Caribbean, a vital component of the public transport network is the minibus. These privately operated, public transport vehicles have established a presence on nearly every island. Whether it's the jitney in the Bahamas or the maxi taxi in Trinidad, these minibuses offer a service that daily commuters rely on completely.

  • Transportation / Paratransit

  • Tap Tap (Haiti), La Gua Gua Bus Dominican Republic), Jitney (Bahamas)

  • Jamaica
    Trinidad & Tobago
    Bahamas
    Dominican Republic
    Guyana
    Haiti
    Barbados
    St. Lucia

  • Image: Haitian Tap Tap

    Additional Resources:
    Wright, Leah & Tangwell, Jared-Marc & Dick, Anthony & Augustine, Trinidad. (2021). Public Transportation in the Caribbean: Dominance of Paratransit Modes.

Clarks Footwear

  • Originally introduced in the early 1950s by the British footwear company C. & J. Clark, the Clarks line of footwear quickly gained popularity for their comfortable soles, simple yet stylish suede or leather uppers, and rugged durability.

    In Jamaica, the Desert Boot, Wallabee and subsequent design iterations found a special place within the island's cultural scene. As reggae music emerged in the 1960s and evolved into the dancehall culture of the 1980s and beyond, Clarks became a symbol of authenticity and style. Their durable construction and comfortable fit made it a practical choice for Jamaican youth.

    The brand’s association with Jamaican music and culture only deepened during the rise of dancehall in the 1980s. This period witnessed the emergence of artists like Yellowman, Supercat, and Shabba Ranks, who embraced the shoes as a key element of their signature style. In particular, the Desert Boot’s rugged yet refined appearance perfectly complemented the bold fashion statements and confident swagger of dancehall performers, solidifying its status as an essential part of the scene.

    Clarks’ popularity extended beyond Jamaica, becoming a staple in international hip-hop culture. Influential artists like Rakim, Nas, and Jay-Z frequently incorporated the styles into their wardrobes, further amplifying its global cultural significance.

    Beyond its visual appeal, Clarks carries a certain cultural resonance in Jamaica, representing a fusion of British craftsmanship and Jamaican sartorial self-expression. Its durable construction and versatile design make it an ideal choice for performers and dancers, providing both comfort and style for those expressing themselves through movement.

    In recent years, the Desert Boot and Wallabee’s legacies endures through various collaborations between Clarks and artists, designers, and cultural influencers, ensuring its continued relevance in contemporary fashion.

  • Fashion / Clothing

  • Jamaica
    Britain

  • Image:
    Clarks in Jamaica, Researched, written and designed by Al Fingers. Chief photographer Mark Read. One Love Books

    Additional Resources:
    Cochrane, L “Sole of a nation: how Clarks became Jamaica’s favorite footwear”, The Guardian, May 2021.

    Cowan, K, Clarks in Jamaica: Al Fingers revisits the Caribbean island's obsession with the British shoes, Creative Boom, April 2021

    Fingers, Al, “Clarks in Jamaica”, Second edition, 27 April 2021 (UK) / 1 June 2021 (worldwide), One Love Books

    .Filippa, G, “How Clarks became the baddest shoes in Jamaica”, Sneaker Freaker, October 2020

    Tulloch, C, The Birth of Cool: Style Narratives of the African Diaspora, Bloomsbury Academic 2016

Lacebark

  • Lacebark, also known as Dyer's Mahoe, is a tree native to Jamaica. Its scientific name is Lagetta lagetto. This tree is known for its distinctive lace-like inner bark, which has historically been used by indigenous peoples and later by Jamaican maroons for various purposes, including making fabric. The inner bark of the lacebark tree can be processed into a type of fiber that is suitable for making a variety of products, including clothing, bags, and crafts.

  • Textiles

  • Lagetta lagetto (scientific name), gauze tree (unknown origin)

  • Image:
    Lagetta lagetto. Photo courtesy of the Field Museum of Natural History

    Additional Resources:
    Adams, C.D. (1972) Flowering Plants of Jamaica. Kingston, Jamaica: The University of the West Indies Press.

    Anon. (1906) The Lace Bark. Jamaica Gleaner, 16 June 1906, p. 3. Originally published in Royal Magazine, June 1906.

    Asprey, G.F. and R.G. Robbins (1953) The Vegetation of Jamaica. Ecological Monographs 23: 384–85.

    Brennan, Emily and Mark Nesbitt (2010–11) Is Jamaican Lace-Bark (Lagetta lagetto) a Sustainable Material? Text: For the Study of Textile Art, Design, and History 38: 17–23.

    Brennan, Emily, Lori-Ann Harris, and Mark Nesbitt (2013) Object Lesson Jamaican Lace-Bark: Its History and Uncertain Future. Textile History 44: 235–53.

    Buckridge, Steeve (2004) The Language Of Dress: Resistance and Accommodation in Jamaica, 1760–1890. Kingston, Jamaica: The University of the West Indies Press.

    Buckridge, Steeve (2016) African Lace-Bark in the Caribbean: The Construction of Race, Class, and Gender. London: Bloomsbury Press.

    Buckridge, Steeve (2018) Child's Outdoor Cap. Lace-Bark, circa 1850–1861. In Victorian Jamaica, edited by T. Barringer and W. Modest*.* Durham: Duke University Press, pp. 96-8.

The Planter’s Chair

  • Originating in colonial-era plantations across Africa, Asia, and the Caribbean, the Planter’s Chair is a distinctive wooden armchair crafted for the comfort and repose of European plantation owners. Emerging during the expansive period of European colonialism in the 18th and 19th centuries, it represents a fusion of European, Asian, and African furniture styles. Constructed from indigenous hardwoods, such as teak or mahogany, the chair's design focused on providing solace in warm climates. It featured broad, sloping arms for ventilation, a reclining backrest, and occasionally an ottoman or footrest. The planter's chair's design nuances could vary by region, reflecting local craftsmanship traditions and cultural influences. Today, these chairs hold historical value and are considered antique treasures, occasionally being replicated in more contemporary contexts. However, it's essential to acknowledge that their association with colonialism can be a contentious symbol, evoking a period of exploitation and oppression.

  • Furniture

  • Berbice,(Guyana), Campeche (Latin America), Butaque (Mexico)

  • India
    Britain

  • Image:
    Planter's Chair, India, 20th Century, Cane and Teak. Photo courtesy 1st Dibs

    Additional Resources:
    Sarita Sundar, From the Frugal to the Ornate: Stories of the Seat in India (Mumbai: Godrej & Boyce, 2022), 361 pp., ₹1,930, ISBN: 978-81-932740-1-9 (Hardbound).

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