restricted access Acknowledgments

From: Creole Clay

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Acknowledgments As a first-time author trying to condense almost twenty-five years of interaction with potters across the Caribbean and around the world into a single book, I needed a lot of help. Jumping on planes every summer to go to beautiful places and meet fascinating people is one thing, but writing it all down is something else altogether. I had always hoped to tell these stories with pictures, and I would first like to thank the Andrew W. Mellon Foundation for making those pictures possible , and James Wohlpart and Amy Gorelick for guiding me toward the opportunity . Stephanye Hunter and the staff of the University Press of Florida have been incredibly helpful and patient with my snail’s pace and endless questions. Both Florida Gulf Coast University and Lebanon Valley College actively supported the research for this book through faculty grants, and my colleagues at FGCU have repeatedly offered their help, especially humanities librarian Rachel Cooke and Caribbean historian Nicola Foote. And for the hundreds of students who have traveled this road with me, both literally and vicariously, thank you. Teaching you teaches me, always. I am greatly indebted to the work of Caribbean scholars in a wide range of academic disciplines. Jerome Handler’s documentation of the potters of Chalky Mount, Barbados, in the early 1960s opened the door for future studies of heritage ceramics, and I truly appreciate his tough questions and generous spirit. Mark Hauser’s fascinating book An Archaeology of Black Markets provided the first in-depth country study on pottery made by slaves and free people of African descent in Jamaica. Karen Fog Olwig and Barbara Heath have written extensively on Caribbean potters, and Moira Vincentelli’s Women Potters: Transforming Traditions has been a great inspiration. Moira and I have had a fine time looking for potters from northern Georgia to central Australia, and I hope we get to do it again. Dutch historian Jolien Harmsen, who lives in Saint Lucia, published a history of the country in 2012 in collaboration with local historians Robert Devaux and Guy Ellis that is absolutely invaluable. Polly Pattullo’s thoughtful reflections on Caribbean tourism and Sally Price’s many writings on so-called primitive art are simply essential. xxiii xxiv Acknowledgments There are literally hundreds of people across the Caribbean region who have offered me support, hospitality, and incredible opportunities for learning throughout my long (and ongoing) obsession with Caribbean ceramics. Every one of the potters I met welcomed me into their homes and studios, and they have my deepest respect and gratitude. The staff and scholars at all the museums, archives, and cultural organizations I visited were universally helpful in the search for relevant information and images. Friends and families put me up, took me out, and showed me what life in the Caribbean is really all about. I wish I could thank each and every one, but the following brief comments will have to serve. In Nevis, Almena Cornelius taught me my first important lessons on regional traditions in 1994, and welcomed me back to New Castle Pottery a full twenty years later for updates. In my two brief visits to Antigua, Lynda Roberts, Hyacinth Hillhouse, and Edith Lyne were my teachers in Sea View Farm, and I am especially grateful to Lynda for her excellent rice and peas, and to Edith for taking the time to patiently walk me through every step of the pottery process. Nancy Nicholson has been an enormous help, as was her father Desmond Nicholson. In Jamaica there are so many potters to thank for their time and their knowledge: Merline Roden, Pearl Richard , Blessed and Junior, Sidney Wilson, Sylvester Stephens, Donald and Belva Johnson, David Pinto, and the faculty and staff of the Ceramics Department at the Edna Manley College of the Visual and Performing Arts, particularly David Dunn and Phillip Supersad, who facilitated my visits to potters in Spanish Town and Trench Town, and Norma Rodney Harrack, whose career in Jamaican ceramics is truly inspiring. Roderick Ebanks provided a wealth of information on multiple research trips, and I must thank Tina Spiro and Laura Tanna for their help and hospitality in Jamaica. In Barbados, Hamilton Wiltshire has been my teacher and guide, Kevin Farmer at the Barbados Museum encouraged my enthusiasm for ceramic history, and potters Maggie and Denis Bell, Goldie and David Spieler, and I-Seph Kellman, John Springer, and Winston Jn Paul in Chalky Mount all shared their stories. In Trinidad I can’t thank...


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