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The Panama Canal Review Is Published Twice a Year UNIVERSITY OF FLORIDA LIBRARIES Digitized by tine Internet Arcinive in 2009 with funding from University of Florida, George A. Smathers Libraries http://www.archive.org/details/panamacanalrevi1975pana V HAROLD R. PARFITT WILLIE K. FRIAR Governor-President Editor, English Edition PANAMA CANAL ^^ ^^^1 JOSE T. H. RICHARD L. HUNT ^ TUNON Editor, Spanish Edition Lieutenant Governor Writers FRANK A. BALDWIN Vic Canel, Fannie P. Hernandez, Panama Canal Information Officer OfFicial Panama Canal Publication Franklin Castrellon and Pandora Aleman Review articles may be reprinted without further clearance. Credit to the Review will be appreciated. The Panama Canal Review is published twice a year. Yearly subscription: regular mail $1.S0, airmail $3, single copies 75 cents. subscription, or money order, to For send check made payable the Panama Canal Company, to Panama Canal Review, Box M, Balboa Heights, C.Z. Editorial Office is located in Room 100, Administration Building, Balboa Heights, C.Z. Printed at the Panama Canal Printing Plant, La Boca, C.Z. Contents OurC over The muted colors Bateas 3 of the batea on our front cover are the result of many years Panama's painted plates with of research by EHana Chiari, the orig- distinctive pre-Columbian de- inator of this Panamanian art form. \Vith plant pigments and clay, she has signs are favorite souvenirs. been able to reproduce the colors which appe;u- on pre-Columbian clay pots and plates, such as those in the foreground Culinary Capers 8 of the photograph. A part of the collec- tion of the Recipes for exotic drinks to 19.3d Infantry Brigade Mu- seum at Fort Amador, these artfully sip and savor and desserts decorated pieces were loaned for the with a special flavor. photograph by Irene Chan, curator of the museum. The original design on this batea, which belongs The "QE2" 13 to Dr. Horace Loftin, of the E.xecutive Planning Staff, came Around-the-icorld-in-80 days from a pre-Columbian plate dug up in cruise includes record break- Parita in Herrera Province. It depicts a small fish who found a haven when the ing transit of the Panama three large fish chasing him ended up Canal. chasing each other. On the back cover are four bateas painted by Dr. Leo M. Hettinger, who What happened to the "Bremen? 22 uses acrylics to paint bateas that fea- ture dramatic bright colors on a stark The dramatic demise of a white background. His designs, copies history-making ship. of original ones found in museums, de- pict alligators, snakes, and other animal gods giving birth to small replicas of Horses 23 themselves, which are symbolic of the continuity of nature. The two plates at Hundreds horse owners of the bottom are original clay plates find family fun and friendly made by pre-Columbian potters. The bateas are standing on ancient hand- competition at local shows. car\'ed metates. The cover photographs as well as all others in this issue, unless otherwise Oil 29 credited, are by Arthur L. Pollack. The smaller tanker plays a o a o vital role. In the centerspread of this issue is a charcoal drawing by John Morton, of the Executive Planning Staff, Credits: which Photos by Kevin lenkins ( p. 6 batea de- shows the Queen Elizabeth 2 in Mira- signs and p. 15 "QE2"), Robert Friar (p. 4 batea bnuls), Don Goode (p. 16 "QE2" in flores Locks. It has been reproduced on Gaillard Cut and horses p. 23, 24, 25, 27), special paper and inserted so that it Sketch i>. 29 by Carlos Mindez. can be easily removed for framing. 2 Fall 1975 A revival of an ancient art form, Panama's distinctive bateas are a colorful combination of creativity and craftsmanship PANAMA'S BEAUTIFUL BATEAS nian\- rural households. These plates with their distinctive pre-Colum- with upturned edges called bateas, are bian designs, make delightful decora- used for evervthing from carrving the tions and are among the most sought- \\ ash to and from the ri\er and clean- after souxenir items en the Isthmus. ing rice to sening as dinner plates. As Panamanian as the pollera, the As a voung graduate of the Normal mola and the mosqueta, these artistic- School in Panama Citv, Diana was sent alK' painted wooden plates, which to La Arena, a potter's village in Pan- come in various sizes and shapes, are ama's interior, to teach school. While the outgrowth of an ancient art form cniploved there, she learned pottery- re\ived some 40 years ago by Diana making from the mothers of her stu- Chiari, a well-known local artist. dents who came to the classroom to Bateas By Fannie Hernandez During a ceremony held last year at teach the craft that had been a com- the National Museum, Diana was pre- munity activity for centuries. LLsing the sented the Order of Manuel Jose Hur- traditional, simple methods, she kneaded tado, the Republic of Panama's highest and shaped the clav, went to the river honor bestowed upon a teacher. The for the rounded stones used to polish award was in recognition of her in- the pottery and collected dried cow \aluable contributions to the promotion dung from the fields for firing the clay. and appreciation of native creativity Her enthusiasm and innate creativity in and craftsmanship. the use of the native elements was .so A display of her artistn' that evening keen that soon she was teaching the vil- included ceramic plates, textiles, a lagers. Women, children and men, who number of other articles fashioned from had previously shunned pottery-mak- clay, and sexeral bateas painted with ing, were inspired by her to learn new her original designs. methods for impro\ing their techniques The idea for the batea of the type without losing the traditional quality popular toda\' germinated in Diana's and nati\ e touch. mind after she began decorating the Like Millet, the French peasant who primitixc clay di.shes used for making became a celebrated painter and ref- tortillas in the interior of Panama. erred to art as a "treating of the com- Toinnsts admired her colorful clay monplace with the feeling of the sub- plates with the unusual designs but lime," Diana's sincere belief in the pure hesitated to buv them as souvenirs native art form nibbed off on the because thev were heavy and easily potten- makers, who began to take broken. To solve these problems, EMana pride in their creations. Gradually pot- experimented with painting the same terv-making became the livelihood of designs on the wooden plates which are man\' of the villagers. Later, it became Bateas by Diana Chiari, originator of the considered an indispensable item in a home industiv and an art. Todav, the Panama art form. TiiK Panama Canal Review . I La Arena Ceramics Center, which she founded with the help of her brothers Gilberto and Carlos, is flourishing. The beautifully made dishes and pottery are attracting attention not only in Panama but also abroad. Diana's bateas also ha\'e caught the eye of connoisseurs and are sought by collectors, museums, art galleries and others who appreciate the simplicity and originality of native art. In the United States they have been exhibited at Macy's in New York City, at the University of Arkansas Museum, < the Stuhr Museum at Grand Island, Xebr., and at the Art Center in Louis- \ille, Ky. The largest batea she has e\er made was 4 feet in diameter, the smallest, 2 inches by 3 inches. In addi- t.on to being decorative, bateas can be used as table tops or serving trays and are popular as gifts. In the early stages of batea making, Diana spent many hours at the newly opened National Museum, carefully sketching the designs painted on the A contribution to Panama's cultural heritage . >'.-4i!» Diana Chiari adds a finishing touch to one of her bateas. Using plants and earth, she revived an art, gave character to a humble craft and pride to its creators. Her bateas are sought by connoisseurs, museums and art galleries. At left, is one displayed at the National Museum of Panama and above, are some of her bowls and a fish-shaped batea. Fall 1975 ]iiuseiiin's collection of precious pre- Isthmian residents, from preschoolers house in Santa Clara, prior to his Cioluinhian artifacts which had been to retirees, are enthusiastic students in departure for the United States this dug up in Code Province and are the various batea-painting classes held year. An Isthmian resident for more known as the "Code Culture." These at hobbv shops and clubs. A well-known than .30 years, Aanesen has taken an are considered particularly valuable liatea painting instructor is Arthur a\'id interest in pre-Columbian art because of their fine quality and the Moki'av, an Armv civilian employee, based on the Code Culture and has indelible natiue of the colors, which who has taught many Isthmians the compiled a collection of 50 authentic neither age nor humidit\' have de- new art form. His articles on batea- pre-Colinnbian designs in color which stroyed. making can be found at the Canal he uses to decorate his bateas. In addi- Determined to reproduce the authen- Zone Library. tion to these motifs, he specializes in tic muted designs of the ancient ce- Dr. Leo M. Rettinger, who until his painting bateas with crests and insignia ramics, Diana began experimenting ictirement was Chief of the Outpatient including the seal of the Canal Zone. with the plant pigments and clays em- Clinic at Gorgas Hospital, is an expert Using plates of "lowland cedro," a plo\ed bv the primitive potters to color butea-painter.
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