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Picturing the River's Racial Ecologies in Colonial Panamá

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Picturing the River's Racial Ecologies in Colonial Panamá arts Article Picturing the River’s Racial Ecologies in Colonial Panamá Bart Pushaw Department of Arts and Cultural Studies, University of Copenhagen, S-2300 Copenhagen, Denmark; [email protected] Abstract: This article explores the local histories and ecological knowledge embedded within a Spanish print of enslaved, Afro-descendant boatmen charting a wooden vessel up the Chagres River across the Isthmus of Panamá. Produced for a 1748 travelogue by the Spanish scientists Antonio de Ulloa and Jorge Juan, the image reflects a preoccupation with tropical ecologies, where enslaved persons are incidental. Drawing from recent scholarship by Marixa Lasso, Tiffany Lethabo King, Katherine McKittrick, and Kevin Dawson, I argue that the image makes visible how enslaved and free Afro-descendants developed a distinct cosmopolitan culture connected to intimate ecological knowledge of the river. By focusing critical attention away from the print’s Spanish manufacture to the racial ecologies of the Chagres, I aim to restore art historical visibility to eighteenth-century Panamá and Central America, a region routinely excised from studies of colonial Latin American art. Keywords: Panamá; print; art; colonial; blackness; ecocriticism; enslavement; Central America 1. Introduction A boat ascends a coursing river (Figure1). Fourteen oarsmen paddle against the force of the river’s downward stream towards a range of mountains. Despite the river’s Citation: Pushaw, Bart. 2021. coursing speed, flocks of birds have settled at the water’s edge. Swans and herons wade Picturing the River’s Racial Ecologies in cool waters as an iguana scuttles across the surface. Two-headed snakes slither along in Colonial Panamá. Arts 10: 22. the ground, as a chachalaca (Ortalis ruficada, labeled here as Pava montesa) and other birds https://doi.org/10.3390/arts10020022 survey the scene. Above the river, small black monkeys form a chain as they swing from one bough of the canopy to the other, demonstrating a playful ease to navigating the forest Academic Editors: Lauren Beck and that escapes the humans below. However, the bogueros, or boatmen, are hardly unprepared. Alena Robin They row with years of experience under their belts, having navigated up and down the Chagres River and across the Isthmus of Panamá innumerable times. Often enslaved Received: 15 February 2021 and Afro-descendant, bogueros played a crucial role in the flow of silver, gold, and other Accepted: 25 March 2021 precious goods and materials from the Pacific and Caribbean coasts of Latin America to Published: 1 April 2021 the rest of the world. As they rowed along the river, they also dispersed other enslaved people throughout Latin America (O’Toole 2020). Publisher’s Note: MDPI stays neutral A Spanish printmaker by the name of Juan Moreno created this image of Panamá with regard to jurisdictional claims in in Madrid, as an illustrated chapter heading in the 1748 tome Relación Histórica del Viage published maps and institutional affil- a la America Meridional (Ulloa and Juan 1748, p. 144). Penned by the Spanish scientists iations. Jorge Juan and Antonio de Ulloa, the book narrated their journey from Cádiz to Quito and their efforts to measure the circumference of the Earth. Images were central to the book’s didactic function, expanding scientific accounts into engaging narratives by visualizing colonial cities, cultural customs, and landscapes of eighteenth-century Latin America. Copyright: © 2021 by the author. Upon their return to Spain, Ulloa and Juan supervised the careful creation of some forty- Licensee MDPI, Basel, Switzerland. eight illustrations by Spanish artists including Juan Bernabé Palomino, Vicente de la Fuente, This article is an open access article Juan Moreno, Carlos Casanova, Juan Pablo Minguet, Juan Fernández de la Peña, and Juan distributed under the terms and Palomino (Contreras and Iniesta 2015). conditions of the Creative Commons Attribution (CC BY) license (https:// creativecommons.org/licenses/by/ 4.0/). Arts 2021, 10, 22. https://doi.org/10.3390/arts10020022 https://www.mdpi.com/journal/arts ArtsArts2021 2021, ,10 10,, 22 2 FOR PEER REVIEW 32 ofof 1313 FigureFigure 1.1. IllustratedIllustrated chapter heading heading of of Book Book Three Three “On “On the the Journey Journey from from Portobelo Portobelo to toPanamá” Panamá ” ((UlloaUlloaand andJuan Juan 1748 1748,, p. p. 144). 144). JohnJohn CarterCarter BrownBrown Library.Library. Image Image used used with with permission. permission. 2. SituatingArt historian Colonial Daniela Panamá Bleichmar has established the visual culture of science in the HispanicThe Enlightenmentprint’s focus on as the an slow important ascent site up tothe investigate Chagres invites imperial viewers formations to linger of power in the relationsriver’s liminality (Bleichmar. In 2014doing; Bleichmar so, we can 2017 better). Thesee the illustrations complexity in of Juan our and surroundings Ulloa’s books and belongreconsider to this the well-established space of Panamá genre in eighteenth of European-century expeditionary art histories. images, For providingart historians, crucial the insightbusy ports into of the Panamá eighteenth-century City and Portobelo Spanish are imaginary important of colonialinsofar that Latin they America are nodes (especially in, say, thethe Andes)mobile (networkVega Gonzs ofá lezthe 2010Manila). Scholars Galleons. have Otherwise, argued that the Moreno’sisthmus appear images ofmost Panam oftená isin “the lists mostthat describe well-known the geographical of all” of the extent book’s of illustrations, the Viceroyalty enticing of Peru in its(1543 visualization–1717) and oflater a “dangerous New Granada navigation (1717/1739 system”–1821), (Contreras rather than and as Iniesta a site of2015 cultural). Moreno’s production. print is These also distinctive for another reason: it renders enslaved black bogueros visible in a scholarly Andean affiliations made colonial Panamá a clear beneficiary of and an occasional con- practice that usually insisted on blackness “remain[ing] in the interstices” (Safier 2008, tributor to the famed Quito School. Seventeenth-century painter Hernando de la Cruz, for p. 63). Seated under the thatched roof of the boat, the white European scientists Ulloa and instance, traced his roots to Panamá, though his artistic activity was firmly in Quito and Juan evade our gaze. This latent but invisible whiteness raises questions about the role of contributed little towards artistic production on the isthmus proper (Vallarino 1950; Ramí- race within the image. rez 2013). Some of the earliest and most impressive churches on the isthmus, notably in In Panamá, the print has taken on a different meaning, where, divorced from the Natá (or Natá de los Caballeros), feature the paintings and polychrome sculptures of original text, it appears as a routine illustration in history books about the isthmus Quito School artists. (Castillero Calvo 2019, p. 620). The popular reproduction of this print marshals the image An enduring emphasis on transit treats the isthmus as a site between cultures, rather as foretelling visual testimony of Panamá’s transformation into a central hub of global than a site of distinct cultures, especially before independence from Colombia in 1903. commerce after the completion of the eponymous canal in 1915. Over the centuries, the This lacuna is especially conspicuous in the eighteenth century because of the closing of 1748 image of the Chagres River has become synonymous with the canal’s historicity, sup- portingthe Portobelo narratives fairs of (ferias Panam) afterá’s “predestined1739 (Ward 1993) geography”. The fairs to had be a been locus the of intercontinentalmain Caribbean tradeand Atlantic (Carse 2014trading, pp. post 71–82). for the Yet, Viceroyalty as Marixa of LassoPeru, where has made merchants clear, theexchanged creation Andean of the Panamsilver, áNewCanal Granadan was dependent gold, textiles, on the cacao, displacement tortoiseshell, and erasure and quinine of the country’sfor other global black citizenrywares. The (Lasso fairs 2019 were). Asalso humanities the main impetus scholarship for the recenters maintenance Panamanians of transisthmian within accounts travel ofroutes Panam thatá (andutilized away the fromChagres twentieth-century River. After repeated U.S. actors), attacks theand historical sieges at Portobelo significance made of thethe Chagresport an untenable River as alocation, cultural the space Spanish in the crown late colonialclosed the period—and ferias permanently the centrality in 1739. of blacknessMercantilist therein—has histories emerged exacerbate as an this important absence avenue of art ofhistorical inquiry. investigation, suggest- ing thatIn this the essay, closing I contend of the Portobelo that this ferias 1748 printushered functions over a beyondcentury itsof “decline” Spanish manufacture for Panamá, tountil reveal the colonialconstruction Panam ofá the, and world’s the Chagres first transcontinental River in particular, railway as a across historical the spaceisthmus that in has1855 nourished (Delgado black et al. life2016, and pp. culture. 115–35) In. doingHowever, so, itthere follows are modelsmany reasons of black to geographical consider the thoughteighteenth developed century byanew Katherine from a McKittrick, Panamanian who perspective. urges us to When pay attention Antonio to de the Ulloa “living- and ness”Jorge withinJuan arrived a colonial to Portobelo archive ofin enslavement 1733, they witnessed and dispossession one of the (lastKing
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