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"The earth is the mother of all things"; thus begins this original and accessible book on how the Kuna of Panama relate to the natural world. An integrative project involving Kuna traditional leaders and trained scholars, and fully illustrated by a Kuna artist, this translation of Plantas y animales en la vida del pueblo Kuna focuses on Kuna plant and animal life, social life, and social change as a means of saving traditional ecological knowledge and "returning" it to the community. The authors hope to preserve the Kuna environment not only by reviving traditional technologies but also by educating the Kuna as to what needs protection. While the Kuna have a tradition of living in harmony with the land, the intrusion of the market economy is eroding the very basis of their sustainable way of life. As a response to this crisis, this book seeks to develop native self-awareness and provide a model for collaboration. It will appeal to Latin Americanists, anthropologists, and ethnobotanists, as well as to a general readership in environmental issues.
The Kuna Indians of Panama, probably best known for molas, their colorful appliqué blouses, also have a rich literary tradition of oral stories and performances. One of the largest indigenous groups in the South American tropics, the majority of them (about 70,000) reside in Kuna Yala, a string of island and mainland villages stretching along the Caribbean coast. It is here that Joel Sherzer lived among them, photographing and recording their verbal performances, which he feels are representative of the beauty, complexity, and diversity of the oral literary traditions of the indigenous peoples of Latin America. This book is organized into three types of texts: humorous and moralistic stories; myths and magical chants; and women's songs. While quite different from one another, they share features characteristic of Kuna literature as a whole, including appreciation of their environment and a remarkable knowledge of their plants and animals; a belief in spirits as an important component of their world in curing, magic, and aesthetics; and, especially, great humor and a sense of play. Vividly illustrated by a Kuna artist and accompanied by photographs that lend a sense of being present at the performances, the texts provide readers with a unique aesthetic perspective on this rich culture while preserving an endangered and valuable indigenous oral tradition.
This collection of essays by local activists and nationally recognized scholars deals with the history, status, and dilemmas of environmental justice. These essays provide a comprehensive overview of social and political aspects associated with environmental injustices in minority and poor communities. It will provide a solid platform for dialogue between activists and policymakers or between teachers and students.
This interdisciplinary curriculum in botany and plant ecology focuses on environmental and stewardship issues using the framework of Native American stories as an introduction to the topics.
Known for their beautiful textile art, the Kuna of Panama have been scrutinized by anthropologists for decades. Perhaps surprisingly, this scrutiny has overlooked the magnificent Kuna craft of nuchukana—wooden anthropomorphic carvings—which play vital roles in curing and other Kuna rituals. Drawing on long-term fieldwork, Paolo Fortis at last brings to light this crucial cultural facet, illuminating not only Kuna aesthetics and art production but also their relation to wider social and cosmological concerns. Exploring an art form that informs birth and death, personhood, the dream world, the natural world, religion, gender roles, and ecology, Kuna Art and Shamanism provides a rich understanding of this society’s visual system, and the ways in which these groundbreaking ethnographic findings can enhance Amerindian scholarship overall. Fortis also explores the fact that to ask what it means for the Kuna people to carve the figure of a person is to pose a riddle about the culture’s complete concept of knowing. Also incorporating notions of landscape (islands, gardens, and ancient trees) as well as cycles of life, including the influence of illness, Fortis places the statues at the center of a network of social relationships that entangle people with nonhuman entities. As an activity carried out by skilled elderly men, who possess embodied knowledge of lifelong transformations, the carving process is one that mediates mortal worlds with those of immortal primordial spirits. Kuna Art and Shamanism immerses readers in this sense of unity and opposition between soul and body, internal forms and external appearances, and image and design.
With an idyllic landscape of volcanoes, rain forest, and Caribbean coasts, and a skyline ever-colorful with butterfly migrations and over 350 species of birdlife, it isn't surprising Panama has always been a popular escape for Americans. Plan the perfect getaway with this guide, which features a multitude of opportunities for watersports and hiking.
Beginning with volume 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of more than 130 specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. The Handbook annotates works on Mexico, Central America, the Caribbean and the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research under way in specialized areas. The Handbook of Latin American Studies is the oldest continuing reference work in the field. Katherine D. McCann is acting editor for this volume. The subject categories for Volume 57 are as follows: Electronic Resources for the Social Sciences Anthropology Economics Geography Government and Politics International Relations Sociology