Colonial Trash to Island Treasure: The Chaney of St. Croix
Chaney is the name given to the porcelain shards found in the soil and washed up on the beaches of St. Croix, US Virgin Islands. A hybrid of the words for “china” and “money”, chaney refers to fragments of European ceramics brought to St. Croix by the island’s former colonisers: England, France, the...
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| Formato: | article |
| Lenguaje: | EN |
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Yale University
2021
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| Acceso en línea: | https://doaj.org/article/0641b73a69784dd8b41c51bb8fc56dd7 |
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| Sumario: | Chaney is the name given to the porcelain shards found in the soil and washed up on the beaches of St. Croix, US Virgin Islands. A hybrid of the words for “china” and “money”, chaney refers to fragments of European ceramics brought to St. Croix by the island’s former colonisers: England, France, the Netherlands, and Denmark. Cast out as plantation garbage and broken in symbolic acts of destruction, chaney is a symbol of colonial entanglement, intercultural exchange, and resistance. Drawing on postcolonial critiques of colonial settlement and slavery, this article considers the distribution, circulation, and archival memory of chaney in the context of Atlantic slavery, especially as it relates to the consumption of European ceramics by enslaved individuals. This article also investigates the afterlife of chaney, which is collected by local artisans who repurpose the shards into jewellery. The recuperation of chaney shows how the remnants of prior contact and exchange with foreigners are being reworked by the people of St. Croix to create their own forms of cultural production that offer a symbolic resistance to the hierarchies of European luxury design. This paper concludes by examining the work of St. Croix-based artist La Vaughn Belle, whose Chaney paintings and porcelain designs for Royal Copenhagen move chaney beyond the limits of its materiality to explore the politics of resistance, identity, and colonial responsibility. To this end, I argue that the transformation of chaney from island debris into artworks and decorative objects can be viewed in the wider context of artists using broken or discarded former items of distinction to address the legacies of slavery and colonialism. |
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