Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
Jonkonnu is an Afro-Bahamian carnival-like festival held every Boxing Day, New Year's Day and summer time. Groups dance down streets and dress in paper-fringed costumes. The musicians often use traditional instruments such as goat skin drums and cowbells.
Bahamas -- North America --Nassau, New Providence Island

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 15:6
http://ufdc.ufl.edu/AA00029404/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. The carnival costume, pictured in the center, is made with long and short white feathers and features highlights of black feathers. Gold ornaments decorate the costume which also has a ram’s head near the waist area. Next to this costume is an ornate peacock head gear which has been placed atop an armless statue with a human face. Slide labeled Trin. 12.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031205/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. This image shows the full view of two costumes. The partial view of two more costumes can be seen as well. One of the costumes is decorated with feathered props and fans. The costume also features geometric shapes and a stylized bird’s head, with the opening for the wearer at the base of the bird’s neck. Another costume is decorated with hands accompanied by a feathered head gear featuring a stylized human face. Slide labeled Trin. 11.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031201/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
Jonkonnu is an Afro-Bahamian carnival-like festival held every Boxing Day, New Year's Day and summer time. Crowds watch as Jonkonnu performers and musicians pass by.
Bahamas -- North America --Nassau, New Providence Island

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 15:7
http://ufdc.ufl.edu/AA00029405/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
Jonkonnu is an Afro-Bahamian carnival-like festival held every Boxing Day, New Year's Day and summer time. Jonkonnu performers and musicians parade down a street pass crowds. Some are holding signs, one reads "Greeting Chipman Sop."
Bahamas -- North America --Nassau, New Providence Island

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 15:9
http://ufdc.ufl.edu/AA00029407/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
Jonkonnu is an Afro-Bahamian carnival-like festival held every Boxing Day, New Year's Day and summer time. Crowds watch as Jonkonnu performers and musicians pass by. The Adderley building can be seen in the background.
Bahamas -- North America --Nassau, New Providence Island

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 15:8
http://ufdc.ufl.edu/AA00029406/00001

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : The aim of this paper is to study Moroccan music festivals against the existing theories on globalization, while coming up with new concepts aimed at overcoming the problems often facing experts in popular culture and media studies who feel that globalization thesis lapses into fatal gestures of leveling, reductionism, and totalitarianism, especially when it tries to account for current discussions related to the circulation of artifacts and cultural texts. The general consensus has it that modern technologies have hugely altered the meaning and revolutionized the traditional functions attached to art and cultural industries. The grotesque circulation of western cultural artifacts is justifiably judged to be many times agonizing for theorists in cultural studies, linguistics and political science, etc who want to be sure that the unequal transmissions of products across the world will not harm local cultural, linguistic and economic capital of the less dominant other. Moroccan music festivals for instance are seen to be increasingly governed by a complex whirlpool of the far-too-melodramatic implications of today’s world global connections. In view of this, this paper, which borrows from data collected during between 2010 and 2011, will examine cultural industries, music festivals in general and the Essaouira festival in particular, in relation to world flows, while holding the argument that the appropriation of western artifacts locally has always been part of a not-so-novel process of mobility of what we call world cultural nomadictates (nomadic dictates). The paper gives a detailed definition of this concept and develops other new concepts (e.g. recurents, exclusives) related to the «glocal» face of culture and art in Morocco in an attempt to find an escape route outside the impasses of the globalization/cultural imperialism theses surrounding the study of cultural industries. To drive this idea home, we will open up the discussion at hand onto existing controversies around notions of place, authenticity, urbanism, tourism and consumption.
L'objectif de cette recherche est d’étudier les festivals de musique marocains en portant un regard critique sur les théories existantes de la mondialisation et en proposant de nouveaux concepts afin de surmonter les problèmes auxquels les théoriciens de la culture populaire et des médias se sont souvent confrontés. Selon eux, le concept de mondialisation sombre dans le réductionnisme et le totalitarisme, surtout lorsqu’il s’agit de la circulation des objets et des textes culturels. Un consensus général semble s’être développé autour de l’idée selon laquelle les technologies modernes ont considérablement altéré et révolutionné le sens et les fonctions traditionnelles de l'art et des industries culturelles. L'insolite diffusion des objets culturels occidentaux est à juste titre source d’angoisse pour les théoriciens des études culturelles, de la linguistique, et des sciences politiques qui veulent s'assurer que la transmission inégale des produits dans le monde ne nuira pas au capital local, culturel, linguistique et économique de l'autre (le moins dominant). Les festivals de musique marocains, par exemple, sont perçus comme étant de plus en plus tributaires des vicissitudes de la mondialisation actuelle. Dans cette perspective, cette recherche, s'inspire de données recueillies au cours de deux années de travail de terrain (2010/2011), et se penche sur les flux mondiaux de produits culturels qui mettent en interface les industries culturelles, les festivals de musique en général et celui d'Essaouira en particulier. Elle maintient l'idée selon laquelle l'appropriation des objets occidentaux par les communautés locales a toujours fait partie d'un processus de mobilité, qui n'est pas si récent, de ce que nous appelons les ‘nomadictâtes’ culturels du monde (dictâtes nomades). En explicitant la définition de ce concept, cette recherche développe d'autres concepts liés à la notion de glocalité de la culture et de l'art au Maroc. Enfin, elle suggère aussi une issue à l’impasse des théories de la mondialisation traditionnelles et celle de l’impérialisme culturel en particulier dans lesquelles l’étude des industries culturelles semble s’être emprisonnée. Pour ce faire, nous exposons le débat actuel sur les controverses autour des notions de lieu, d'authenticité, d'urbanisme, de tourisme, et de consommation.
Maroc

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.5993
http://journals.openedition.org/etudescaribeennes/5993

Éditeur(s) : HAL CCSD
Résumé : International audience
Un festival, lorsqu'il atteint une certaine ampleur devient un facteur important du développement local. Il impulse une dynamique nouvelle dans l'espace où il se déroule, entraînant de nombreuses conséquences tant sociales qu'économiques. Il ne laisse personne indifférent. On le vit, on le subit, on y participe. Toute la société est concernée par l'événement.Le festival de Confolens a acquis au fil des années une grande notoriété internationale même s'il se déroule dans une région rurale assez enclavée. Le Confolentais est une région très peu industrialisée qui souffre de déprise agricole. Le dépeuplement s'inscrit davantage dans le paysage à chaque recensement...
Géo-Centre-Ouest, Poitiers

hal-01405810
https://hal.univ-antilles.fr/hal-01405810
https://hal.univ-antilles.fr/hal-01405810/document
https://hal.univ-antilles.fr/hal-01405810/file/1994%20le%20festival%20de%20folklore%20de%20Confolens.pdf

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. The carnival costume, pictured in the center, is decorated with peacock feathers, blue sequin, bells, and crystals around the head and neck sections. Slide labeled Trin. 14.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031208/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. The carnival costume, pictured in the center, is decorated with colorful feathers and animal prints. To the left of this costume is an ornate peacock head gear which has been placed atop an armless statue with a human face. To the right of the costume is a head gear made with stylized snake heads with crowns. Slide labeled Trin. 13.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031207/00001

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : L’objectif de cette étude est d’analyser les impacts et les limites d’une expérience de lutte contre la pauvreté par le tourisme au travers d’une étude de cas dans le village d’Anse-la-Raye, à Sainte-Lucie.Depuis son indépendance en 1979, Sainte-Lucie a tenté de diversifier la structure économique héritée de son passé colonial, en développant notamment des sources alternatives de recettes. Au début, il y a eu un certain succès avec l'industrie de confection et le tourisme qui ont émergé comme des activités viables en dehors de l'agriculture d'exportation.À la fin des années 1980, le pays avait même atteint un taux de croissance qui aurait été considéré comme raisonnable. Sainte-Lucie a d’ailleurs été l’île ayant connu la plus grande croissance économique des Etats du CARICOM. L’exportation de la banane a contribué pour beaucoup à ces résultats, et les nouveaux secteurs ont permis la création d’emplois ainsi que des revenus et des recettes d'exportation supplémentaires.Mais comme tous les Petits Etats Insulaires en Développement (PEID), Sainte-Lucie est caractérisée par sa vulnérabilité économique face aux catastrophes naturelles et crises extérieures. Ainsi, deux des secteurs principaux de son économie se sont affaiblis ces dernières années (l’agriculture et l’industrie), avec pour résultat principal une aggravation de la pauvreté à Sainte-Lucie malgré les bons résultats du secteur touristique devenu le pilier principal de l’économie de l’île.Dans ce contexte de faible croissance économique, le gouvernement et les partenaires sociaux se sont rassemblés pour identifier les politiques susceptibles d’accélérer la croissance économique de Sainte-Lucie. Ainsi, trois axes principaux ont été retenus : l’augmentation de la production locale, la réduction du crime et la réduction de la pauvreté. Dans ce dernier cadre, le gouvernement a lancé plusieurs stratégies de lutte contre la pauvreté notamment l’aide au développement d’activités touristiques.L’étude s’intéresse plus particulièrement au village d’Anse-la-Raye et à une expérience de tourisme pro-pauvre qui y a été développé en 2000 : l’Anse-la-Raye Seafood Friday, une sorte de festival qui permet aux visiteurs de déguster les produits de la mer tous les vendredis. Ce festival a-t-il eu réellement des répercussions sur la population pauvre de la communauté d’Anse-la-Raye ? Est-il viable? Quel est son devenir?
The objective of this study is to analyse the impacts and limitations of attempts to combat poverty using tourism through a case study in the village of Anse-la-Raye, in St. Lucia.Since its independence in 1979, St. Lucia has attempted to diversify the economic structure it inherited from its colonial past, in particular developing alternative sources of revenue. Initially there was some success with the clothing industry and tourism, which emerged as viable business activities outside of agricultural exports.At the end of the 1980s, the country had reached a growth which was considered reasonable. Of all the states of CARICOM, St. Lucia has moreover experienced the greatest economic growth. Banana exports have contributed significantly to these results, and new sectors have led to the creation of jobs and income to supplement export income.But like all Small Island Developing States (SIDS), St. Lucia is characterized by vulnerability to natural disasters and external economic shocks. Two major sectors of the economy have weakened in recent years (agriculture and industry), resulting in an increase in poverty in St. Lucia despite favourable outcomes in the tourism sector, which became the primary pillar of the island.In the context of low economic growth the government and social partners gathered together to identify policies and accelerate economic growth in St. Lucia. Three main themes were identified: Increasing local production; reducing crime and reducing poverty. In this context, the government launched several strategies to combat poverty including assistance for the development of tourism.The study focuses on the village of Anse-la-Raye and the experiences of pro-poor tourism that was developed in 2000: Anse-la-Raye Seafood Friday, a kind of festival that allows visitors to taste the seafood on Fridays. Has this festival really had an impact on the poor of the community of Anse-la-Raye? Is it viable? And what is its future?
Sainte-Lucie

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.6525
http://journals.openedition.org/etudescaribeennes/6525

Éditeur(s) : Université des Antilles. Service commun de la documentation INCA 5Instituto Nacional de Ciencias Agrícolas), Cuba
Extrait de : 52e congrès annuel de la Société caribéenne des plantes alimentaires / 52nd annual meeting of the Caribbean food crops society (CFCS), du 10 au 16 juillet 2016. INRA, CFCS
Description : The methodology is supported on the basis of the experience acquired by a group of researchers, farmers and technicians from Cuba in the implementation of Participatory Plant Breeding. The proposal presents a number of methodological considerations with the necessary flexibility to allow proper application of the method and follows a logical sequence of activities to be executed in a manner that facilitates their implementation in various contexts in which it is of interest to apply. Its implementation, as such, is a learning process in action for all actors involved in it; also enables participants to understand the scale of the needs of the producers and breeding programs and dissemination of varieties in terms of the real interest of these. The methodology has 4 main phases: 1) diagnosis, 2) Collection of plant genetic resources, 3) Establishment of demonstration plots and development diversity fairs and 4) farmer experimentation. Besides the four basic stages of Participatory Plant Breeding in Cuba other tools that allowed the PPB constitute a successful process were used, these tools are: action learning as interest Schools Farmers Festivals innovation, exchange visits and retreats, capacity building of students on stage in local innovation and creation of local seed banks.
Siècle(s) traité(s) : 21
Droits : CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Permalien : http://www.manioc.org/fichiers/V16317
V16317

Résumé : La valorisation du patrimoine culturel, matériel et immatériel, trouve sa justification en tant que vecteur de différenciation, dans un contexte où le seul modèle touristique de type fordiste ne fait plus recette. Ce patrimoine dans lequel l’homme place du subjectif, des référents culturels et affectifs, voire même des symboles, serait donc à considérer comme une ressource, un vecteur de distinction des territoires, tant il est pourvoyeur d’authenticité. Ainsi, lorsqu’il joue un rôle de marqueur identitaire, le patrimoine peut-être mobilisé par les acteurs impliqués dans le développement local qui ont le souci de se démarquer et de mettre en avant leurs ressources les plus spécifiques, à des fins de développement économique.Les ressources culturelles festives, à l’image des carnavals antillais et guyanais et du Tour des yoles rondes de la Martinique, en plus de montrer un lien entre une identité locale, des traditions et un lieu, confèrent de la lisibilité et de la transparence aux territoires qu’elles investissent. Les fêtes locales sont, en effet, des formes spatiales vectrices de territorialité qui donnent à voir des formes d’enracinement et d’attachement aux lieux. C’est d’ailleurs la « cristallisation collective » (Jeudy, 2008) qui se joue autour de ces manifestations patrimoniales festives, qui contribue à leur conférer de la consistance ainsi qu’une non négligeable valeur marchande. A n’en point douter, elles ont la faculté d’établir la Guadeloupe, la Martinique et la Guyane dans le cadre de la distinction, de l’attractivité et de la compétitivité. Néanmoins, n’est ce point utopique de croire, que la valorisation du patrimoine culturel festif des départements étudiés pourrait significativement participer à asseoir la pérennisation du tourisme ? En effet, l’organisation de la fête, surtout lorsqu’elle a une dimension identitaire poussée à son paroxysme, peut conduire au repli d’une société localisée sur elle-même. Partant de ce postulat, la rencontre entre touristes et populations locales peut s’avérer compromise, alors même que ces manifestations culturelles disposent de nombreux atouts à même de satisfaire un public touristique en quête d’authenticité et de vacances divertissantes. Cette rencontre est-elle souhaitée par les uns et les autres ? Est-elle seulement souhaitable ? Le patrimoine culturel festif peut-il sous-tendre une vraie activité touristique, tout en demeurant le garant d’une certaine stabilité sociale ? La prudence ne voudrait-elle pas qu’il faille plutôt craindre la menace qui pèse sur les biens culturels devenus trop rapidement des produits touristiques ?En réalité, les relations sont complexes entre une culture mise en fête et le développement du secteur touristique. Faut-il pour autant les considérer comme un « pari de l’inutile » (Lazzarotti, 2011) ?Le tourisme doit continuer à se penser comme un secteur économique indispensable au développement local, dans une perspective de durabilité. C’est d’ailleurs à ce titre que le volet social du développement durable trouve sa place au cœur même de notre réflexion, tant il constitue une composante majeure de ce que devrait être un produit touristique attractif et adapté aux substrats locaux. C’est ainsi que cette thèse explore et approfondit la problématique de la mise en relation entre un secteur touristique à pérenniser, et le riche patrimoine culturel festif dont disposent la Martinique, la Guadeloupe et la Guyane. Ce travail de recherche poussent encore un peu plus loin la réflexion autour du développement de pratiques touristiques renouvelées et durables.
Enhancement of cultural heritage, both tangible and intangible, is justified as a vector of differentiation, in a context where the only tourist Fordist model no longer recipe. Heritage in which man instead of subjective, cultural and emotional referents and even symbols, would be regarded as a resource, a vector distinction territories, as it is provider of authenticity. Thus, when a role marker of identity , heritage can be mobilized by the actors involved in local development that have the desire to stand out and highlight their most specific resources for economic development purposes . festive cultural resources, like the Caribbean and Guyanese carnivals and Tour round skiffs from Martinique, in addition to showing a link between a local identity, traditions and place , give the clarity and transparency territories they invest . Local festivals are indeed of vector spatial forms of territoriality that give rooting see shapes and place attachment. This is also the "collective crystallization" (Jeudy, 2008) that plays around these festive heritage demonstrations, which helps give them substance and a significant market value. A no doubt, they have the ability to establish Guadeloupe, Martinique and Guyana as part of the award, the attractiveness and competitiveness. However, this is unrealistic enough to believe that the enhancement of cultural heritage festive departments surveyed could significantly participate in sit sustainability of tourism? Indeed, the organization of the party, especially when it has a dimension of identity pushed to its limits, can lead to the decline of localized on society itself. Based on this assumption, the encounter between tourists and local populations may be compromised, even though these cultural events have many assets to satisfy even a tourist public in search of authenticity and fun holiday. This meeting it is desired by each other? Is it just desirable? The festive cultural heritage may underlie it a real tourist activity, while remaining a guarantor of social stability? Prudence does not she want that rather we should fear the threat to cultural property became too quickly tourism products? Actually, relationships are complex between a culture festival setting and development of the tourism sector. Should we all be regarded as a "bet the useless" (Lazzarotti, 2011)? Tourism must continue to think as an essential local economic development sector, with a view to sustainability. It is also for this reason that the social pillar of sustainable development finds its place at the heart of our thinking, as it is a major component of what should be an attractive tourism product adapted to local substrates. Thus this thesis explores and deepens the problem of linking between tourism to sustain, and the rich cultural heritage festive available Martinique, Guadeloupe and Guyana. This research push a little further reflection on the development of tourism practices renewed and sustained.

http://www.theses.fr/2013AGUY0703

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. In this image, there is a head gear labeled “King Kofricari,” a red elaborate costume, and a feathered costume featuring oxen horns and an ornately, stylized ostrich head. Slide labeled Trin. 10.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031197/00001