Black Material Geographies - Episode 4

The Lacebark Tree, Pt. 2

In this episode of Black Material Geographies, Teju continues her exploration of what actually happen to Jamaica’s lacebark tree as she speaks with:

• Steeve O. Buckridge

• Lauren Baccus, textile artist and founder of Salt & Aloes, a Caribbean materials archive platform

• Nicola Dillon, British-Jamaican PhD candidate researching materials related to the African diaspora

Episode Highlights

Lacebark Tree’s History, Continued

• In 1906, according to the colonial Jamaican government, only approximately 12 lacebark trees existed in the country and were later thought to be extinct. 

• The natural lace extracted from the lacebark tree is so intensive, that it cannot be mass produced as Steeve breaks down the steps involved

• Lacebark has a history of being used to make items, such as ropes. Only in Jamaica, was it used to make garments.

More than beauty and celebration

• The Lacebark material became a culture of resistance, as enslaved Jamaican women crafted beautiful garments for themselves without the influence and usurpation of Europeans

• The making of natural lace is highly skilled. This knowledge is assumed to be combination of skills of indigenous Taíno people and enslaved people of west Africa

• Lauren briefly connects the history of Carnival throughout the Caribbean beginning as a mass movement against the current ruling system, and how the clothing worn was important in radically expressing themselves.

• The lacebark tree has environmentally specific needs, these conditions cannot be reproduced anywhere else outside of its native islands of Jamaica, Cuba and Hispaniola. 

• Steeve recounts a story of 19th century scientists who unsuccessfully tried to take lacebark trees to England

Expeditions to Cockpit Country

• Steeve and Nicola share their separate experiences in Cockpit Country and with time were shown a number of lacebark trees currently in the forest, proving the false claim of extinction.

• Nicola, showed lacebark to Jamaicans in rural areas, and despite lack of direct knowledge, an instant 

• Steeve’s gives credit to Jamaican women for being stewards of material culture and skills.

• What histories do we choose to forget? The history of the lacebark tree cannot be told without the women of Jamaica