Picturing the River's Racial Ecologies in Colonial Panama

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 Panama. 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 Panama and Central America, a region routinely excised from studies of colonial Latin American art.