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A collaborative installation by:Edgar Endress,Janet Cook-Rutnikand Lori Lee.

TRANSFER PROJECThas been funded by a:University of the Virgin Islands Cultural Award grantand in part by the VI Council on the Humanities,the VI Council on the Arts andthe National Endowment for the Arts.

Special thanks to:Edgar Lake, Landmarks Society, David Knight,Dr. Gilbert Sprauve, Candia Atwater and Sgt. Maj. Leroy Mars,Corp. Charles and the Girls and Boys of the award winning EudoraKean High School ROTC Drill Teams.


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In the Caribbean region, migration is, and always has been, a way of

life. Migrations have been critical for shaping the mental landscapesof the local populations in the past and present. This multifaceted proj-ect explores varying degrees of transhumance, including temporarytourists, short-term and long-term migrations, and permanent migra-tions both legal and illegal.

When the Danish rst occupied the islands that became the Dan-ish West Indies, the Native Taino population was critically diminished,

choosing to ee the islands to escape the Europeans who killed andenslaved them. Danish occupation brought Dutch, Danish, Moravian,French, Irish, and Scottish overseers, planters, missionaries, families,and free and enslaved Africans. Continuous migration, both voluntaryand forced, shaped the identities of the Virgin Islands communities.This migration process continues with unabated legal and illegal mi-gration from the Dominican Republic, Haiti, other Caribbean islands,China, and the Middle East. Each year millions of tourists temporarily

migrate to and from the islands on their quest for recreation. Beforetraveling to the U.S. Virgin Islands, tourists see brochures of non-peo-pled landscapes. The main purpose of our project is to return focus tothe people of the Virgin Islands, to their history, culture, and heritage,which are interwoven with threads of migrations.

This project highlights the visual and cultural landscape of the Vir-gin Islands in the era preceding the transfer and shortly thereafter,

through a selection of images of people and oral histories of peoplethat composed Virgin Islands society in the early twentieth century,

and the historical memory of the event that has been passed on tolater generations. Dr. Sprauve likened the images of the local peoplewitnessing the event in Peppino Mabgravittes Transfer Day muralat Government House to ghosts. In this sense, the local communitywere liminal observers to an event in which they had no active politi-cal role. In simulation of this, life size images of local inhabitants havebeen transferred onto a gauzy fabric and they serve as witnesses to

the Transfer and the consequent changes that migration wrought. Un-

like their still life counterparts in the painting, these individuals are inmotion, signifying that on a local level the individuals were engagedin active transfer of themselves from one location to another, simul-taneously on the outskirts of the political arena yet at the center ofengaging in local social practices, such as travel, that shaped andwere shaped by the Transfer event.

Transfer Project is a contemporary art and cultural history project that

embraces migration in the Caribbean while spotlighting emigrationthat took place around the time of the Danish Transfer of the VirginIslands to the United States on March 31, 1917. The art exhibitionsutilize video, installation, photography and oral history to reconstructthe event. The event is examined and eshed out with the lived expe-rience of individuals who experienced it. The migration process wasinitiated long before the transfer of the islands, yet the transfer initiat-ed a change in status that changed the formal emigration procedures,

which are preserved in the form of photo identication cards that werearchived by the United States in the National Archives.

On the second oor of the National Archives II, in College Park, Mary-land are a series of books that catalogue every item within the archive,which is organized by place. The Virgin Islands are assigned to Re-cord Group 55. Within this group are a series of passport applicationsfor individuals and families who desired to travel from the U.S. Virgin

Islands to the continental United States from 1918 to 1945. Archivesserve as carefully constructed warehouses of memory. In this case,

the memory is constructed from the perspective of the United Statesgovernment. What is lacking is the experience of the documentedevents from multiple vantage points. Oral histories, in the form of nar-ratives, are alternative repositories of personal and collective mem-ories. We recontextualize photo identication card images from theNational Archives to consider their multiple meanings.


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This recontextualization of the images provides a resonant descrip-tion which challenges the nature of an event and highlights its reality

as a process that is an accumulation of time before and since theevent. Different voices emphasize the multifaceted nature of an event,which has different meanings for each individual. For Miss Meada,(Andromeada Keating Titley), the Transfer evoked memories of redAmerican apples, a commodity that was given to children on that dayand which became more common after the Transfer. The disconnectbetween the Danish past and American present were highlighted inher recollection of the singing of the Danish national anthem and the

silence of the local community when the band played the Americannational anthem. For Aunt Sula (Ursula Krigger), the Transfer wasremembered in terms of family connections, as an occasion whereher brother played in the Naval band during the celebration. The sig-nicance of the event in her eyes was the consequent changes in theeducational system initiated by the Americans. The historical event ofTransfer Day is a snapshot that is created from the continuous pro-cesses of time and memory. Through narrative and archives the event

is carded, combed, and woven into the fabric of historical memory ofTransfer Day in the United States Virgin Islands.

Our project has both artistic and historical elements. The historicalgoal of the Transfer Project is to reconstitute some of the histories

of individuals and families in the U. S. Virgin Islands who applied fortravel passports, both those who returned to the island and those who

did not. We want to trace the trajectories of the passport applicantswhat are their stories before they applied for the passports and whathappened to them, and their descendants, afterward? The goal is tohave the greatest public knowledge of the project possible, to incor-porate as many voices as possible. We want to reframe the archivecreated by colonial entities by shifting people from the role of objectto subject. This puts Virgin Islanders back in control of their own his-tories, returning these narratives where they belong, to the U.S. Vir-

gin Islands. The end result incorporates the histories, essays, andart, into a book for Virgin Islanders regarding the historical momentof transfer and the processes that it initiated from the perspective ofVirgin Islanders. This book is an initial step toward that goal and it willbe expanded as research continues. To counteract the exclusivity ofaccess to information, which was an important reason for the initia-tion of this project, these documents, essays, and documentation ofart will be made available on the web with open access to everyone

(www.transferproject.vi).

Note: This project was inspired by David Knights research, whichresulted in a publication of data from the passport applications helocated in the National Archive.


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Project

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Transfer Projectdocumentation 2005/09


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Photographs Passports from 1919

Transfer to Silk(24 x 30 inc)


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Deer/donkeyexplores the origins and distribution of a mythical creaturea hy-brid of local deer and donkey populations. Both deer and donkeys were brought to

the Virgin Islands as a result of colonization, to serve specic needs of colonists.The deer and donkeys serve as metaphors for different groups of people who cameto the islands historically and the unpredictable results of this cohabitation. Thecolonists are gone but the deer and donkey remain, surviving periodic attemptsto eradicate them because of their impact on indigenous ora and fauna. Yet they

remain because they belong.Images of the deer/donkey are situated in the center room of the gallery which isset up in a way that recalls the Danish West Indian parlor room in the era of Trans-fer. Metaphors of migration are entangled in the details of the wallpaper hung inthis room. Passport images of Virgin Island travelers are also revealed here. Their

presence in this room, also established by creating a foundation of books coveredin prints of contemporary passports beneath the table, emphasizes that they arethe ancestors who establish a historical foundation for many Virgin Islanders of the

present. The circular frames of the deer/donkey images on the opposite wall recallship portals, creating a dialogue between the travelers and the material manifesta-tions of colonization.


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Because of their long history of geographic isolation, the U.S. VirginIslands are home to few native terrestrial mammals. Eleven speciesof non-native mammals have established feral or free-ranging popu-lations, including the Donkey (Equus asinus) and White-tailed Deer

(Odocoileus virginianus). Donkeys were used extensively during theDanish plantation era and beyond, for transportation and to operateanimal-driven sugar mills. The need for donkeys has declined butthey persist in feral populations. White-tailed deer were introducedto the U.S. Virgin Islands from the southern United States ca. 1790for hunting and sport. The deer are noted to have a small homerange, which has prevented them from becoming exterminated inmany areas.

A new species appeared in the USVI in the early nineteenth cen-tury. This species, the Deer donkey (Equus virginianus) combinesattributes of each parent species, the donkey and deer. All maledeer donkeys and most female deer donkeys are infertile. Several

phenotypic variations are noted among observed deer donkeys.Most common are deer donkeys that display most features typical todonkeys with the addition of deer antlers. Most unusual is a varietythat manifests deer antlers not only on the head, but also protrudingfrom the trunk of the body. This mutation makes the animal unableto transport goods or humans or to be harnessed to labor at the mill.Due to the decline of donkeys in the U.S. Virgin Islands, these spe-cies are endangered.


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I will MaintainPrint on Silk(36 x 28 inc)

Red Birdssuperimposes images of animals over historic pho-

tographs. The animals open a dialogue about biblical paradise

and the fable of the Caribbean as a utopia, while at the sametime representing migratory beings. The historic photographsrepresent realism. The banners beneath the photographs pro-claims I maintain in various colonial languages, emphasizingthe endurance of local culture despite the ruptures wrought bymigration. The images are printed on silk, which creates move-ment, emphasizing a central theme of migration, which contin-

ues in the back gallery with additional screen prints.


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Stompis a two channel video projection created from video of St.

Thomas Eudora Kean High Schools drill team. Stomp evokes the

multilayered history of the islands, particularly ritual, gender, militarypower, and cultural continuity and transformation. This piece also em-phasizes the importance of youth in cultural continuity and transfor-mation through performance.


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Daily Breadis comprised of images of USVI governors. The images of the gover-

nors are cut from paper plates. When light is projected through the plates, the imagesare transferred to the wall. This piece considers power after the transfer of the islandsby recontextualizing images of political gures on mundane paper platesobjectsused daily for food consumption. Placing the images here highlights the rituals ofmealtime, the status and class hierarchies invoked in these daily rituals through ma-terial culture, and the new political and power relationships established, challenged,

and maintained through the new USVI government and its evolution over time.


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Dream Journeyconsiders the juxtaposition of physical landscapesand mental landscapes, both real and imagined. Romance novelsare found in abundance on Caribbean islands as a result of touristsbringing them, and then leaving them behind when they return home.These romance novels are often set in the context of the islands with

themes of pirates, sirens, and mermaids. For the tourist, the tempo-rary migrant, the novel is a gateway to enter paradise. Although tour-ists mental landscapes of the Caribbean are not a reection of theactual physical and cultural landscapes that exist in the islands, the

utopian trope of paradise remains constant.


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a bookkeeper; one sister, Rosamond, was a teacher; another sister,E l l h I d d f Hild h d


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Notes on the 1918 Travel PassesThe image on the postcard invitation of this installation exhibit

features the cool gaze of 19 year-old Rudolph Ulysses Lanclos.Indeed, his bowler hat perhaps shale-stone gray with black ribbon

trim but, now sporting a ery brown, sits smartly above his earswith tilted jaunty pride. Two things betray his vaunted intent in sailingto New York City aboard the steamship, Saga: his stated purpose sodisarmingly casual: visiting a friend Allan ONeal, at 164 West 144Street; and his right lapel sporting a small shamrock fraternity pin.From his tab collar hangs a white silk tie, a veritable shaft of light

illuminating his eyes. Ulysses (for that is the name Im using for this traveler

across Time), leaves us designated as a Clerk, but appears as aDentist/Doctor in the 1930 Census, when he returns to St. Thomasto work in the Municipal Hospital. He comes from a remarkablefamily: His mother, Hildah, is a homemaker; his father, Hubert, was

Evelyn, was a telephone operator. Indeed, one of Hildahs - andHuberts - grandsons was Rudolph Galiber. Ulysses, then, belongsto that long line of returnees connected to our present-day medical

corps: descendants of these estates grandmother mid-wives, and Aidsocieties, long remembered in the Virgin Islands. One gains particular democratic insights from the watershedof faces, recipients of the 1918 US Immigration-issued Travel Passesto persons residing in the newly purchased United States Virgin

Islands.In the currency of heritage exchange, these applicants

were among the rst Virgin Islanders to formally engage with

the new empire, The United States of America, encrypting theirbiographies, their variegated social intents and purposes for leavingtheir homelands. Thus, the Nativity of so wide a pan-Caribbean eldof 1918 applicants is a remarkable footnote to an emerging VirginIslands democratic vision. Details of familial ties, occupation, ageand institutional memberships verifying their identities belie theimmutable strata of kinships, culture, and heritages that offer portals

into genealogical contours and inter-island legacies. There are otherburied constellations, in fact: a rich assortment that includes themaritime records of ships names and dates of departure to sundryports. There are Letters of Recommendation, Baptism Certicates,Marriage Licenses and Police Declarations with administrative andcivic vernaculars of their own; each with marginalia and innovativeaddendums related to the change of status of these islands and

jurisdictional matters of colonial agencies. The tournament of ofcialsnames denoting past colonial authority now stand as a footnote ofdiminution.

A sobering and little-discussed caveat lay strewn in thevestibule of History: the compiled list of persons who declared theirdesire to preserve or retain their Danish citizenship. One sees theproverbial needles eye errantly lodged between the vestibulesoorboards, parents and their unsuspecting children unwittinglyexercising a dubious Right, whether born in Denmark or these islands. But it is the photographic imageof the Travel Passes therst formal engagements of an impending US Citizenship that speak

most eloquently across Time. They are, unquestionably, among therst expressions of our 20thcentury Modernism. Aside from evidencing

a curious sartorial elegance and group portraiture, they objectify ourhopes and dreams in realm of The Gaze; our encounter with movingimage technology beginning with the steam-engine estate-workers ofthe mid 1850s, and later, with Lindberghs pan-Caribbean landings ofthe Jazz Age. Edgar O. Lake


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Rebecca Wilhemina Roberts, a 25 year-old seamstress and

native of St. John, leaves her Charlotte Amalie Address at No. 36

Norre Gade and applies for her Travel Pass on December 29, 1917.

Her scribal words belie her time. Born on the 12 thof December, 1892,

Rebecca writes that she was born at St. Jan, and intends to leave

on the steamship Guiana. Her scrawl accelerates in sharp ascent,

and tacit declaration: A visit. Brother Ralph Roberts, 677 Lenox Ave

New York City.

Yet all three facts will change.

Almost six months later, she received her pass on June, 5,

1918. The designation of her native island, her intended good-luck

ship, Guiana,and her initially stated New York City address, will all

change.

The Naval Police clerks deliberate term, St. John, changes

her own scribal, St. Jans. Then, her curiously assigned destination

changes to now 225 West 143rdStreet. Lastly, Rebecca is assigned

passage on the steamship, Korona. From her tentatively hand-written

application, to scribed Travel Pass, only the section purpose, remains

constant from start to nish. Wilhelminas bureaucratic navigation

in attempting to re-establish contact with her brother, inadvertently

provides a cross-street address to better conrm her destination:

a veritable walking grid of Virgin Islands-New York civic and political

organizations.

Rebecca no doubt a namesake of the 18thcentury Danish

West Indian Moravian internationally known pioneer is a member

of the Emmaus Moravian Church on the East End of St. John. She

carries a Baptism Certicate signed by Reverend A.B. Konig. Five

Sponsors signatures etched at the time of her baptism (January

5, 1893), a ve-day infant carried from Estate Little Plantation in

the swaddling arms of her parents: Samuel Augustus and Annie E.

Roberts.

One cannot help noticing the erectness of her posture: a

resolute elegance and alertness in her serene portrait. She stands

beneath a Moravian seal, holding a branch of the common fern.

Rebecca holds the fern as if she was a autist, a poet nishing a

parchment. Or, is her portrait a subtle post-1917 peasant-societal

fraternal posting: using her native Flora as a pastoral plume (indigo,

or charcoal), a posture so deeply akin to American Poet, Phyllis

Wheatley?

Her soft dress with high neckline framed by a spun-gold

medallion and ared embroidered cuffs revealing a cultured pearl

bracelet, speaks volumes of her ancestral shing legacy and her

dressmaking skills and traditions.

Imagine, Winnold Reisss 1925 Harlem Renaissance

published portfolio (Four Portraits of Negro Women), with one

portrait of a Virgin Islands woman! Is it Rebeccas soft cotton collar,

sketched broader now with age and Grace; the hair misted and oiled;

her gaze lowered and pensive?

Indigo, once grown at her birthplace, Estate Little Plantation,

complimented cotton farming which once ourished in -18 th-19th

century Danish West Indies.

Rebecca, seamstress and immigrant - her enigmatic story

boldly sewn in the fabric of our peoples democratic vision.

Edgar O. Lake


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Annesta Francis, is the 109th applicant for a US Travel

Pass in St. Thomas. Yet, she is a native of St. Croix, and, at 23years old already a veteran cook saucy, even in the pucker of hereloquent mouth setting out on August 5, 1918, from her residence

at Commanding Gade No. 10. Whom does she cook for - hummingthose early-morning church tunes over stew; or, baking home-madebread?

She can hardly wait to see the written phrase (and is anAmerican citizen) written on her own Travel Pass. But, at the

Administration Building, the Naval Police clerk prophetically retraceshis mistaken spelling of the word (American) in the pivotal phrase:and is an American. He rst spells it (Amercan), no doubt a phonetic

contraction - but, doubly so - and at Annestas expense. He alsomistypes her name (Anesta), although it is Annesta for that is howshe signs her name.

Annesta has already left her native island home, St. Croix,though not forgetting the churchyard of St. Patricks Church, WestEnd. Reverend George Englert has sent her Extract of Baptism, vemonths before less six days. Days really matter, particularly for

someone already in-transit, and before she gives the certicate to thepolice clerk, Ensign Theile, she notices, there too, her name is writtenwith one n. No matter. Clothes, and traveling papers, both to gather:iron and fold. She presents two pictures across the polished mahoganydesk: her picture shows a tear-lled left eye; the right one seemsproudly deant and determined of her mission to improve her stationin life. Her baptism shows that Annesta is the daughter of William andMargaret Francis, with baptism sponsors (and doting God-parents)

Joseph James and Rebecca McBean. At ve months old, Annesta

was already crying at the world, even as Reverend Verlooy had softlypoured water across her veined forehead. Annestas black hair is adorned with a vermillion-with-orangestripes satin bow. It is neatly parted in rolling black waves, muchlike the steamship, Marina, would be bound for Porto Rico on thefollowing

day. She had carefully put on her silver choker, and on a second turn,afxed her prized silver and ivory pendant. It sits snugly at the plumpbase of her neck, anchoring the vortex of her shoulder-wide collar.Only her pair of pearl earrings outshines the white of her eyes. She

sits before the navy clerk, thinking of her aunt, Helen Boynes, living inSanturce, Puerto Rico, to whom she will travel the following day. Shehad memorized the address, Stop 15 Monserrate Street, House # 19,pinning a copy of the document in her purse. In less than a month,Annesta would secure her own residence at 16 Stop Casse No. 4, in

Santurce.Whom has Annesta left behind? Her niece, Wilhelmina

Lancaster, three years older than she, residing at Kongens Gade No.

4. Wilhelmina is a laundress with equally determined eyes and asealed mouth. Her hard-worked 5 feet 1 inch frame - merely 1 and inches shorter than her aunt. In the Mona Passage passing, several stowaways from PortoRico would be discovered who had come onboard a berthed ship,with the Lighter, and hid in the ships boiler room. Forced aboardanother ship at high seas, and amidst protest from the Venezuelan-

bound skipper whose captain had been lured on deck and given athree dollars fee, they had been returned to Porto Rico, bound andchained. Annestas good-luck steamship Marina would have returned- perhaps with a distinctive docking horn, or ships whistle, as itapproached the Charlotte Amalie harbor just as three blasts wouldlater signal its departing at close of day.

Would Annesta have encountered these would-be New York-bound stowaways? Would it, perhaps, have been on the Ponce deLeon merely a few streets from her residence? Would they have

heard the mid-day stroke of the bell tower at the stately old Catholic

church in Le Palmas, now almost devoid of any memory of Las IslasVirgenes? What of midday mass, once commonplace privilege forboth Annesta and Wilhelmina in St. Thomas and St. Croix? Thosegenuections - both theirs and now, ours - offer timeless votives forthese far-off sojourners.

Edgar O. Lake


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Juliana Francis, a 28 year-old left her native St. Croix to ndwork on St. Thomas as a House-worker. On September 5, 1918, she

Tortola, lled with Excursionists, who had left to celebrate Labor Day.There was a Serenade, cricket match, a concert, and another evening


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p , ,walks from No. 17 & 18 Berge Gade, to the US Naval GovernmentSecretarys ofce in the Administration Building, downtown Charlotte

Amalie, to complete her Travel Pass application.She has not yet bought her passage on a steamer.Julianas parents, William Francis and Joanna Germain, were

members of St. Patricks Church of West End. She can see the ghostlySlips on Hassel Island, mountains of coal awaiting the steamers of the

various Packet Lines. Already, Juliana has seen enough calamity: The1916 Hurricane fell on October 9thand 10th. The December, 1916, coalworkers Strike, the seamen of the Valkyrien, young Marines carrying

the wide baskets of coal in their backsFor the rst eight months of 1918, deaths from contagious

diseases have been rampant and eerily competitive on St. Thomasand St. Croix: on each island, eleven deaths resulting from DengueFevers, six deaths from Pulmonary Tuberculosis, and ve deathsfrom Typhoid. All residents of St. Thomas between 5 and 45 years ofage have been vaccinated.

The First World War was gripping the mood on the island.By June, 25,000 prisoners have been taken by the Allies. GermanU-boats torpedo ships on the Eastern seaboard.

The local St. Thomas newspaper, The Bulletin, announcedthat on June 15th, the Norwegian ships, the Vindegger, and the Heroic,had been sunk by German submarines. Eighty tons of copper ingotswas taken by the U-boat, 200 miles off Cape Charles, Virginia. Bombsand gunre were used; torpedoes saved for larger troop transports. Todate, 18 ships had been sunk by U-boats.

American and English national anthems were sung in the

Wesleyn Methodist Church. Its advertisement was a heady mixture:Fifth year of World War. Why, I, as a Christian man,

can conscientiously pray for an Allied victory.

In June, the Lutheran Church had a 10 oclockEnglish-language service. That same month, the Moravian YoungMens Literary Society offered July 2ndentertainment at their ParishHall. Another dance had been arranged on July 3rd(beginning at 9

p.m., and ending at 3.a.m.) at the Grand Hotel for ringing in July 4thcelebrations. The Lutheran Church bell-tower shook that August 10th,tolling for Thomas Gabru, a Machinist, who had left for New York City.

It created a dark mood that evening for a United Laboring Association-sponsored lecture event, Indifference its political and Industrialeffect on a Community, by Rothschild Francis. The National Hymnwas sung at the lectures conclusion. Two days before Juliana set out to complete her Travel Pass

application, the sailing sloop, La Gracia, returned from neighboring

, , , gof entertainment. Rothschild Franciss newspaper advertisementhad earlier promised music all the time, delivered by a choir and

orchestra, with all events prepared by the E.O. Club.Yet, Juliana had not risked the excursion trip to Tortola. Instead,

she had been preparing clothes for herself and Leandra, ironing andfolding their best pieces. Later in the morning, Julian would hug theshade of the curving alley, to buy two tickets for Steerage Class on the

Parima, a steamship due from Surinam and bound for New York City.Thoughts of her god-parents, Andrew Ditty and Alice Benny, tearfullycame to mind. Juliana checked her purse for the two photographs

required for the Travel Pass.The photographs show a brutal desire and erce protection

for her daughter, Maria Juliana Leandra Greaux, a ve-year old, sittingon her knee. Both wear a crown of thick hair, braids form an enduringcrown: Mother and child as portrait.

No doubt retrieved for the occasion, a single strand of beadsfalls softly over Julianas richly embroidered dress collar, an eerily-

shaped noose in once-brutal times. Her applications declaration(for the purpose of visiting a friend), is belied by the formality whichfollowed, (Mrs. Elaine Christian).

As Juliana passes a makeshift news-stand, a torn postercatches her eye with a poignant announcement: Lecture, Monday,September 30th, at 8:30 p.m. Under the auspices of the AmericanHistorical Research Society, in the Hall of the United LabouringAssociation, on Subject: The early political, social and industrialconditions of the American People. A series of lectures promisingto open your eyes to things American. The advertisements tag-line

haunted her deepest desire: Be present and then decide what can bedone for our island home. She had saved a January 30th, 1918 newspaper dispatchfrom New York, tucking it in the bottom of her valise: European food experts are agreed that the entire world

will be brought to the verge or starvation if the Europeanwar continues to more, Dr. Maurice Egan U.S. Minister

to Denmark Said last night. The northern Europeanneutrals, Dr. Egan declared, are in dire straights. Foodis so scarce in Denmark famous Danish wolfhoundsare being slaughtered for food. Dr. Egan, who recentlyreturned from Copenhagen for a rest, warned the people

of the U.S. against German espionage and declared thatevery citizen should wake to its danger. He added thatthe people of Denmark now are living practical slaveryand that the same is true of other European neutrals.

Edgar O. Lake


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Leper Colony, St Croix / Acts of Erasure

transfer project book nº1 screen size

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