Once in Puerto Rico

Although we had first learned of Pura Belpre several years ago, it is only recently did we develop an interest in her work collecting and disseminating Puerto Rican folklore for children. What is most intriguing about her work is the inclusion of multiple stories from or about the indigenous past of Borinquen. Almost half of Once in Puerto Rico consists of stories about the Taino past of the island or the early Spanish conquest and settlement of the island. Some of the tales must certainly postdate the Spanish arrival. For example, the tale of Guani involves an Indian boy who plays a flute to restore his flock of goats. With the help of Yukiyu, Guani saves his goats from a spell cast by an evil toad. This tale refers to a cemi, magic, and an animal that did not exist on the island of Puerto Rico until the Spanish introduced it to the Caribbean. 

Perhaps this tale does reflect a far earlier legend or tradition that was "updated" during the colonial period with animals of Old World origin? Other tales about the Indian past, such as that of Milomaki and "The Legend of the Royal Palm," appears to be a legend explaining the singing of a tall palm tree when the wind blows through its branches.  This tale, like the "Legend of the Hummingbird" endeavors to explain a natural phenomenon and relies on references to magical or supernatural events transforming people into plants, animals, or things. The tale of Amapola and the colibri, however, has a more tragic romance feel since the the former is not allowed to have a relationship with a Carib male, eventually causing both to transform into a flower and a bird.

Other tales of the Indian past, like that of Iviahoca, unambiguously allude to events associated with the conquistadors of the island and the cacique Mabodamoca. In the case of this last story, the wife of a powerful cacique stands up to Becerrillo and manages to impress Ponce de Leon and Diego de Salazar. Through doing so, she frees herself and her son from the Spanish. The last tale with an Indian character, about Yuisa and Pedro Mexias uses the marriage of a mulatto and a cacica as a symbol for the Puerto Rican people. The two meet, fall in love, and, despite having to relinquish her power as cacica, Yuisa chooses to marry Pedro Mexias. Intriguingly, a council of bohiques is responsible for forcing Yuisa to abdicate her political office. Unfortunately, Carib raids eventually target the village and the two lovers die fighting to defend the island. The tale extolls the two for dying to defend the island and inspiring the governor of the island to attack the Caribs at Vieques. This is lovely and all, but seems to be a justification of the Spanish colony. Perhaps these stories reflect the morally ambivalent feelings of Puerto Rican society about its colonial origins. Moreover, some of these tales were passed on or inherited by others in colonial society who may have changed the tenor to fit their own interests. Nonetheless, it is interesting to note the frequent allusions to caves, cemis, and aspects of belief that mirror those of the Taino cosmovision.