Digital Cemí

Index

-Foreword
Cecilia Pennacini, Guido Nicolás Zingari

-Illustrated plates I-XII

Contributions

-The cotton cemí of Turin: a unique artefact in the world
André Delpuech

-The extraordinary journey of a Taíno “object-person“ through time and space
Cecilia Pennacini

-The Turin cotton cemí of Hispaniola. Notions of life and death among the Taíno
José R. Oliver

-The cotton cemí revisited
Bernardo Vega

-The cemí de algodón: reflections on a history of images
Joanna Ostapkowicz

-Taíno Objects in Early Modern Italian Collections
Davide Dominici, Joanna Ostapkowicz

-Revealing the past. The role of scientific methodologies and public exhibitions in reconstructing the biography of the cotton cemí
Rosa Boano, Gianluigi Mangiapane

-The science laboratory in the Museum: the lastes scientific analyses on the cotton cemí and new research perspectives
Rosa Boano, Gianluigi Mangiapane, Cecilia Pennacini, Joanna Ostapkowicz, Maria Pia Morigi,
Matteo Bettuzzi, Marco Seracini, Paolo Pingi, Marco Potenziani, David Buti, Donata Magrini

-Cotton cemí’s digital life. Technical aspects of an experiment in virtual heritage
Davide Borra

-Exploring the cotton cemí digital twin
Guido Nicolás Zingari

-Bibliography

The Museum of Anthropology and Ethnography of the University Museum System at the University of Turin (MAET) houses a unique cotton reliquary in its collection, enclosing a human skull dating back to the 15th century and originating from the island of Hispaniola (present-day Dominican Republic/Haiti). This is the only surviving pre-Columbian cotton cemí (a representation of an ancestor or spirit) presently known. The object offers a rare glimpse into the complex rituals and belief systems of the Taíno, the Indigenous people of the Greater Antilles on the eve of European contact. The artefact was recovered from a cave west of Santo Domingo and acquired in 1882 by the Italian consul Giovan Battista Cambiaso, who sent it to Italy before 1902. It was later donated, along with a second wooden cemí, to the Museum of Antiquities in Turin in 1928, and subsequently transferred to the MAET. The cotton cemí represents a seated figure approximately 75 cm in height. A portion of a human skull is embedded within the head. While cotton forms the outer surface of the cemí, its internal structure is composed of various materials.
In 2022, with the support of the national node of E-RIHS (European Research Infrastructure for Heritage Science), a team from the University of Turin conducted a series of analyses on the artefact. In October 2022, three multidisciplinary E-RIHS teams belonging to the Molab (MObile LABoratory platform of the infrastructure), equipped with advanced technical instruments, collaborated with researchers from the University of Turin to produce a digital reconstruction of the cemí’s surface and internal structure using non-invasive techniques. The project also enabled advanced chemical characterization of the surface materials and a thorough assessment of its conservation status. The techniques employed by MOLAB included visible, IRR, and UVL imaging; X-ray tomography combined with 3D laser surface scanning; and external material characterization through FTIR, UV-vis-NIR reflectance, XRF, and Raman spectroscopy. The data collected offer new and exciting insights into the materials and manufacturing techniques, which are now available to both specialists and the broader public.
In 2023, the TAZEBAO project was launched as part of the PNRR Extended Partnership “CHANGES: Cultural Heritage Innovation for Next-Gen Sustainable Society,” specifically within SPOKE 4, “Virtual Technologies for Museums and Art Collections.” Developed by the University of Turin in collaboration with the immersive communication agency NOREAL Interactive, the TAZEBAO project aimed to create a flexible and accessible digital system to enhance the value of the University of Turin’s museum heritage. It integrates scientific and narrative content with highly innovative physical and virtual experiences. Among the three prototypes developed, the one dedicated to the cotton cemí allows users to explore the artefact through a digital twin and an immersive virtual reality narrative. The entire platform is designed to adapt to various devices and users, promoting inclusivity and enabling the configuration of personalized interactive experiences.
The digital twin prototype of the cotton cemí was conceived as an immersive and accessible experience, presented within a traveling exhibition composed of modular panels and an interactive totem, easily transportable and installable in any indoor space of at least 25 square meters. At the heart of the project is the digital twin, which can be explored via touchscreen, and VR headsets that narrate the animated story and historical-anthropological context of the cemí and its provenance. The high-definition 3D model, based on photogrammetric and tomographic techniques, includes both the external shell and the internal structure containing the human skull and its supporting elements. The user interface was designed to ensure inclusivity, with interactive commands accessible to users with disabilities and multimedia content available in Italian, English, and Spanish. A mobile version is also available via QR code, while the entire system operates offline and anonymously records usage data. The source code, released under an open-source license, allows for free dissemination and adaptation of the project in other museum contexts.
The project was conceived in the spirit of digital restitution, aiming to reconstruct and enhance the biography of the cemí, from sacred object to cultural heritage subject to scientific research and interpretation. An international committee of experts in Taíno art, history, and culture contributed to the project1. Through this process of valorization, it becomes possible to promote a symbolic restitution of the artefact at the international level, fostering digital, educational, and scholarly engagement, and encouraging further multidisciplinary research. In this perspective, the MAET has assumed the role of cultural and scientific mediator, promoting a new narrative of the object through the use of innovative technologies. This broader perspective aligns with the ongoing debate on the decolonization of ethnographic collections, with its attendant ethical, historical, and scientific implications. This catalogue brings together contributions from experts in pre-Columbian Caribbean civilizations, Taíno collections, and scientific research conducted on the cotton cemí, with the aim of offering a comprehensive contextualization of the history and characteristics of this extraordinary artefact.
In this volume, the word cemí has been transliterated using the form most commonly found in the Dominican Republic and other Spanish-speaking countries. In his contribution to this volume, José Oliver notes that the Arawak term cemí appears with numerous spellings across Spanish, French, English, and Latin sources, including seme, semi, cimi, cimini, chemij, chemii, zemi, zeme, and zemibus (e.g. Robiou Lamarche 2024: 174, 179; Tejera 1977: 391; Martyr 1530 [1501]: Decade 1, Liber 9, rev. fol. xlviii; Pané in Colón F. 1571: Cap. XVIII, p. 137). For consistency, we have adopted the form cemí, which is widely used in the Dominican Republic and across Spanish-speaking regions2.
We extend our heartfelt thanks to all the institutions that contributed to this project by providing key images to contextualizing and narrating the cemí: the Museo delle Civiltà, the Fundación García Arévalo, the Museo del Hombre Dominicano, the Musée du Quai Branly – Jacques Chirac, the National Museum of Natural History of the Smithsonian Institution, and the Museum of Natural History of the University of Florence, Bibliothèque-Musée Inguimbertine, Musée Barrois, Biblioteca Angelica di Roma. Special thanks go to the members of the scientific committee who oversaw and supported every phase of this process of collecting, selecting, and reworking the scientific content. We also thank our colleagues and project members who facilitated the achievement of this result, Silvano Montaldo and Cristina Stalteri, as well as Javier Gonzalez Diez for his linguistic expertise in reviewing the Spanish texts. Our sincere thanks go to the University Museum System and, in particular, to Gianluigi Mangiapane, who has carefully accompanied and protected the cemí throughout these years of intense research and outreach.
We are also grateful to the company NoReal Interactive, its president Davide Borra, and his team for their dedication to the project. Finally, we thank the Regional Museum of Natural Sciences of Turin for its willingness to host the first temporary exhibition, which will allow the public to appreciate the results of this project.