Libraries Receives Grant to Digitize Pan Am Archive

Prepare to soar through iconic 20th-century history.

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Pan American World Airways Bermuda Clipper, a Sikorsky S-42 flying boat, as it arrives in Bermuda, 1937.

University of Miami Special Collections is gearing up for a project to put over 100,000 items in the Pan Am archive online thanks to a digitization grant from the National Historical Publications and Records Commission (NHPRC).

In May the NHPRC announced the grant, one of five awarded nationwide, for Special Collections to digitize the items in the Pan American World Airways, Inc. Records collection. The archival collection—one of the University of Miami’s most popular and extensive—houses historical Pan Am brochures, newsletters, periodicals, annual reports, timetables, and many other records documenting the iconic company’s 60-plus years of operation.

“This is an opportunity to provide unprecedented access to Pan Am’s history, operations, and business culture,” says Sarah Shreeves, UM Libraries Associate Dean for Digital Strategies. “We thank the NHPRC for helping us make this extensive series available for researchers at any time of day and from anywhere in the world.”

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The Pacific by Clipper, 1947.

The 1.5-year project, which begins in October, will include the digitization of 60 boxes of printed materials and publications (known as the “printed materials series”) spanning from 1930 to 1991, which is almost the entire lifetime of the company, and covering all of the geographic areas serviced by the airline.

The digitization efforts build on a previous NHPRC-funded project completed in 2014 to organize the collection in its entirety—all 1,500 boxes of administrative, legal, financial, technical, and promotional materials as well as internal publications, photographs, audiovisual material, and graphic material. Online tools for researching the collection are available on the mini-website Cleared to Land.

“The project will continue our efforts to maximize the impact of the collection as a research resource,” says Beatrice Skokan, Manuscripts Librarian at Special Collections, who worked with head of Digital Production and principal investigator Laura Capell to secure the grant.

Once the printed series is digitized, the archive will be fully text searchable and available to the public free of charge.



UM Libraries Celebrates Banned Books Week

by Lauren Fralinger, Learning and Research Services Librarian

How often do you think about your right to read? It is often said that words can change the world, whether they’re spoken aloud or written down. The First Amendment recognizes the power of words, enshrining our freedom of speech. But what happens when that speech is challenged? When we’re told we can’t speak out, can’t read words that might challenge our thoughts or give us new ideas?

Sbeyond magentaeptember 25 through October 1 is Banned Books Week, a time of year designated to raise awareness of banned and challenged books, and an opportunity to understand the consequences of censorship. This year the week takes a thematic focus on diversity, celebrating diverse voices and ideas and shining a light on disproportionate censorship of authors from diverse communities.

Banned Books Week was founded in 1982 by Judith Krug in response to a sudden surge of challenged books. Krug, a First Amendment defender and library advocate, strongly opposed censorship. She felt that no one should be restricted from books or ideas, and that readers should have the freedom to develop their own opinions.

In the thirty-four years since Krug began her initiative, there have been more than 11,300 books challenged, according to the American Library Association (ALA). 275 books were challenged in 2015, which is lower than previous years. Some of the most frequently challenged books  of 2015 included Beyond Magenta: Transgender Teens Speak Out by Susan Kuklin, Nasreen’s Secret School: A True Story from Afghanistan by Jeanette Winter, and even the Holy Bible, which appeared on the list for the first time. Books that involve topics of sexuality and religion often top lists of frequently challenged books.

51cKB7Nh4YL._SX258_BO1,204,203,200_If a book is challenged, someone is trying to keep it from the hands of readers. ALA’s Office of Intellectual Freedom has reported the top three reasons for a challenge are: 1) the material was considered to be sexually explicit, 2) the material was considered to have offensive language, and 3) the material was considered unsuited for any age group.

Challenges by various groups have resulted in books commonly regarded today as classic literature being banned from libraries and schools across the United States: In 1957, The Wonderful Wizard of Oz was banned from the Detroit Public Library for “having no value for children of today, supporting negativism, and bringing children’s minds to a cowardly level.”

Other classic works that have been banned include:

  • Harper Lee’s To Kill a Mockingbird, on the grounds of profanity and racially charged language.
  • J. D. Salinger’s Catcher in the Rye, described by detractors as a “filthy, filthy book.”
  • First edition copies of Allan Ginsberg’s Howl were seized by the San Francisco customs for obscenity in 1957; however, after a trial the obscenity charges were dropped.
  • John Steinbeck’s The Grapes of Wrath was temporarily banned in the in region of California in which it was originally set for “alleged unflattering portrayal of area residents.”
  • The Diary of a Young Girl, by Anne Frank, was once banned by an Alabama textbook committee, deeming it a “real downer.”

Banned Books Week at Richter

Banned Books Week highlights these and many other influential works that have endured censorship, bringing together proponents of free speech, librarians, publishers, teachers, and book lovers of all genres. This year’s events specifically highlight the increasingly popular medium of comic books and graphic novels.

Come join us in September for a week-long celebration of free speech and great literature! Starting September 25, look around the library for books that have been challenged or banned – some of the titles may surprise you. And don’t miss our Read Out of banned and challenged work on September 28!

Throughout the week, you can also view a selection of banned, rare books at Special Collections. An exhibit near the elevators on the 8th floor will feature works by John Milton, William Shakespeare, Giordano Bruno (burned at the stake for his religious and scientific views), D. H. Lawrence, Allen Ginsberg, and others.

Exercise your right to read – check out a banned book from the library!



Join Us for Banned Books Week Read Out on September 28, 2 p.m.

E-mail HeaderWednesday, September 28
2 – 3:30 p.m.

Otto G. Richter Library
Learning Commons, 1st floor
1300 Memorial Drive | Coral Gables, FL 33146

Join us in celebrating the “right to read!” The University of Miami will commemorate the American Library Association’s Banned Books Week 2016 with a Read Out of previously banned or challenged works. Speakers for this event include:

  • cfrancis blackchild, Lecturer, Department of Theatre Arts
  • Louise Davidson-Schmich, Associate Professor, Department of Political Science
  • Suchismita Dutta, Ph.D. Candidate, Department of English
  • Jeremy Penn, Treasurer of SpectrUM
  • Josh Schriftman, Lecturer in the Composition Program, Department of English
  • Sarah Shreeves, Associate Dean for Digital Strategies, University of Miami Libraries

About Banned Books Week

Since 1982, the American Library Association has designated this annual week to raise awareness of banned and challenged books and the consequences of censorship. Banned Books Week 2016 takes a thematic focus on diversity, celebrating diverse voices and ideas and shining a light on disproportionate censorship of authors from diverse communities. Learn more about UM Libraries celebration of Banned Books Week »

Parking is available at the Pavia Garage near Stanford Drive. Please click map image below to enlarge. Learn more about parking »

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Join Us for Mindfulness at Richter on September 28, 4 p.m.

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Wednesday, September 28
4 – 4:30 p.m.

Otto G. Richter Library
3rd Floor Conference Room
1300 Memorial Drive | Coral Gables, FL 33146

Co-presented by the UM School of Law

Join us for a practice session in mindfulness led by Scott Rogers, Lecturer in Law and Director of the Mindfulness in Law Program. This 30-minute session will introduce the fundamentals in mindfulness with five minutes of gathering and readying for practice, a 15-minute lightly-guided practice, and five-minute period of quiet discussion.

If you’re interested in attending this free program, please send an email to richterevents@miami.edu.

Stay tuned for the next date in this series:

  • Wednesday, October 26

Parking is available at the Pavia Garage near Stanford Drive. Please click map image below to enlarge. Learn more about parking »

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Star Trek: 50 Years of Exploration

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by Vanessa Rodriguez, E-Learning & Emerging Technologies Librarian

This year marks the 50th anniversary of Star Trek, the first episode of which aired September 8, 1966. Made by Desilu Productions (owned by Lucille Ball), Star Trek ran for only three seasons before being canceled. But what began as a small low-budget television show grew into a pop culture icon still relevant today.

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Promotional photo of the cast of Star Trek during the third season (1968–1969).

The technology appearing on Star Trek inspired scientists and inventors who wanted to create the things they saw on the show. Dr. Mae Jemison, the first African American woman to go into space, was inspired by seeing Lt. Uhura on Star Trek, played by Nichelle Nichols. Nichols herself was encouraged to remain on the show by Dr. Martin Luther King Jr. who stressed the importance of her role to the black community.

Star Trek began as the vision of creator Gene Roddenberry, a former University of Miami student, though he did not complete his degree here. Instead he enlisted in the Air Force and after discharge served as a pilot for Pan Am airways. You can read articles from the Pan Am aircraft crash that he was on as a back-up pilot in our Special Collections Pan Am collection in the library. There is also a collection of Star Trek memorabilia located in the UM Alumni Center library that was donated by Roddenberry’s son.

Gene Roddenberry (left), a former University of Miami student, created Star Trek in partnership with Desilu Productions, owned by Lucille Ball (right).

Majel Barrett, Gene Rodenberry’s wife, also attended the University of Miami though the two did not meet here. Barrett is best known for her roles in Star Trek as Number 1 in the original pilot, Nurse Chapel in the original series, Lwaxana Troi in the Next Generation series, and best of all perhaps, as the voice of the starship Enterprise computer in all the television series to date and most of the movies.

The franchise remains strong today with a new movie, Star Trek Beyond, having just come out this past summer and a new television series, Star Trek Discovery, set to debut next year. You can find the original series, some of the movies, and read more about Star Trek in general at UM Libraries. Here are a few of our selections:

Non-Fiction
Star Trek (BFI TV Classics)
Star Trek and Philosophy: The Wrath of Kant
The Politics of Star Trek: Justice, War, and the Future

Biographical
I am Spock
Gene Roddenberry: The Last Conversation

DVD Collection
Star Trek: The Original Series, Season One
Star Trek: The Original Crew Movie Collection
Star Trek: 25th Anniversary Special

 Music
The Motion Picture: Music from the Original Soundtrack
William Shatner Live



Student Co-Curated Exhibition Explores Orange Bowl Festival History

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Design for a Busch Gardens Orange Bowl Parade entry, 1970. Orange Bowl Committee Archives, University of Miami Special Collections.

by Sarah Block, Library Communications

For many ’Cane fans, Miami Orange Bowl nostalgia comes with the territory of football season. But this year is special—marking ten years since the team kicked off their final season at the original home field. With the help of the archives, two UM undergraduate students have been gearing up for the anniversary.

Over the course of ten months, Andrew Wodrich, ’17, and Francesca Ciuffo, ’19, conducted research using the rarely seen records of the Orange Bowl Committee held by the University of Miami Special Collections. Their efforts have culminated in the first public display of the organization’s papers, titled Miami Celebrates: The Orange Bowl Festival, 1930s-1990s.

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Miami Celebrates: The Orange Bowl Festival, 1930s-1990s marks the first public display of the Orange Bowl Committee Papers.

Now on view on the first floor of the Otto G. Richter Library, the exhibition features original photographs, letters, and memorabilia, among other materials, donated to the University in 2012, highlighting six decades of Orange Bowl Festival events and many memorable moments at the iconic stadium.

The students co-curated the exhibition under the mentorship of UM librarians as part of the new Library Research Scholars Program, which promotes student engagement with the University of Miami Libraries’ research collections and service programs.

Aerial view of the Miami Orange Bowl, 1964. From the University of Miami Historical Photograph Collection, University Archives.

Aerial view of the Miami Orange Bowl, 1964. From the University of Miami Historical Photograph Collection, University Archives.

“I was really interested in researching Coral Gables and Miami history, and that led me to the work of the Orange Bowl Committee,” explains Wodrich, a neuroscience and history major from Michigan. “Immediately I became fascinated by the story of people, so many decades ago, working together to create something out of nothing.”

Wodrich and Ciuffo’s discoveries actually date back to even before the founding of the Orange Bowl Festival (which continues today as the Capital One Orange Bowl). One featured poster advertises the precursor bowl known as the Festival of Palms, held on New Year’s Day, 1932. The Hurricanes faced Manhattan College at downtown Miami’s Moore Park, winning 7-0. “It was an idea to attract tourists for the holidays, which the city desperately needed, economically speaking,” Wodrich says.

That game, they explain, set the stage for the Orange Bowl—its annual match-ups as well as the surrounding festivities. Burdine Stadium, later named the Miami Orange Bowl (and today’s site of Marlins Park) opened in 1937, just five years following the Palm Festival. But the elaborate pageantry, flamboyant parades, and slough of events now iconic to the Orange Bowl brand spread out far beyond the stadium walls.

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Francesca Ciuffo, who co-curated the exhibition as a freshman, discusses her work at an April reception celebrating the inaugural class of Library Research Scholars.

The parade is a prominent exhibition highlight, with large-scale illustrations of original float designs over its walls showing off a substantial creative investment matched by a variety of corporate sponsorships, from Busch Gardens to Eastern Airlines, Barnett Bank, and Coppertone. “It was a major undertaking. Earnie Seiler, today considered the ‘father of the Orange Bowl,’ selected the participants and established the lineup,” Ciuffo explains.

“The festival just took over the city,” says Ciuffo, a public relations and broadcast journalism major from New York. “People from all over the country and world were suddenly coming in droves for the attractions. There were tennis tournaments at Flamingo and Salvadore Parks, a regatta that started at the Pelican Harbor Marina, and of course there was the parade, which was held on Biscayne Boulevard.”

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“There is a strong UM tie throughout the history of the Orange Bowl that we really wanted to come through,” says exhibition co-curator Andrew Wodrich, ’17.

The final parade, held in 2001, capped off a 66-year tradition that still shines in the legacy of Seiler, who as City of Miami’s director is remembered as a creative and technical driving force in all areas of the festival. “He was a local football coach who just through persistence got this thing off the ground,” Wodrich says. “Originally he was out there on the street just waving down cars to get people to fill the stands.”

The exhibition additionally highlights some of the original members of the Orange Bowl Committee, including UM trustees Oscar E. Dooly and Arthur A. Unger, which Wodrich points out as a meaningful connection. “There is a strong UM tie throughout the history of the Orange Bowl that we really wanted to come through.”

Miami Celebrates: The Orange Bowl Festival, 1930s-1990s is on view through December 2016. The exhibition is sponsored by the Lynda and Michael Gordon Exhibition Program.

Photos by Brittney Bomnin.



Goizueta Fellows: In Their Own Words

Throughout the 2016-2017 academic year the Cuban Heritage Collection is welcoming ten emerging scholars into the Goizueta Foundation Graduate Fellowships Program. We are proud to introduce each of our 2016-2017 Goizueta Fellows throughout the course of the program.
Our fifth fellow of the series, Vida Owusu-Boateng, will discuss her work in a CHC Research Colloquium on Monday, August 15, 3 p.m., at CHC’s Roberto C. Goizueta Pavilion. All are welcome to attend this presentation.

About Vida Owusu-Boateng

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Goizueta Fellow Vida Owusu-Boateng is pursuing her Ph.D. in comparative literature at Louisiana State University.

Vida Owusu-Boateng is a second year Ph.D. student at Louisiana State University concentrating in comparative literature.

What university/program are you from?

The Comparative Literature Program at Louisiana State University

What are you working on?

My research focuses on the reception of ancient Greek tragedy in Africa and the African diaspora, specifically in Cuba and South Africa. As part of my preliminary research for my dissertation prospectus, I focus on the dramatic and critical outputs of two Cuban playwrights: Virgilio Piñera’s Electra Garrigó (1941) and José Triana’s Medea en el Espejo (1960), and their performance history in Cuba, Miami, and the Caribbean world. These works are important for exploring the political, historical, and cultural situation of Cuba and the Caribbean at large. Piñera’s experimental drama, Electra Garrigó, is one of the earliest receptions of ancient tragedy in the Caribbean as a whole and it is widely regarded as marking the beginning of Cuba’s theatrical modernism and the avant-garde and absurdist theater in the Caribbean. These authors cubanize and revolutionize Greek tragedy and its reception in both Cuba and the Cuban diaspora by situating these Greek myths in a Cuban imaginary to interrogate present political, cultural, historical, and social issues. By cubanizing these myths, Triana and Piñera establish a connection between the oral traditions of ancient Greece and the hybrid transculturation and diasporic nature of Cuban culture and society.
I am particularly interested in the historical and cultural context that influenced these artists and playwrights and their artistic choices towards these ancient works. Specifically, my research focuses on how the plays by Piñera and Triana have created an economics of cultural exchange, of loss and gain of identity, negotiated over a considerable period of time between Cuba, Africa and the West. These Cuban examples offer a valuable insight into the potential of —and especially the limits of—Classical dramas to address fraught political and social realities in the modern world.

What do you expect to find at CHC?

During my visit to the Cuban Heritage Collection (CHC), I hope to consult a wide array of materials about the literary and artistic scene in Cuba and other Cuban diaspora locales from the 1940s through the 1970s, an era that envelopes the development of Cuba’s modernist theater. Miami and other Cuban diasporic locales represent important Cuban diasporic locations where plays will be staged regularly with numerous alterations to interrogate issues of exile, identity, race, homeland, and nation. Studying these works will open up important insights and counterpoints to the construction of Cuban identities through time and space in and beyond Cuba and thus broaden the reception history of these works.

How can we learn more about your research?

I will be talking about my project in a CHC Research Colloquium* on August 15, 3 p.m., at the Roberto C. Goizueta Pavilion. Additionally this study will culminate in a monograph and hopefully I will publish some of my findings as articles in research journals.

*Colloquia are free and open to the public. Contact us at chc@miami.edu for more information.



Goizueta Fellows: In Their Own Words

Throughout the 2016-2017 academic year the Cuban Heritage Collection is welcoming ten emerging scholars into the Goizueta Foundation Graduate Fellowships Program. We are proud to introduce each of our 2016-2017 Goizueta Fellows throughout the course of the program.

Our fourth fellow of the series, James Wilkey, will discuss his work in a CHC Research Colloquium on Thursday, August 11, 3 p.m., at CHC’s Roberto C. Goizueta Pavilion. All are welcome to attend this presentation.

About James Wilkey

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Goizueta Fellow James Wilkey is pursuing his Ph.D. in Latin American history at Louisiana State University.

James Wilkey is a third year Ph.D. student at Louisiana State University, where he studies Cuban-American diasporic culture. James received his M.A. at Queen’s University Belfast in Northern Ireland and his bachelor’s degree at the University of Florida.

What university/program are you from?

The Department of Latin American History at Louisiana State University

What are you working on?

I’m exploring the relationship between the early decades of the Cuban and Mexican film industries. Specifically, I’m looking at Mexico’s prominent role in establishing a Spanish-language industry aimed at Latin America broadly and how that industry impacted, and was impacted by, Cubans. I’m also interested in determining what role this connections had, if any, in Cuban movement to Mexico.

What do you expect to find at CHC?

I hope to find periodicals and papers related to the industry that will help me better understand the way Cubans imagined Mexico through its prominent presence in Latin American pop culture. I hope to encounter correspondence or other evidence clarifying the extent to which Mexican and Cuban filmmakers encountered, worked with, and influenced each other. I’m also curious to see how concepts of “Nuestra America” and the idea of an interconnected Latin America, coupled with competition from Hollywood, impacted the images of Latin America that Cuban and Mexican filmmakers put on screen.

How can we learn more about your research?

I will be talking about my project in a CHC Research Colloquium* on August 11, 3 p.m., at the Roberto C. Goizueta Pavilion. I invite anyone interested in learning more about my research to contact me through my email: jwilk33@lsu.edu.

*Colloquia are free and open to the public. Contact us at chc@miami.edu for more information.

About the Goizueta Foundation Graduate Fellowships Program

The Goizueta Foundation Graduate Fellowships Program provides assistance to doctoral students who wish to use the research resources available in the University of Miami Cuban Heritage Collection (CHC) in support of dissertation research. The goal of these fellowships is to engage emerging scholars with the materials available in the Cuban Heritage Collection and thus contribute to the larger body of scholarship in Cuban, hemispheric, and international studies.

For more information about fellowship opportunities to study at the Cuban Heritage Collection or to learn about past fellows, click here.



Florida Menu Collection: A New Taste of Florida History

By Yvette Yurubi, Reference Assistant, Special Collections

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The Buccaneer Lodge in Marathon, Florida, was a famous resort in the Florida Keys. This menu highlights some of the local seafood dishes.

There is much to be learned about a region’s culture and economy through looking at something as commonplace as a simple restaurant menu. Some of the world’s oldest menus trace back to clay tablets written by the Sumerians who devoted time to listing out foods that they would serve their gods. Since then, menus have become a daily part of our lives, so much so that they tend to go unnoticed beyond their utilitarian purposes. But they also have an important use in libraries and archives, shedding light on moments in time and highlighting changes in the world at large.

In a general sense, menus provide a very graphic and immediate window into the way economy, class, and cuisine affect one another. If you ever want to know where the upper echelons of any society chose to dine or what cuisine they revered as their finest, there is no better source than menus. Hotel and cruise menus, in particular, capture the cultural conscience in terms of what can be classified as luxury and exotic dining while menus for local eateries capture what the working class and less affluent chose to eat on a daily basis. Furthermore, they depict how the nation’s fluctuating GDP and increase or limits in global trade affected the prices of common, regional dishes and foreign dishes over time, showing the delicate interplay between supply and demand.

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Left: A mid-century menu from the Fleur de Lis Room, an iconic restaurant located inside the Fontainebleau Hotel on Miami Beach which hosted performances by Elvis and Frank Sinatra. Right: Menu cover from Little Havana’s China City, today known as Oriental Restaurant.

Florida’s menus, in particular, exhibit the rich history of the many diasporas that make up the state’s diverse population and a growing maritime and agricultural economy as new businesses started to emerge throughout the 1900s. The previous uninhabited swamp lands of Florida were purchased by visionaries like George E. Merrick, founder of Coral Gables, who sought to turn these lands into profit, thus aiding Florida in becoming an agricultural center that quickly expanded and prospered over time. As Florida’s land grew more attractive to other business moguls due to the year-round warm temperatures, its prime fishing locations, and its beautiful beaches, the hospitality industry also flourished.

In the 1960s and the decades that followed, mass diaspora from the Caribbean islands contributed to a dramatic cultural shift that had also affected the local cuisine, particularly in South Florida. Spanish and Caribbean food were rapidly becoming a staple there, introducing native Floridians and vacationers to a new array of dishes and flavors that would eventually expand internationally over time. These trends could be observed in the way traditional American dishes were being replaced by a growing obsession among food enthusiasts in fusion cuisine. The onset of the new millennium also brought about more awareness to health issues and lifestyle choices, paving the way for gluten-free, low-fat, and vegetarian dishes becoming ubiquitous among modern restaurant menus.

As part of our initiative to document Florida’s unique and evolving cultural history, we have been collecting menus from all over Florida and adding them our new Florida Menu Collection. We invite you now to come bring us all the menus you happen to find while dining out or strewn among your old belongings and to donate them to the University of Miami Special Collections department here on the 8th Floor of the Otto G. Richter Library.

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This Miami Beach eatery was also popular in the 1950s.



Goizueta Fellows: In Their Own Words

Throughout the 2016-2017 academic year the Cuban Heritage Collection is welcoming ten emerging scholars into the Goizueta Foundation Graduate Fellowships Program. We are proud to introduce each of our 2016-2017 Goizueta Fellows throughout the course of the program.

Our third fellow of the series, Rachel Emily Pérez, will discuss her work in a CHC Research Colloquium on Tuesday, August 2, 3 p.m., at CHC’s Roberto C. Goizueta Pavilion. All are welcome to attend this presentation.

About Rachel Emily Pérez

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Goizueta Fellow Rachel Emily Pérez is pursuing her Ph.D. in American Studies and African American Studies at Yale University.

Rachel Emily Pérez is a doctoral student in Yale University’s joint program in American Studies and African American Studies. Prior to that, she worked as an intern and researcher at Dr. Rafael Ma. Moscoso National Botanical Garden in Santo Domingo, Dominican Republic. She is a recipient of the 2016 Yale RITM Center Fellowship, which she is using to conduct additional archival and ethnographic research in Miami. In 2015 she received a Tinker Field Grant to conduct independent ethnographic and archival research in Havana, Cuba. In 2013, she received a Bachelor of Arts degree in history, anthropology, linguistics, and Spanish from the University of Georgia’s Honors Program, where she worked as a teaching and research assistant.

What university/program are you from?

I am from Yale University’s Joint Ph.D. Program in American Studies and African American Studies.

What are you working on?

I am investigating healing and religious practices among Cubans on the island and in the diaspora in the 20th and 21st centuries. More specifically, I am looking at the interactions between “alternative,” “traditional,” and “conventional” practices among this demographic, and the role of language and rhetoric in these interactions. I am additionally interested in the role of discourse in forging distinct categories such as “medicine” versus “religion.”

What do you expect to find at the CHC?

I expect to find a wide range of primary documents pertinent to my project. These include anthropological studies of healing-religious practices such as those found in the Lydia Cabrera Papers and in the Diana G Kirby Papers. I additionally hope to perform close readings of texts on health and medicine produced within the field of biology, such as those found in the Hady López papers. I additionally hope to learn more about Cuban immigrants’ healing-religious practices in many of the interviews from the Luis J. Botifoll Oral History Project.

How can we learn more about your research?

I will be talking about my project in a CHC Research Colloquium* on August 2, 3 p.m., at the Roberto C. Goizueta Pavilion.

*Colloquia are free and open to the public. Contact us at chc@miami.edu for more information.

About the Goizueta Foundation Graduate Fellowships Program

The Goizueta Foundation Graduate Fellowships Program provides assistance to doctoral students who wish to use the research resources available in the University of Miami Cuban Heritage Collection (CHC) in support of dissertation research. The goal of these fellowships is to engage emerging scholars with the materials available in the Cuban Heritage Collection and thus contribute to the larger body of scholarship in Cuban, hemispheric, and international studies.

For more information about fellowship opportunities to study at the Cuban Heritage Collection or to learn about past fellows, click here.