A traveling exhibit of 26 colorful and intricate climate-focused art quilts by 22 Florida artists, “Piecing Together a Changing Planet,” survived wildfires and a hurricane to open on Wednesday evening at the Otto G. Richter Library at the University of Miami. Continue reading »
by Sarah Block, Library Communications
The exhibition features materials that highlight how the physical characteristics of objects can provide insightful clues about the past and inform the present.
Curated by Meiyolet Méndez, interim chair of the Cuban Heritage Collection, and Dr. Martin Tsang, UM Libraries CLIR Postdoctoral Fellow in History and Area Studies, Objects in the Archive includes three-dimensional objects related to education, industry, and religion in Cuba from the Collection and outside materials. They span commodities and marketing materials from the tobacco industry, Republic-era educational memorabilia, creative works such as artist’s books from Cuba’s Vigía collective, and a rich variety of religious objects.
Tsang, a former CHC Graduate Fellow, culled religious ornaments and sculpture, many from the Lydia Cabrera Papers, that document influences of Afro-Cuban religion on the island and largely informed his own doctoral work.
“As an anthropologist I’m very interested in these material objects that remain and the inspiration, symbolism, and value that is given to and contained in these materials.” In his ethnographic fieldwork Tsang, who is also an initiated Lukumí priest, has also studied Afro-Cuban religion in both Cuba and on our doorstep through interviews and objects including religious icons and Afro-Atlantic beaded art.
“In some cases,” he explains, “objects have their own lives. A sculpture, such as that of a deity, can be as meaningful in a person’s life far beyond the concept of an inanimate object, taking on its own biography.”
One such object, a cement figure with cowrie shell features honoring the deity Elegua, is featured in the exhibition courtesy of Biscayne National Park, where it was originally found and is part of a larger religious use study that Dr. Tsang has conducted there. “The materials used and the way it’s created offer insights about origins of time and place, and broader cultural patterns and mobility.”
Objects in the Archive is on view through August 2016.
On Wednesday, March 30, the Cuban Heritage Collection hosted the North American launch of the book The State and the Grassroots: Immigrant Transnational Organizations in Four Continents. The book, which explores immigration topics through the lens of sociology and public health, was co-edited by Alejandro Portes, University of Miami Professor of Sociology and Law. The event was co-presented with the Miami Institute for the Americas and UM’s Department of Sociology.
A panel of experts, including David Abraham (University of Miami Professor of Law), Jorge Dominguez (Harvard University Academy for International and Area Studies Chair), and Felicia Knaul (University of Miami Professor and Director of the Miami Institute for the Americas), examined Dr. Portes’ work. President Julio Frenk delivered the closing remarks.
Portes described his inspiration for the book as “the way immigrants organize to both defend themselves and their identities. They promote their well-being in the receiving countries as well as protagonism in the regions and countries from which they came.”
One key finding of his work is that in many cases immigration as a cyclical process, in which people move back and forth between home and receiving countries, is not a “zero-sum game.” “People are very much attached to the culture and language that they came from, and such attachments are not inimical to successful cultural and political incorporation in the receiving country,” he said.
In the closing remarks, President Julio Frenk, who earned his doctorate in sociology from the University of Michigan, said the book allowed him to revisit his scholarly roots. “I enjoyed reading both the insights and the arcane language of my colleagues in the social sciences,” he said. He also noted the event marked his first book launch since becoming president of the University of Miami. “These events greatly contribute to the intellectual vigor of our institution.”
The University of Miami’s Cuban Heritage Collection
and Florida International University’s Cuban Research Institute
invite you to a presentation of the book
Broadcasting Modernity: Cuban Commercial Television, 1950-1960
by Yeidy M. Rivero, PhD
Opening remarks by Jorge Duany, PhD
Director, FIU Cuban Research Institute
Wednesday, September 9, 2015
Reception 6:30 p.m.
Presentation 7 p.m.
Roberto C. Goizueta Pavilion
Otto G. Richter Library, 2nd Floor
University of Miami
1300 Memorial Drive
Coral Gables, FL 33146
RSVP to email@example.com or call 305-284-4026.
Reception sponsored by the Amigos of the Cuban Heritage Collection
The birth and development of commercial television in Cuba in the 1950s occurred alongside political and social turmoil. In this period of dramatic swings encompassing democracy, a coup, a dictatorship, and a revolution, television functioned as a beacon and promoter of Cuba’s identity as a modern nation. In Broadcasting Modernity, television historian Yeidy M. Rivero shows how the television industry enabled different institutions to convey an image of progress, democracy, economic abundance, high culture, education, morality, and decency. After nationalizing Cuban television, the state used it to advance Fidel Castro’s project of creating a modern socialist country. As Cuba changed, television changed with it. Dr. Rivero not only demonstrates television’s importance to Cuban cultural identity formation; she explains how the medium functions in society during times of radical political and social transformation.
Yeidy M. Rivero is Professor of Screen Arts and Cultures at the University of Michigan. She is the coeditor of Contemporary Latina/o Media: Rethinking Production, Circulation, and Politics (2014) and author of Tuning Out Blackness: Race and Nation in the History of Puerto Rican Television (2005). Her scholarship focuses on television studies, race and the media, global media, and Latino/a studies.
Please click map image below to enlarge. Contact us at 305-284-4026 or firstname.lastname@example.org with questions about directions and parking.
Program Brought 14,000 Unaccompanied Children to the U.S.
by Natalie Baur, Cuban Heritage Collection Archivist
Between 1960 and 1962, more than fourteen thousand unaccompanied children left their families in Cuba for a new life in the United States, many of them arriving through Miami. They came as part of a program run by the Catholic Welfare Bureau (Catholic Charities) of Miami, with the support of the U.S. Department of State, known as Operation Pedro Pan. Through the program a large number of children were reunited with family already in the United States, but about half spent their early years in their new country under the care of the Catholic Welfare Bureau. Operation Pedro Pan is an important part of U.S. immigration history, Miami history, and a powerful moment in the Cuban exile community.
In 1961, a month before her fifteenth birthday, Cuban Heritage Collection staff member Gladys Gómez Rossie boarded an airplane alone in Havana and started her journey to the home of an aunt and uncle living in New York. Eventually relocating to Miami when her unaccompanied younger brother arrived, seventeen years passed before Gladys was reunited with her parents in the United States.
Because of her own experiences, Gladys is dedicated to helping tell her own story and those of countless other Pedro Pan alumni through the power of the archives. Gladys uses materials from the Cuban Heritage Collection archives to share the dynamic history of Operation Pedro Pan with members of the University of Miami’s Federation of Cuban Students, for which she serves as the group’s adviser. Now a beloved annual event for the group, many students look forward to the Operation Pedro Pan presentation as a way to learn about the immigration experiences of their parents and grandparents through photographs, documents, and guest speakers.
Many of the memories and stories around Operation Pedro Pan are preserved and open for study and reflection at the Cuban Heritage Collection. Starting last year, Florida Atlantic University intern Alexandra Díaz processed collections relating to Operation Pedro Pan and created an online subject guide to help users explore the Cuban Heritage Collection’s holdings on the experiences of Pedro Pan families.
Stay tuned throughout Archives Month for stories about how UM students, researchers, donors, and community members are breathing life into UM Libraries’ unique and distinctive collections. Happy Archives Month!
Articles about Cuban and Cuban-American actors, playwrights, directors, and production venues documented at the Cuban Heritage Collection (CHC) were recently published on Wikipedia, making available credible Cuban theater resources to a broader audience of researchers on the Web. The Cuban theater series concludes the pilot project for the Remixing Archival Metadata Project (RAMP) tool, developed at the University of Miami Libraries (UML) to efficiently transform archival finding aids into interconnecting Wikipedia entries. This award-winning effort was a collaboration of the Cataloging and Metadata Services and Web and Emerging Technologies teams with UML archivists. RAMP will continue to provide global access to a wide range of topics documented at the Libraries’ unique and distinctive collections.
The following articles are now live on Wikipedia:
by Jay Sylvestre, Special Collections Librarian
October has been designated by the Society of American Archives as Archives Month, a collaborative effort by professional organizations, libraries, and archives around the nation to highlight the importance of the records we hold and to raise public awareness about the value of historical records and collections.
To celebrate Archives Month, archivists and librarians from UM Libraries’ unique and distinctive collections will be sharing stories from our experiences working in the archives at the University of Miami. The series will be called “Life in an Archive,” focusing on the stories of people who have used and/or donated to our collections.
Stories will be told from the perspective of archivists who have had the opportunity to interact with people from all over the world:
- University Archivist Koichi Tasa will talk about leading UM alumni and their family members to photographs and records from their time at UM.
- Cuban Heritage Collection Librarian Meiyolet Méndez and Archivist Natalie Baur will discuss helping researchers make new discoveries on Cuba and its diaspora.
- Special Collections Librarian Jay Sylvestre and Manuscripts Librarian Beatrice Skokan will show how artist’s books, zines, and other unique materials held at Special Collections have impacted people’s lives.
- Electronic Records Archivist Laura Capell and Visiting Archivist Emily Gibson will share stories from working with the Pan American World Airways, Inc. Records Collection.
It is interactions like these with members of our community that provide the archivists and librarians at UM Libraries with a rich set of stories to share. Stay tuned for posts this month about alumni, veterans, researchers, and donors who have allowed us to be a part of their journey. I hope that you enjoy reading our stories as much as we enjoy sharing them.
Happy Archives Month!
The Cuban Heritage Collection has contributed books, photographs, documents, and original art from our holdings to four external exhibitions on view this fall. If you see our materials at any of these, snap a photograph and tag us on Instagram or Twitter @UMCHC.
Wifredo Lam: Imagining New Worlds at the Boston College McMullen Museum of Art, August 30-December 14, 2014, at the High Museum of Art Atlanta, February 14-May 24, 2015
Margarita Cano: Once Upon an Island at the Miami-Dade College Wolfson Campus Centre Gallery, September 4-October 31, 2014
Kept at Bay: Art on Guantánamo at Florida International University’s Frost Art Museum, September 10-October 19, 2014
The Exile Experience: Journey to Freedom at Miami-Dade College Museum of Art + Design at Freedom Tower, opening on September 19, 2014
Walfrido Dorta was a 2013-2014 CHC Graduate Pre-Prospectus Fellow. A doctoral student in Hispanic & Luso-Brazilian Literatures & Languages at the City University of New York, he authored the following report about his fellowship and his research on Intellectual and Cultural Politics in Cuba and Cuban Exile in United States (1960-2000): the Map of the Cultural Journals.
In July 2013, I was in residence at the Cuban Heritage Collection as a pre-dissertation fellow. It was a productive and extremely valuable experience. During my time at the CHC, I focused my research on the cultural journals published by Cubans in the United States from 1960 to 2000. I was interested mainly in the independent journals, which were not sponsored by universities, political associations, or unions. One of my initial assumptions was that this fact, as a frame of enunciation, guarantees a discursive autonomy, which is essential for the articulation of the intellectual politics of the journals. Cuban intellectuals and writers have published a considerable amount of cultural journals in the United States from 1960 to present (Cuadernos desterrados [1964-66]; Exilio [1965-73]; Alacrán Azul [1970-71]; Postmodern Notes / Apuntes postmodernos[1990-], or Újule [1994-95], to name a few). The study of these journals is critical in order to trace the different configurations of the Cuban cultural field in exile. They are marked by the reconstruction of cultural and affective memory of the nation, as well as by processes of identitarian negotiation, which entail certain narratives on subjects, spaces of socialization and culture.
The intellectual politics of cultural journals manifests itself at a discursive level in the texts (editorials, manifestos) that usually appear in their inaugural issues (although a journal’s stance is often reiterated and revised, so it becomes necessary to peruse the entire set). Editorials and manifestos are crucial because they establish the entrance of the cultural journals into the intellectual field. Therefore, my research focused on the specific textual modality of the editorials, declarations of purposes, manifestos, and the opening texts of the cultural journals. My main goals at this stage were to make an inventory of the journals, to collect and reproduce the journals’ founding statements (the editorials and manifestos of journals from 1960 to 2000). At the same time, the following questions arose: What concepts of culture, intellectual, writer and artist do the journals propose? What is the relationship with the nation (Cuba) that the journals affirm, deny or rewrite? Which literary or artistic canon do they aim to promote? What is the cultural memory that they intend to build or rebuild? Finally, what legacies do they want to claim, that is, what kind of narrative do the journals produce about historical memory, cultural heritage and the role of the intellectual?
I examined a total of 42 journals. From this total, 30 were cultural journals, according to the criteria I established at the beginning of my research. These include Cuadernos desterrados; Exilio; Nueva Generación; Cubanacán; Joven Cuba; Krisis; Contra viento y marea; Consenso; Escandalar;Catálogo de letras; Anales literarios; Pensamiento; Enlace literario; El Gato Tuerto; Lyra; La nuez; Término…, among others. I will comment briefly on some preliminary remarks on the intellectual politics of some of these journals. For example, Exilio (1965-73), which was directed by Víctor Batista and published in New York, introduces itself as a continuation of a line of thought. It is a reconstructive discourse, which is marked by a willingness to reflect on the fate of Cuba as a country. It highlights its conscience of beginning again in adverse contexts. On the other hand,Escandalar (1978-84) was directed by Octavio Armand and published also in New York. This journal is willing to trascend Cuban issues, and open to several texts and cultural references. This can be read as a symptom of a displacement of ‘Cuba’ that occurs in many publications from exile in the 80s and the 90s. Escandalar published for first time in Spanish several essays from renowned authors, such as Harold Bloom, Julia Kristeva, Edward Said, George Steiner, Roland Barthes, Alain Robbe-Grillet…
The literary archive of the cultural journals of exile is focused primarily on five authors: Guillermo Cabrera Infante, Severo Sarduy, Reinaldo Arenas, Lorenzo García Vega and José Lezama Lima. Such recurrences are no surprising, because several of these journals are actually characterized by oppositional strategies to the discourse produced from Cuba or by the desire to make visible what Charles Merewether calls a “counter-archive”.
I intend to publish several essays on the intellectual and cultural politics of the cultural journals of Cuban exile. The archival sources I examined at CHC proved essentials to my future work. They helped shape my dissertation project, although it won’t be focused primarily on the journals of the Cuban exile. The references I found in the CHC were invaluable since they sometimes are unavailable in neither local nor national libraries.
I highly recommend this experience to graduate students and scholars. The Cuban Heritage Collection provides an exceptional space for researching, because of its unique archive, its collaborative environment and amazing staff. The advice of the CHC’s staff (María Estorino, Lesbia O. Varona, Gladys Gomez-Rossié, Esperanza B. de Varona, Rosa Monzón-Álvarez, Meiyolet Méndez, among others) was essential for my research.
by Sarah Block, Libraries Communications
Raymond Bellamy clutched the iron arrow in front of his chest as he marched across the University of Miami campus in the 1970s, leading the induction ceremony for the Iron Arrow Honor Society. One of the first African-Americans to be a part of the elite organization, he wore a tribal patchwork jacket over his plain clothes, proudly holding the instrument, as tradition dictates, for tapping new members.
“Bellamy had a natural ability to lead,” said Marcia Heath, research services supervisor at the University Archives, where Bellamy’s participation in the tapping ceremony is documented in the Iron Arrow Collection, 1968–1972. The photograph of the march is featured in The Truth Marches On, an exhibition at the Otto G. Richter Library commemorating February’s Black History Month through March. The sun peaks through the trees in the background of the photograph and overwhelms Bellamy’s tall figure as he forges ahead.
Bellamy enrolled just a few years after the University embraced racial integration, making him the Hurricanes’ first African-American football player. With the University’s financial support, he also was the first African-American player to receive a football scholarship from a major university in the Southeast. A near-fatal car accident his junior year derailed his athletic career, but the following year he decided to try out for an entirely new position, student body president, and won.
The Truth Marches On is full of stories about challenges that were faced with tenacity and resilience, its name inspired by a speech delivered by Dr. Martin Luther King Jr. after the deaths of three civil rights activists.
The lead curator of the exhibition, manuscripts librarian Beatrice Skokan, says she wanted many voices to tell the stories of black history. Displayed in a case about historic literature is a quote from Sula by Toni Morrison, telling the story of a woman who is unable to channel an artistic energy, which then becomes the source of her own destruction. “It describes the importance of expression for all,” Skokan said.
The exhibition features materials about various African-American artists in the realms of music, television, pop culture—even comic books. The television case, for instance, provides mounted stills that help piece together the evolution from the days of minstrel shows and “blackface” through the Fresh Prince of Bel Air.
“It shows ways in which minorities, who have been ‘othered’ historically, are now portrayed as an integral part of contemporary culture,” said Shannon Moreno, a circulation supervisor at UM Libraries. Moreno helped contribute materials from the Libraries’ circulations holdings, many of which also comprise a display for the topic of African-Americans in contemporary politics.
The case features symposia materials from Tavis Smiley’s The Covenant with Black America as well as Bell Hooks’ Ain’t I a Woman? “They are addressing the question of ‘What does it mean to be black today?’” Moreno said, adding that the discussion now also accounts for the black female experience.
The exhibition also provides reflection for a time when the topic of race was not yet discussed in the context of civil, or even human, rights. UM Libraries Special Collections contributed several original slave documents from its holdings, including handwritten letters from plantation owners on behalf of their slaves. One letter was carried by a slave identified as “Black Jesse.” It authorized the slave to work outside of the plantation, and detailed the percentage of future earnings he was obligated to send back to his master.
UM Libraries’ Cuban Heritage Collection contributed primary source materials from its own holdings, including materials that reflect Cuban anthropologist Lydia Cabrera’s work on Afro-Cuban culture during the mid-twentieth century. Cabrera’s most famous book, El Monte (The Wilderness), is an important text for practitioners of Afro-Cuban religions.
“She was studying Santeria, and she became part of the culture,” explained education and outreach librarian Lisa Baker. Cabrera’s works debunked sensationalized myths about African culture in Cuba, and helped to convey the richness of its many symbols and rituals.
The exhibition shares some of her original manuscript documents, and on the walls nearby hang celebrated portraits of the spiritual orichas, an important subject of Cabrera’s research.
Materials from The Lydia Cabrera Papers also appear in an ongoing exhibition at the CHC titled Out of the Shadows, commemorating the centenary of the birth of Afro-Cuban poet and writer Gastón Baquero, a corresponding literary force in Havana during the 1940s.
The Truth Marches On also includes materials related to Haitian Vodou, some of which partly comprise the written and photographic works of UM faculty members Kate Ramsey (The Spirits and the Law) and Maggie Steber (The Audacity of Beauty). A series of Steber’s large-format prints are featured in the exhibition, providing vivid insights into daily life in Haiti, which she will be discussing at an event presented by UM Libraries Special Collections at 6:30 p.m. on Thursday, February 20, at Richter Library. A reception will precede the talk at 6 p.m.
“Maggie’s photos show there is beauty even in the face of great tragedy,” Skokan said, referring specifically to a photograph in the exhibition that captures a man studying by candlelight the faces of political candidates on an electoral ballot. She explained that images of candidates’ faces were used rather than a list of names due to the country’s high illiteracy rates. “That man was probably voting for the first time in his life,” Skokan said.
The election, which took place following the collapse of a thirty-year dictatorship in the late 1980s, resulted in the brief presidency of Jean-Bertrand Aristide, who attempted sweeping reforms on behalf of the country’s poor before he was overthrown by a coup. His photograph appears in the exhibition’s religion display. Steber captured him in his white suit, resting his head on a doorway after learning of a firebombing of a building that killed four children.
The wall of Steber’s photography ends with a portrait of Philomène, a young Haitian girl, posing in her village of Beauchamps. She is leaning against a school wall, her head tilted slightly to the left, as her eyes drift beyond the camera, leading the viewer to wonder where her thoughts may lie.
The Truth Marches On is on display at the Richter Library through March. The exhibition is made possible in part by the Lynda and Michael Gordon Exhibition Program.