DOCSLIB.ORG

DIVEDCO) and the Politics of Cultural Production, 1949-1968 By

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DIVEDCO) and the Politics of Cultural Production, 1949-1968 By Poetic Pragmatism: The Puerto Rican Division of Community Education (DIVEDCO) and the Politics of Cultural Production, 1949-1968 by Mariam Colón Pizarro A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: Spanish) in the University of Michigan 2011 Doctoral Committee: Associate Professor Jossianna Arroyo, Co-Chair, University of Texas Associate Professor Lawrence La Fountain-Stokes, Co-Chair Professor Jorge Duany, Universidad de Puerto Rico Associate Professor Jesse Hoffnung-Garskof Associate Professor, Gustavo Verdesio © Mariam Colón Pizarro ________________________________________________________________________ 2011 Table of Contents List of Figures ............................................................................................................... iv Abstract ......................................................................................................................... vi Chapter 1: Introduction ............................................................................................. 1 A. The Nation-State Binary .................................................................. 6 B. Poetic Pragmatism ........................................................................... 15 C. Overview ......................................................................................... 18 Part One. Towards the Modernization of Colonial Subordination: State Formation, Democracy Building, and Popular Education ............................................... 21 Chapter 2: Puerto Rican Experiments in Popular Education ................................ 24 I. Background to Popular Education Initiatives ................................................. 27 II. The Genesis of a Popular Education Program ............................................. 38 A. The Initial Proposal ......................................................................... 44 B. The Official Program ....................................................................... 53 C. The Structure ................................................................................... 59 D. The People ........................................................................................ 63 E. The Production Process ................................................................... 67 F. The Audiovisual Corpus ................................................................... 70 G. International Projection .................................................................... 74 H. Conclusion ........................................................................................ 79 Part Two. Modern Strategies for Cultural Processing: From Audiovisual Technology to Community Organizing .......................................................... 81 Chapter 3: Unpacking the Rural library ................................................................... 85 A. Modern Libraries for the People ...................................................... 86 B. Popular Books ................................................................................. 88 C. New Editorial Approaches .............................................................. 108 D. Conclusion ....................................................................................... 123 Chapter 4: Portraying the People: The Collectible Jíbaro ...................................... 124 A. Graphic Art and the Democratization of the Image ......................... 125 B. From the Studio to the Workshop .................................................... 133 C. The Rediscovery of Self and Other ................................................... 139 ii D. Recurrent Images of Democratic Participation ................................ 142 E. Seeing Through Representation ....................................................... 159 F. Conclusion ....................................................................................... 164 Chapter 5: The Schoolhouse on the Screen .............................................................. 166 A. Take One: Democracy on Wheels .................................................... 167 B. Take Two: Producing Educational Films for the People .................. 175 C. Take Three: Disseminating Educational Films Among the People .. 183 D. Take Four: The People‘s Drama on Screen ..................................... 192 E. Conclusion ....................................................................................... 204 Chapter 6: Where They Men of the People? ............................................................ 206 I. Preliminary Notes on Fieldwork as a State Intervention Practice ................. 206 II. Field Workers as State Referents ................................................................. 210 A. The Emergence of the Field Worker Figure as the People ............... 213 B. The Educator as Conscious Technician ........................................... 225 C. The State as an Unknown Friend ..................................................... 232 D. Conclusion ....................................................................................... 243 Chapter 7: Conclusion ................................................................................................ 245 Bibliography ................................................................................................................ 251 iii List of Figures Figure 1 DIVEDCO-sponsored float parades down the streets ............................................... 22 2 Staff from the Comission ........................................................................................... 47 3 Image of a mobile unit ............................................................................................... 52 4 DIVEDCO‘s staff offering technical advice ............................................................... 76 5 Using a pedagogical program based on the rights of women ..................................... 77 6 Graphic artist Lorenzo Homar designing the poster .................................................. 78 7 Community meeting ................................................................................................... 90 8 Almanaque del pueblo 1949 ...................................................................................... 96 9 Recording and developing studios ............................................................................. 101 10 Sound editing and projection rooms ........................................................................ 102 11 Illustrating and printing rooms ................................................................................. 103 12 Silkscreen and writing workshops ........................................................................... 104 13 Copy of DIVEDCO‘s mural newspaper Nuestro Mundo ......................................... 117 14 Copy of DIVEDCO‘s magazine Nosotros ............................................................... 118 15 Fieldworker posting a silkscreen poster ................................................................... 128 16 DIVEDCO‘s poster were integrated into the visual aesthetics ................................ 129 17 In their search for fidelity to the original ................................................................. 140 18 Rafael Tufiño. Raíces de felicidad, 1967, silkscreen ................................................ 146 19 Julio Rosado del Valle. Vecinos, 1950, silkscreen .................................................. 148 iv 20 Rafael Tufiño. Aniversario División de Educación de la comunidad ..................... 150 21 Antonio Maldonado. El de los cabos blancos, 1957, silkscreen .............................. 152 22 Rafael Tufiño. El Santero, 1967, silkscreen ........................................................... 156 23 Carlos Raquel Rivera. Nenén de la rura mora, 1956, silkscreen ............................. 159 24 Bridge built by a group of neighbors ....................................................................... 162 25 Eduardo Vera Cortés. El puente 1965-68, silkscreen .............................................. 164 26 Fieldworker transporting technical equipment ........................................................ 173 27 Film crew shooting a scene for Los peloteros ......................................................... 180 28 Fieldworker announcing a film screening ................................................................ 186 29 Musical performance taking place after a film screening ........................................ 187 30 DIVEDCO‘s film crew shooting a scene on location .............................................. 194 31 Fieldworker visiting isolated rural communities ..................................................... 224 32 Almanaque del pueblo 1952 inside cover ................................................................ 236 33 Illustration for the story ―El amigo desconocido‖ story .......................................... 238 v Abstract Poetic Pragmatism: The Puerto Rican Division of Community Education (DIVEDCO) and the Politics of Cultural Production, 1949-1968 by Mariam Colón Pizarro Co-Chairs: Jossianna Arroyo and Lawrence La Fountain-Stokes During the late 1940s, the Popular Democratic Party (PPD) led by Luis Muñoz Marín began to articulate a series of educational policies that led to the creation of a popular education campaign known as the Division of Community Education (DIVEDCO). This
Load more

Recommended publications
  • September 20, 1962: Commonwealth of Puerto Rico, Vol. 196, No. 6196
    The COMMERCIAL and FINANCIAL rTTPONTfT P Established 1839 V/ A A A \J V/ -JL. ^ M V^/ I J I J Reg. U. S. Pat. Off. Volume 196 Number 6196 New York 7, N. Y., Thursday, September 20, 1962 Price 50 Cents a Copy In 2 Sections — Section 2 COMMONWEALTH OF PUERTO RICO Aerial view of the road network joining the Old City of San Juan with the Santurce Business District. Modern freeways connect the major commercial and residential sections of San Juan and provide easy access to the Islands outlying areas. IMPRESSIVE ECONOMIC GROWTH ' - I A PRELUDE TO A GREATER TOMORROW Digitized for FRASER http://fraser.stlouisfed.org/ Federal Reserve Bank of St. Louis The . 2 Commercial and Financial , Chronicle . Thursday, September 20, 1962 shows, concluded that year with has been active in developing this end of the fiscal year there were a net income figure of more than field. Loans for various tourist 4,116 hotel and guest house rooms Economy of Puerto Rico $381 million, a gain of more than projects such as large and small available, an increase of 369 over 14% over the preceding year. hotels as well as guest houses and the preceding year. restaurants have been granted. The gains indicated by the fig¬ As indicated, the chief source Is Recently, the Government De¬ ures shown above have been re¬ Steadily Thriving of this 11 gain was traceable to the velopment Bank disbursed an in¬ flected in the entire , . 1 1 .j economy of f , ■ ■ . manufacturing activities of plants By Dr. Rafael Pico, President, Government Development Bank teresting loan for a commercial Puerto Rico—in business gen¬ promoted by the Economic De¬ boat yard and marina, an added „ for Puerto Rico erally, in banking, in transporta¬ velopment Administration, the facility for the growing tourist tion, in public services.
    [Show full text]
  • Evoluci6n De La .POBREZA EN COSTA RICA
    -LC- N.OAM JL JL AL.-/J Evoluci6n de la .POBREZA EN COSTA RICA Victor Hugo CUspedes S. Ronulfo Jimnez R. estudios La Academia de Centroam~rica es una asociaci6n sin fines de lucro,creada en 1969. Su inter6s principal es la promoci6n de'la investigaci6n, particularmente en el Ambitode las ciencias sociales y ]a aplicacidn de los resultados de la investigaci6n a la clab'iraci6n de proyectos especificos de desarrollo. En la serie ESTUDIOS se ponen al alcance de inves­ tigadores, profesionales y pfiblico interesado en las cuestionos sociales, ensayos que resultan de particu­ lar inter6s por la trascendencia del problema anali­ zado, razones te6ricas o metodol6gicas ACADEMIA DE CENTROAMERICA Tel6fonos: 22-7520 y 22-5085 Apartado 6347 1000 San Jos6, Costa Rica EVOLUCION DE LA POBREZA EN COSTA RICA VICTOR HUGO CESPEDES S. RONULFO JIMENEZ R. ACADEMIA DE CENTROAMERICA San Jos6, Costa Rca, 1988 Las opiniones expresadas son exclusivamente las do los autores y no recesariamen­ te las de laAcademia de Centroamrnica © ACADEMIA DE CENTROAMERICA San Jos6, Costa Rica 33946 C42.v CUspedes Solano, Victor Hugo Evoluci6n dolapobreza en Costa Rica / Victor Hugo CUspedes S., Ronulfo Jimenez R.--San Jos6, C.R.: Academia doCentroam6rica, 1987. 140 p.:cuadros, grafs., mapas; 21cm. -­ (Serie estudios; 5) ISBN 9977-21-009-8 1.POBREZA- COSTA RICA. 2.COSTARICA-CONDI- CLONES ECONOMICAS. I.Jimenez Rodriguez, Ro­ nullo, coautor. I1.Titulo. 111.Serie. Impreso en Costa Rica por Jim6ncz &Tanzi Lida. Prohibida lareproducci6n total o parcial Hecho elDop6sito de Ley EVOLUCION DE LA POBREZA EN COSTA RICA LA EDICION DE ESTE UBRO HASIDO PATROCINADA POR LA AGENCIA PAPA EL DESARROLLO INTERNACIONAL Este estudio fue elaborado por encargo y con financia­ miento de la Agencia para el Dosarrollo Internacio­ nal del Gobierno dc Estados Unidos (Oficina on San Jo­ sO).
    [Show full text]
  • 9No Encuentro De Investigadores De Arqueología Y Etnohistoria 9 Ricardo E
    EN HOMENAJE A RICARDO ALEGRÍA no encuentro9 de investigadores de arqueología y etnohistoria Programa de Arqueología y Etnohistoria Instituto de Cultura Puertorriqueña no encuentro9 de investigadores de arqueología y etnohistoria EN HOMENAJE A RICARDO ALEGRÍA Programa de Arqueología y Etnohistoria Instituto de Cultura Puertorriqueña San Juan, Puerto Rico INST I TUTO de CULTURA PUERTORR I QUEÑA Agradecimientos Programa de Arqueología y Etnohistoria Carlos A. Pérez Merced Glorilyn Olivencia Emeric Juan Rivera Fontán Belford Matías Maldonado Arqueólogos Rebecca Montañez Díaz Secretaria Administrativa Vivian Ortiz Pérez Oficinista Todos los derechos reservados. La adaptación, repro- ducción total o parcial, por cualquier medio, queda estrictamente prohibida sin autorización previa del autor o del Instituto de Cultura Puertorriqueña. El material contenido en esta publicación puede ser citado siempre que se dé el crédito correspondiente. El contenido y estilo de los artículos es responsabilidad de sus autores. No significa que el Instituto de Cultura Puertorriqueña se solidariza con los puntos de vista expuestos por el autor. © 2011 Instituto de Cultura Puertorriqueña Créditos JUNTA DE DIRECTORES ProducciÓN Editorial Instituto de Cultura Puertorriqueña Arqla. Laura Del Olmo Frese Dr. Rafael Colón Olivieri Editora y coordinadora de la Presidente publicación Dr. Rodolfo Lugo Ferrer Dr. Carlos A. Pérez Merced, Arql. Vice-Presidente Coordinador del 9no Encuentro de Investigadores de Arqueología Dr. Lucas Mattei Rodríguez y Etnohistoria Secretario Edna Isabel Acosta Dr. Gonzalo Córdova Diseño y Diagramación Sub-Secretario Dr. José Alberty Monroig Prof. Manuel Alvarez Lezama Ing. Rafael Angel Torrens Salvá Dra. Raquel Rosario Rivera Junta de Directores Prof. Mercedes Gómez Marrero Directora Ejecutiva Arqla. Laura Del Olmo Frese Directora del Programa de Arqueología y Etnohistoria Contenido 9 Mensaje ARQL A .
    [Show full text]
  • Department of Economics
    DEPARTMENT OF ECONOMICS Working Paper The Self-Inflicted Dimensions of Puerto Rico’s Crisis Argeo T. Quiñones-Pérez Ian J. Seda-Irizarry Paper No. 02, Fall 2017 The Self-Inflicted Dimensions of Puerto Rico’s Crisis “Puerto Rico requires a labor policy directed towards converting us into an attractive jurisdiction for establishing businesses and for creating opportunities of employment in the private sector”- Francisco Montalvo Fiol, coordinator for the Coalition of the Private Sector, January 4, 2017. Introduction The decade long socio-economic depression through which Puerto Rico is passing has caught international attention, with characterizations such as “the biggest default in U.S. municipal bonds market history” or “the Greece of the Caribbean” feeding the imagination of those that seek explanations to understand it. Local and foreign bondholders, a pro-austerity government, and a fiscal control board have all become the major protagonists in a story of social decomposition in a nation that was once thought to be a model for capitalist industrial development and social welfare. For many within Puerto Rico, past concerns and fears associated with achieving political independence from the United States, fed in large part by decades of cold war propaganda, have become very real under the colonial status. The poverty level is three times that of the United States, the island is among the most unequal nations in the world, and the emigration waves have surpassed those of the 1950s to the point that the island is being depopulated. The unhindered mobility of the “factors of production,” i.e. capital and labor, that for decades has characterized the business environment in the island has not produced the dynamic and long term economic growth, or convergence with the metropolis, that some economic theories and models would have predicted.1 Not surprisingly many explanations have been put forward to understand the causes of the crisis in Puerto Rico.
    [Show full text]
  • 1937-1943 Additional Excerpts
    Wright State University CORE Scholar Books Authored by Wright State Faculty/Staff 1997 The Celebrative Spirit: 1937-1943 Additional Excerpts Ronald R. Geibert Wright State University, [email protected] Follow this and additional works at: https://corescholar.libraries.wright.edu/books Part of the Photography Commons Repository Citation Geibert , R. R. (1997). The Celebrative Spirit: 1937-1943 Additional Excerpts. This Book is brought to you for free and open access by CORE Scholar. It has been accepted for inclusion in Books Authored by Wright State Faculty/Staff by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. Additional excerpts from the 1997 CD-ROM and 1986 exhibition The Celebrative Spirit: 1937-1943 John Collier’s work as a visual anthropologist has roots in his early years growing up in Taos, New Mexico, where his father was head of the Bureau of Indian Affairs. His interest in Native Americans of the Southwest would prove to be a source of conflict with his future boss, Roy Stryker, director of the FSA photography project. A westerner from Colorado, Stryker did not consider Indians to be part of the mission of the FSA. Perhaps he worried about perceived encroachment by the FSA on BIA turf. Whatever the reason, the rancor of his complaints when Collier insisted on spending a few extra weeks in the West photographing native villages indicates Stryker may have harbored at least a smattering of the old western anti-Indian attitude. By contrast, Collier’s work with Mexican Americans was a welcome and encouraged addition to the FSA file.
    [Show full text]
  • En Alas Del Recuerdo. Quepos... 25 Años De Historia
    PREÁMBULO Quiero manifestar con todo respeto que, “EL FACTOR DE ORDEN, NO ALTERA EL PRODUCTO”… En todo momento, mi pasión por Quepos es... un sentimiento, nacer en Quepos, no solo es un orgullo, es un honor… ser un capullo, de una tierra bendita de Dios, por algo en específico, la bautizaron como... EL PORTAL DEL PACIFICO. Nací en los años 50, en el centro de Quepos, y viví en una casa de pared por medio del cine San Jorge, frente al parque, donde imponente estaba la Iglesia Católica, luego trasladada a Rancho Grande, vecinos y en privilegio del gran salón Miramar, la barbería de Juancito Zeledón el barbero, y el kiosko de los ricos batidos y las deliciosas tostadas. Los que nacimos en esa época y en casas atendidos por parteras, tuvimos la bendición del Señor, ser sacados al mundo de las manos de la mejor, una obstetra divina, sencilla, humilde, de nobles sentimientos, con una carisma único, la que Dios talló como una perla preciosa, bella por fuera y bella por dentro, Doña Margarita Black Shedden, la esposa de don Víctor Mora, todos nacidos con amor y sin demora. Quepos... territorio del Cacique Quepo, asentado sobre un viviente manglar, rodeado de un inmenso mar, protegido por un otero, que rompe el viento como gran velero, desde su monte impone su mirada sobre el horizonte tornasol, donde se peina la luna y se lava la cara el sol. Para los que vivimos esa época de plata, cada amanecer y cada atardecer, vimos al tren correr, su galopante paso sobre la línea férrea su guía, era pan nuestro de cada día, anunciaba con su partida y su llegada, el progreso de la vida.
    [Show full text]
  • Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
    This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education.
    [Show full text]
  • Legislative Assembly Department of Archives, Investigations and Processing
    Exhibit C-1l Page 1 of 311 File No. 11.202 LEGISLATIVE ASSEMBLY DEPARTMENT OF ARCHIVES, INVESTIGATIONS AND PROCESSING Filed by: Representative Chavarría Aguilar Matter: Creation of the Las Baulas de Guanacaste National Marine Park Bill published in Item No. ______ in Gazette No. 126 of July 4, 1991 Delivered to the Special Committee on the Environment Date: July 4, 1991 AFFIRMATIVE Date:_____________________________ UNANIMOUS NEGATIVE Date:_____________________________ AFFIRMATIVE Date: May 14, 1992 RULING MAJORITY NEGATIVE Date:_____________________________ AFFIRMATIVE Date:_____________________________ MINORITY NEGATIVE Date:_____________________________ Report – final draft: Date:_____________________________ June 12, 1995 Approved Second Debate Full Third Meeting #5 of June 21, 1995 Again to the Committee ________________________________________________________ VETO No. ____ Publ. Item No. _____ in Gazette No. _____ _____ , _______________________ Removed by Executive Authority on ______ ____, _____________________________________ Authorized on ______ ____, _____________________________________ RE-SEAL No. ______ ____, _____________________________________ Published in Item No. _____ in Gazette No. _____ _____ , _______________________ ORDER No. 7524 of July 3, 1995 Authorized on July 10, 1995 Published in Item No. _____ in Gazette No. 154 of August 16, 1995 Filed on May 13, 1991 Archived on August 21, 1995 Exhibit C-1l Page 2 of 311 1 BILL CREATION OF LAS BAULAS DE GUANACASTE NATIONAL MARINE PARK File No. 11.202 LEGISLATIVE ASSEMBLY: One of the three areas in the world where the Leatherback Sea Turtle (Dermochelys coriacea) nests and reproduces is located in our country. Included in this area are Playa Grande and Playa Langosta, located in the Northern Pacific, in the cove where Cabo Velas and Tamarindo Bay are located, in the canton of Santa Cruz, in the province of Guanacaste.
    [Show full text]
  • Documentary Introduction to the Ángel Ramos and Tina Hills Donation for a Young Institution Like the Museo De Arte De Puerto Ri
    Documentary Introduction to the Ángel Ramos and Tina Hills Donation For a young institution like the Museo de Arte de Puerto Rico (MAPR), the bequest of thirty artworks donated by Ángel Ramos and Tina Hills represents both a responsibility and a commitment, a commitment that binds the Museum to continue the visionary, nation-building work done by these two exemplary philanthropists for so many years. Ángel Ramos was a pioneer of modern media communications in Puerto Rico. From a family of few resources and little formal education, he began as a proofreader and layout man at El Mundo newspaper and went on to hold several management positions until, in 1946, he became its editor and owner. His professional career almost literally skyrocketed. Along the way he created publications such as Puerto Rico Ilustrado and Puerto Rico World Journal, owned radio stations, and pioneered television in Puerto Rico. To these accomplishments he added the creation of the Ángel Ramos Foundation in 1958, a philanthropic organization unparalleled in the history of Puerto Rico. Ángel Ramos was also a person of great aesthetic sensitivity, which led him to become a patron of outstanding artists and an exemplary collector. Tina (Argentina S.) Hills took on the responsibilities of the El Mundo family of businesses on the death of her husband, Ángel Ramos, and in 1966 she achieved his dream of completing the establishment of the Foundation that bears his name. Today, after a long career in newspapers, radio, television, and philanthropy, she is the president of the Ángel Ramos Foundation and has also continued, with untiring enthusiasm, to collect works of art from Puerto Rico and abroad.
    [Show full text]
  • An Inconceivable Indigeneity: the Historical, Cultural, and Interactional Dimensions of Puerto Rican Taíno Activism
    An Inconceivable Indigeneity: The Historical, Cultural, and Interactional Dimensions of Puerto Rican Taíno Activism by Sherina Feliciano-Santos A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology) in the University of Michigan 2011 Doctoral Committee: Associate Professor Barbra A. Meek, Chair Professor Bruce Mannheim Professor Judith T. Irvine Professor Ruth Behar Associate Professor Lawrence M. La Fountain-Stokes © Sherina Feliciano-Santos 2011 DEDICATION Para Mami y Daddy Por el apoyo incondicional y por siempre creer en mi, aún cuando a mi misma se me hacía díficil. Por ser modelos de humanidad e integridad. Por ser mis padres, los quiero. También a Abuelito, Porque fuiste ejemplo y siempre te llevaré conmigo. ii ACKNOWLEDGEMENTS Five years ago, in a meeting to talk about my final paper proposal on Jibaridad in Puerto Rico, Tom Trautmann asked if there were any indigenous movements in the Island. After a responding with a resolute ―NO,‖ I thought about it and remembered that the prior summer I had read an article in a newspaper about a group of people claiming to be Taíno protesting the management of the Caguana ceremonial site in Utuado, PR. It was this question and my own response to it, which led to the questions that would ultimately inform this dissertation project. For asking that initial question, I want to thank Tom Trautmann. Barb Meek has been an exceptional teacher, mentor, advisor, and friend. During my many years at Michigan, Barb guided me in thinking about language, indigeneity, field methods, and analysis. I feel deeply fortunate to have had her exceptional input and her unwavering support throughout my graduate student career.
    [Show full text]
  • PUERTO RICO ARTE E IDENTIDAD ENSAYOS-TRASFONDO HISTORICO SOBRE LA Epoca
    PUERTO RICO ARTE E IDENTIDAD ENSAYOS-TRASFONDO HISTORICO SOBRE LA EpOCA. LAPATRIA CRIOLLA SILVIA ALVAREZ CURVELO A 10 largo del siglo XIX, Puerto Rico gener6, en un denso entre-juego de fuerzas internas y externas, los contornos de una identidad nacional. Esta trama complicada requiri6 de transformaciones en entretejido de la sociedad. La Jlegada de miles de esclavos africanos para trabajar las promisorias haciendas azucareras y el arriba de otros miles de inmigrantes provenientes de Europa, Hispanoarnerica y las AntiJlas Menores, se tradujo en la textura plural que exhiben los puertorriqueiios hoy. Durante el siglo concluy6 tambien la ocupacion del territorio insular. La montana fue conquistada por avidos pobladores que roturaron I la tierra y empresarios que la comercializaron en el fomento de una nueva cuilura agraria: la del cafe. Nuevas identidades --el hacendado criollo, el comerciante peninsular, los jornaleros, los esclavos libertos, los obreros de fin de siglo, los intelectuales- emitieron, desde sus particulares estaciones de vida y visiones de mundo, utopias para sus comunidades y el pais. Alentados por los cambios geopoliticos y econ6micos que propici6 el cicio revolucionario, 1776-1825. los criollos pucrtorriquciios se movilizaron a favor de mayores libertades desde las primeras decadas del siglo. Mientras Espaiia enfrentaba las fuerzas francesas de ocupaci6n y la mayoria de sus colonias en America proclamaban su independencia, Puerto Rico marcaba un derrotero distinto. La Isla no se sum6 a Ia revoluci6n hispanoamericana de independencia que estall6 en 1810, pero personeros criollos como Ram6n Power y Giralt, primer diputado puertorriqueiio a las Cortes espaiiolas, respaldaron demandas de indiscutible corte liberal.
    [Show full text]
  • Farm Security Administation Photographs in Indiana
    FARM SECURITY ADMINISTRATION PHOTOGRAPHS IN INDIANA A STUDY GUIDE Roy Stryker Told the FSA Photographers “Show the city people what it is like to live on the farm.” TABLE OF CONTENTS Introduction 1 The FSA - OWI Photographic Collection at the Library of Congress 1 Great Depression and Farms 1 Roosevelt and Rural America 2 Creation of the Resettlement Administration 3 Creation of the Farm Security Administration 3 Organization of the FSA 5 Historical Section of the FSA 5 Criticisms of the FSA 8 The Indiana FSA Photographers 10 The Indiana FSA Photographs 13 City and Town 14 Erosion of the Land 16 River Floods 16 Tenant Farmers 18 Wartime Stories 19 New Deal Communities 19 Photographing Indiana Communities 22 Decatur Homesteads 23 Wabash Farms 23 Deshee Farms 24 Ideal of Agrarian Life 26 Faces and Character 27 Women, Work and the Hearth 28 Houses and Farm Buildings 29 Leisure and Relaxation Activities 30 Afro-Americans 30 The Changing Face of Rural America 31 Introduction This study guide is meant to provide an overall history of the Farm Security Administration and its photographic project in Indiana. It also provides background information, which can be used by students as they carry out the curriculum activities. Along with the curriculum resources, the study guide provides a basis for studying the history of the photos taken in Indiana by the FSA photographers. The FSA - OWI Photographic Collection at the Library of Congress The photographs of the Farm Security Administration (FSA) - Office of War Information (OWI) Photograph Collection at the Library of Congress form a large-scale photographic record of American life between 1935 and 1944.
    [Show full text]