COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month
Thematic Impact on the Community: 1987 – 2017
Poster Exhibit
2018 SOMOS Albany Conference Empire State Plaza
Friday, March 9, 2018 – Saturday, March 10, 2018
9AM – 5PM
ABOUT COMITÉ NOVIEMBRE, CN
CN is the only collaboration of its kind in the United States that bring together the collective talents and resources of ten of the oldest and most prestigious Puerto Rican organizations: ASPIRA of New York; Casita Maria; Centro de Estudios Puertorriqueños, Hunter College/CUNY; El Museo del Barrio; El Puente; Eugenio María de Hostos Community College/CUNY; Fundación Nacional Para la Cultura Popular, Institute for the Puerto Rican/Hispanic Elderly; La Casa de la Herencia Cultural Puertorriqueña and the National Congress for Puerto Rican Rights – Justice Committee.
Established in 1987, Comité Noviembre, CN, is a non-profit organization created to: commemorate and pay tribute to the contributions Puerto Ricans have made to this nation; promote, acknowledge, create awareness and take ownership of our rich culture, language, and history; create open forums to discuss critical issues affecting the Puerto Rican community specifically in the areas of education, youth leadership development, health, politics and civic involvement; create educational and leadership opportunities for Puerto Rican/Hispanic Youth; institutionalize November as Puerto Rican Heritage Month throughout the nation. The combined network and outreach potential of these organizations is over 700,000 people through its member lists and internet capabilities.
CN ANNUAL PROGRAMS & EVENTS
Educational/Youth Leadership Development . Four Scholarship Programs 4. The Ernest Malave Scholarship for the Arts 1. CN Scholarship Awards Program . Annual Leadership Development 2. The Richie Perez Scholarship for Peace & Justice 1. Day of Community Service & 3. The Josefina Aguado Scholarship for Single Parents Social Responsibility & Food Drive
Puerto Rican Artist Development 1. National Artisans Fair & Exhibit 4. Puerto Rican Institute for the Development of the 2. Puerto Rican Authors Book Expo Arts, PRIDA 3. Puerto Rican Memorabilia Exhibit 5. Poster Traveling Exhibit 6. Archival Initiatives with Centro Library Cultural Development 1. Educational Trip to Puerto Rico, “Buscando Nuestra Raíces” 2. Annual CN and Danza Fiesta Bomba y Plena concerts at Hostos Cultural and Arts Center 3. CN and Instituto de Cultura de Puerto Rico Annual concert with Banda Nacional de Puerto Rico and Fusión Jonda 4. Manhattan Neighborhood Network & CN’s ‘‘Buscando Nuestras Raíces, shows 5. Three Kings celebration & Toy Drive 6. Cultural and health related workshops, forums and events.
Annual Puerto Rican Heritage Month Celebration Events & Awards 1. PRHM kick-off celebration/Lo Mejor de Nuestra Comunidad Award 2. Annual benefit event/Puerto Rican Heritage Award
PRHM Annual Informational Materials 1. Commemorative calendar journal 3. Commemorative poster 2. Annual Artist competition 4. Selection of a spokesperson
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
March 2018
Dear Friends,
In 2011 to commemorate CN’S, 25th anniversary an exhibit highlighting the artistic renditions of our theme over the past 25 years was curated by Teresa A. Santiago currently CN’s Chairwoman Emeritus and Luis Cordero Santoni, CN member and Chair of Puerto Rican Institute for the Development of the Arts, (PRIDA). CN is proud that this Exhibition has become an annual event adding our current poster to the collection. The Exhibit has been presented at the following venues: . Eugenio María de Hostos Community College, 2011 . Terrance Cardinal Cooke Health Center, 2013 . Riverbank State Park – Cultural Complex/NYS Office . Casita Maria’s Children’s Gallery 2014 of Parks Recreation and Historic Preservation, 2012 . Loisaida Cultural Center, 2016 . Taller Boricua at the Julia de Burgos Cultural Center, . SOMOS Albany Conference, 2018 2013
Through the years CN, has identified a theme highlighting an issue of relevance to the Puerto Rican community. Through these themes, CN has promoted the celebration of Puerto Rican culture and the achievements of the Puerto Rican community while also raising consciousness about the issues affecting our community. Each of the artist as the creative energy and catalyst behind CN, have enabled us to complete our goal of motivating and mobilizing individuals and community into action in addressing these issues and tell our story. In this program booklet you have the most current bios of the artists available as well as the description of the poster at the time by the artist who created it, the relevant issue that was occurring in the community and a small rendition of the poster.
CN is proud of the collaboration it has forged with an amazing group of talented artists throughout 31 years. These men and women are truly exceptional not only in their creative talents and in teaching, preserving, promoting and keeping our Puerto Rican culture and history alive but also in the charitable, volunteer and pro bono work that each does to assist the poor, children with cancer and AIDS, breast cancer efforts, and the homeless. In 2015, artist Nitza Tufiño graciously donated 25 silk screened numbered pieces that continue to be auctioned off to raise funds to protect and preserve an archeological site in Rio Blanco in Naguabo, Puerto Rico.
Comité Noviembre Artists 1987 -2013 are Nestor Otero, 1987, 1988, 1990 ▪ Luis Cordero, 1989 ▪ Ernesto Ramos Nieves, 1991, 1992, (deceased) ▪ Angel Rodriguez-Diaz, 1993 ▪ Maria Dominguez, 1994, 1997, 2016 ▪ Juan Sanchez, 1995, 2012 ▪ Daniel Del Valle, 1996, 1998 ▪ David Santiago, 1999 and 2017 ▪ Joaquin Emir Dávila Matos 2000, 2002 ▪ Adrienne Assaff Montalvo, 2001 ▪ Ray Rosario, 2003, 2004, 2006, 2013 ▪ Carlos Aponte, 2005 ▪ Maestro Antonio Martorell, 2007 ▪ Aquliar Marrero, 2008 ▪ Arnaldo Alicea Concepción, 2009 ▪ Pedro Brull, 2010, ▪ Wilda Gonzalez, 2011, ▪ Maestro Jose Buscaglia, 2014, ▪ Nitza Tufiño, 2015.
An event like this takes many hours of planning and coordination, CN would like to thank Assemblyman Marcos Crespo, Chair of the SOMOS Legislative Task Force, Paloma Hernandez, SOMOS Board Chair, Jose Paulino, SOMOS’ Executive Director and the Board of SOMOS, Inc. for making this Exhibit possible in Albany. Special thanks to Teresa A. Santiago, CN’s Chairwoman Emeritus; Angel Santini Palos, CN’s Chairmen, Maria Roman, CN’s 2nd Vice Chair, Lili Santiago Silva, CN’s Treasurer. To our wonderful volunteers who graciously took time off from work to assist with this endeavor and helped in insuring the success of this Exhibit: David Santiago, Maria Diaz Santiago, George Daniel Santiago and Carmen Marilla Castro. The CN Poster Exhibit is a reminder of the amazing people that have graced us with their talent and contributed to CN’s history. Please enjoy!
Angel Santini Palos Angel Santini Palos Teresa A. Santiago CN Chair CN Chairwoman Emeritus
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
THEMATIC IMPACT ON COMMUNITY 1987 – 2017 SYNOPSIS
1987 "Building on Our Heritage to Create the Future…Our Children Our Youth - Desarrollando Nuestra Herencia Creando Nuestro Futuro…Nuestros Niños y Juventud,” centered around children and youth bringing to light the critical absence of Latino representation on the New York City’s Board of Education.
1988 "Empowerment…From the Shadows to the Light – De las Sombras al Poder – Empoderamiento…De las Sombras al Poder” Highlighted participation in the political process as a tool to bring the Puerto Rican community to the forefront of American politics and power structures.
1989 "Si No Nos Cuentan…No Contamos…Count On Us! – Si No Nos Cuentan…No Contamos…Cuenten Con Nosotros” dealt with the gross under counting of Latinos in the past census counts and challenged the Puerto Rican community to stand up and be counted.
1990 “From the Homeland to the Mainland…Los Lasos que nos Unen” Made the important connection to island roots and the migration to the mainland over the last nine decades.
1991 "La Mujer Puertorriqueña La Verdadera Borinqueña… Asumiendo Nuestra Historia Tomando Liderazgo en los 90” celebrated the important role of women in the political and social development of the largest Hispanic ethnic group in the Northeast region.
1992 "Encounters of the Past…Our Determination to Shape the Future – Encuentros del Pasado…Nuestra Determinación Para Forjar el Futuro” sought out to encompass the quincentennial commemoration and its specific relevance to the Puerto Rican community today.
1993 "Reconquista ’93: Affirming Our Identity…Preserving Our Community – Reconquista ’93: Afirmando Nuestra Identidad…Preservando nuestra comunidad” dealt with the issue of identity, the unique and distinct mixture of Taíno, Spanish and African ancestry that makes up the intricate character of the Puerto Rican people.
1994 "Nuestro Poder Puertorriqueño: Usalo! Define Nuestro Destino! Dealt with the untapped power and strength behind the estimated 3 million Puerto Ricans that live in the United States.
1995 "The Puerto Rican Renaissance: The Spirit of Commitment…The Power of Action. Live It!” was a call to action to the Puerto Rican community – that now was the time to realize the future through the power of action.
1996 "United, Moving Forward…The Future is Ours...Unidos, Adalante…El Futuro Esta en Nuestras Manos,” urged Puerto Ricans to unite around the critical issues of preserving our language. CN issued a statement on Language Rights and opposed the English Only Movement.
1997 “In the Mix: Voices that Affirm Our Vibrant Heritage –Voces Que Afirman Nuestra Herencia Dinámica,” reinforced our pride, diversity and multi-generational achievement that are the integral part of the Puerto Rican experience.
1998 "Puerto Ricans Confronting the Challenges of a Changing World – Puertorriqueños Enfrentando los Retos de un Mundo cambiante," urged the Puerto Rican community to examine its readiness and to prepare strategies to face the challenges of the next millennium.
1999 "Puerto Ricans for a New Millennium ... Facing the Dawn of a New Age - Puertorriqueños para un Nuevo Milenio... Frente al Amanecer de Una Nueva Era," reflected the anticipation of a community ready for action. The human rights campaign for Vieques and clemency for the Puerto Rican political prisoners were highlighted.
2000 "Understanding Our Past…Defining Our Future - Entendiendo Nuestro Pasado… Creamos Nuestro Futuro,” urged Puerto Ricans to research and learn about their history in order to understand what was occurring at the time – the role of the US Navy in Vieques, the status questions and the release of the FBI “Carpetas/Dossiers” on the Puerto Rican independence movement.
2001 "Puerto Ricans United for World Peace...Puertorriqueños Unidos Para la Paz Mundial,” honored all of the victims of September 11th, especially the 800 Puerto Ricans who perished and acknowledged the efforts of the Puerto Rican community during this tragic event in America’s history.
2002 "Salud Boricua,” shed light on the critical health issues in our community specifically HIV/AIDS, cancer, diabetes and asthma.
2003 "Nuestra Herencia Cultural el Camino al futuro…Our cultural heritage, the path to the future,” challenged the community to honor the past and teach our children about our rich culture and heritage.
2004 "Preserving our Legacy…Cultural Affirmation, Community Empowerment & Social Justice,” honored the grassroots work and accomplishments of the Puerto Rican community and its pioneers who because of their strength of character and conviction affected change.
2005 "Boricua! Atesora lo tuyo…Boricua! Treasure what is yours - Preservando Nuestro Legado…Afirmación Cultural, Poder Comunitario y Justicia Social,” acknowledged the accomplishments of the Puerto Rican community in the fields of science, medicine, technology, and space exploration and demanded the community to take ownership of these contributions.
2006 "Celebrando con Orgullo Nuestra Cultura...Hoy, Mañana y Siempre," acknowledged and paid tribute to achievements of the Puerto Rican community in this city, state and nation as well as to the vision of Comité Noviembre that for the past twenty years has kept its mission alive to promote, teach and create an awareness of the rich culture, language and heritage of the Puerto Rican community.
2007 "Encuentro Con Nuestra Patria," challenged each and every one of us to learn about our history both on the island and mainland, feel proud of who we are and where we come from, and commit ourselves to promoting and teaching others about our great contributions to this world. It reaffirmed who we are as a people, a community, a nation and that no matter where we are physically in the world - somos puertorriqueños!
2008 "Vive tu cultura...!Vive Boricua¡ “Live Your Culture...! Vive Boricua!,” challenged us to take ownership of our contributions to the fabric of this country. Our achievements as a community have had and will continue to have great impact on society. We must learn about our pioneers, heroes, scientist, inventions, traditions and history and commit ourselves to promote and teach others about the great contributions Puerto Ricans have made to this country and brag a little in the process.
2009 "Puertorriqueño…De nuestras raíces nace un pueblo," speaks to the strong foundation of the Puerto Rican community around the world, of our perseverance, ingenuity, pride and achievements. The theme explores and examines our unique ancestral roots and the very fabric that makes us Puerto Rican, it acknowledges that aqui y alla, somos todos puertorriqueños – un pueblo.
2010 “Puertorriqueño de alma, vida y corazón,” speaks to the essence of what being Puerto Rican means. It is living breathing embracing our culture, history and identity in our daily lives in everything that we do. It is the recognition from the bottom of our heart that speaks to our soul that affirms our life as a Puertorriqueño. It is a state of mind, of being that comes from deep within us that empowers us to affect change and to continue to contribute and make accomplishments to this city, state and nation.
2011 “Comité Noviembre 25 years...United by our Puerto Rican pride - Comité Noviembre 25 años…Unidos por nuestro orgullo Boricua,” celebrates and pays tribute to the work and accomplishments of Comité Noviembre in the last 25 years - to the spirit, energy and pride of this volunteer organization.
2012 “Pioneros Puertorriqueños: un legado de amor, poder, y valor.. Puerto Ricans Pioneers: a legacy of love, empowerment and courage,” celebrates the legacy of the Puerto Ricans that came before us and struggled against many obstacles to build organizations, empower our community and achieve the necessary changes of their time so that today Puerto Ricans and other Latinos benefit from their commitment, dedication and perseverance. As a community we must never forget their achievement and we must pay homage to their legacy of love, empowerment and courage.
2013 “Preservando el legado de la Díaspora Puertorriqueña…La responsabilidad es nuestra…Preserving the living legacy of the Puerto Rican Diaspora...The time is now, the responsibility is ours!”, celebrates the legacy of the Puerto Ricans that came before us and struggled against many obstacles to build organizations, empower our community and achieve the necessary changes of their time so that today Puerto Ricans and other Latinos benefit from their commitment, dedication and perseverance. As a community we must never forget their achievement and we must pay homage to their legacy.
2014 ‘‘La Diaspora Puertorriqueña … un legado de compromise/The Puerto Rican Diaspora… A Legacy of Commitment’’ celebrates the commitment of the Puerto Ricans that came before us and struggled against many obstacles to build organizations, empower our community and achieve the necessary changes of their time so that today Puerto Ricans and other Latinos benefit from their commitment, dedication and perseverance. CN humbly tries to honor these pioneers of the Diaspora everyday through the work that we do by preserving and protecting their legacy of commitment.
2015 “The Power of our Cultural Heritage Defines Us! … El Poder de Nuestra Cultura nos define!,” speaks to empowering the 8.5 million Puerto Ricans both in the US and Puerto Rico to act and make their voices heard wherever they find themselves in this world. It is a crucial moment in our history as a community to make a difference and affect change. As sons and daughters of the Diaspora, through the power of our vote we have the opportunity to demand justice for the critical health and economic crisis afflicting Puerto Rico. The world is watching and the power of our heritage will define us!
2016 “COMITÉ NOVIEMBRE 30 years of impact on the Puerto Rican Community...Treinta Años de Impacto a la Comunidad Puertorriqueña,” speaks to the many contributions CN has made to the fabric of this nation. From choosing a theme each year to highlight and address an issue in our community; to creating opportunities to honor and commemorate Puerto Rican culture and history; to acknowledging our unsung heroes and engaging our youth in community service like feeding the hungry to awarding hundreds of scholarships and creating educational and leadership development opportunities for our youth, the impact of Comité Noviembre has been tremendous with long lasting life changing affects.
2017 ¡Diaspora puertorriqueña...es ahora o nunca! Invierte en Puerto Rico...Puerto Rican diaspora...it's now or never! Invest in Puerto Rico, CN knew that the focus of the theme had to be on supporting and investing in Puerto Rico’s economy and non-profit organizations that served the community. It had to challenge the Diaspora – La Patria Extendida to invest in Puerto Rico whether through actions as simple as purchasing hand-made artesania, donating to a non-profit organization that touched our hearts; or planning annual family vacations in Puerto Rico, or as substantial as purchasing a vacation home or starting a business in Puerto Rico! The theme was a call to action! A challenge to make a difference! On September 20, 2017, Hurricane Maria ravaged our beloved island. As it became evident of Hurricane María’s destruction our call to action became our battle cry of duty and responsibility.
COMITÉ NOVIEMBRE…mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
NÉSTOR OTERO, 1987, 1988, 1990
Néstor Otero was born in Caguas, Puerto Rico. A multidisciplinary artist, he studied design, graphics, and painting with social realist painter, Luis German Cajigas in Puerto Rico as a youth and was the recipient of a Gold Medal for Painting by El Museo de Arte de Ponce in Puerto Rico in 1961. He was awarded the ‘St. Gaudens Medal for Fine Draughtsmanhsip’ by the City of New York in 1965 and studied at the Fashion Institute of Technology and illustration and painting with Marshall Arisman and Frank Roth at the School of Visual Arts in New York City. He was the recipient of Visual Arts Grants from the New York State Council on the Arts for 1985 and 1987 and was a two time Nominee for the Manhattan Borough Presidents: Artist of the Year Award. He received Honor and Merit Distinctions from the Mayors’ Office of the City of New York and the Queens’ Borough Presidents’ Office.
In Puerto Rico he was granted the Premio al Mérito from the Fondo Nacional para el Financiamiento del Quehacer Cultural of the National Endowment for the Arts on two occasions and the Beca del Fondo Permanente para las Artes for his representation in the 23 Bienal de Sao Paolo, Brazil in 1997. He was also granted a Resolution by the Puerto Rico Senate for distinguished participation in Sao Paolo - also receiving two AICA Awards for this participation and for the catalog design. This year he was the recipient of an Artist Grant from the Fondo Puertorriqueño para el que hacer cultura of the Instituto de Cultura Puertorriqueña.
He participated in the 23 Bienal de Sao Paolo, Brazil; the V and IX Bienal Internacional de Pintura de Cuenca, Ecuador; the 2da Bienal de Pintura del Caribe y Centroamerica of the República Dominicana receiving a Gold Medal; Mexico’s IX Bienal Iberoamericana de Arte and his Native Puerto Rico’s Muestra de Arte Puertorriqueño. He was invited to participate in INSIDE: The Project group STOFFWECHSEL” in Kassel, Germany in 1997 and Carivista, the first encounter of Caribbena Artists on the island of Barbados in 1998.
In 1999 is included in the iterant exhibition La vida urbana en la región del Caribe, sponsored by the Organization of European Countries. Represented Puerto Rico at the Grands et jeunes d’aujord’hui at the Espace Eiffel-Branly in Paris, France and the Bienal de la Habana in Cuba in 2000. In 2001 he participated in El Museo de Arte de Puerto Rico’s El Arte en Puerto Rico a traves del tiempo, the Instituto de Cultura Puertorriqueña’s Muestra Nacional and the Bienal de San Juan del Grabado Latinoamericano y del Caribe, receiving an Honorable Mention.
In 2003 he presented SITU, a solo exhibition of his digital work at the Taller Boricua in the Centro Cultural Julia de Burgos in New York. In 2007 he was included in the historical exhibition Contexto puertorriqueño: del rococó colonial
al arte global at the Museo de Arte de Puerto Rico. In 2004 participates in the Trienal Poligráfica de San Juan: America Latina y El Caribe. Invited in 2005 to participate in the IV Salón de Arte Digital de Maracaibo at the Museo de Arte Contemporáneo de Zulia, Maczul, Venezuela, he receives an Honorable Mention.
In 2010 he collaborated with Annex Burgos a public sculpture for the IV Bienal de Escultura en Concreto of Caguas in Puerto Rico. The result, ‘OYE”/Listen, an interactive audio sculpture in homage to the river Cagüitas. He was invited with the artist Annex Burgos to represented Puerto Rico in the international invitational, Ya se leer at the Centro de Arte Contemporáneo Wilfredo Lam in La Habana, Cuba. He has been invited to participate in the Instituto de Cultura Puertorriqueña’s Muestra Nacional de Artes Plásticas from 2003.
In Puerto Rico has exhibited at the Instituto de Cultura Puertorriqueña, El Museo de Arte Contemporáneo de Puerto Rico, El Museo de Arte de Puerto Rico, Museo de Historía, Antropología y Arte de la Universidad de Puerto Rico, Galería Raíces and Galería Botello and in New York, El Museo del Barrio, New York City Gallery, The Alternative Museum, EXIT Art, Kenkeleba House, the Hillwood Art Gallery at Long Island University’s C.W. Post Campus and the Museum of Contemporary Hispanic Arts (MoCHA), among others. He was Co-founder and Executive Director of EVENTOS, Space for Living Art, a multi-disciplinary, alternative space for the arts in New York City in the 80’s. In 2002 he established together with the painter and sculptor Annex Burgos, the multidisciplinary design studio, zalto.multidisciplina+estrategia and its editorial arm Mandibula (focusing on artist’s editions).
As a New York Graphic Designer in the 70’s, he was Art Director at Scarlett Letters (the pioneer digital typehouse, who’s clients, included Pushpin Studios, Herb Lubalin and Ivan Chermayoff), the Visual Arts Research and Resource Center Relating to the Caribbean (later the Caribbean Cultural Center) and was a staff member of Andy Warhol’s Interview Magazine. Also designing publications and exhibitions for the Center for Puerto Rican Studies at Hunter College, Hostos Culture & Arts Program at Hostos College, Mayor’s Office of the City of New York, Long Island University, Museo del Barrio, Exit Art, The Bronx Museum, The Museum of Contemporary Hispanic Art, Bronx Council on the Arts and the theatre group Pregones. Please consult portfolio for samples of Museum & Gallery Design Commissions. Publication Design Portfolio available upon request. Mr. Otero work and contact information can be found in the following links and social media: skype: esxero [email protected]; http://www.myartspace.com/" \h http://fusionarte.ning.com/profile/NestorOtero http://librodeartista.ning.com/profile/NestorOtero http://nestoroteropr.blogspot.com/ I [email protected]
ABOUT THE 1987 POSTER
“Building on our Heritage to Create our Future/Our Children and our Youth,”
Comité Noviembre’s very first theme in 1987 centered around, children and youth, “Building on our Heritage to Create our Future/Our Children and our Youth,” brought to light the critical absence, of Latino representation on the New York City’s Board of Education.
The images on the poster all reflect Puerto Rican pioneers who migrated to New York or had a strong relationship to the mainland and struggled in the various issues of their time specifically education and equality.
Images of Ramón Emeterio Betances, a surgeon, abolitionist, revolutionary, known as the “Father of the Poor;” Arturo Alfonso Schomburg, historian, writer, and activist in the United States who researched and raised awareness of the great contributions that "Afroborinqueño," Afro-Latin Americans and Afro-Americans have made to society; Felisa Rincón de Gautier designed innovative public services and established the first pre-school centers called "Las Escuelas Maternales," which would eventually become the model for the Head Start programs in the United States; Julia de Burgos, a great Puerto Rican poet, advocate for the independence of Puerto Rico and an ardent civil rights activist for women and African/Afro-Caribbean writers; and Evelina López Antonetty, a vocal activist in the city-wide struggles for quality education. Frustrated with the lack of responsiveness of the public school system toward the needs of Puerto Rican and other minority children, she joined forces with other parents to create United Bronx Parents, an organization to advocate on their behalf.
In the background you have the “jibarito” child symbolizing our past and the young girl in the bottom right of the poster symbolizing our future. Néstor Otero
ABOUT THE 1988 POSTER
Empowerment…From the Shadows to the light..de las sobras al poder”
“Empowerment…From the Shadows to the light..de las sobras al poder,: highlighted participation in the political process as a tool to bring the Puerto Rican community to the forefront of American politics and power structure.
Néstor Otero
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
LUIS CORDERO SANTONI, 1989
For the past 20 years, as part of his commitment and love for his community, Luis Cordero has volunteered his time to launch several organizations that promote Puerto Rican art and culture. In 1998, he co-founded El Centro Cultural Puertorriqueño de Nueva York and was elected to its Board of Director at its founding assembly. El Centro Cultural Puertorriqueño de Nueva York was one of the first organizations in the United States with direct organizational affiliation to Puerto Rico’s Instituto de Cultura. He served as its Vice President, then as editor and founder of the organization’s quarterly newsletter Gúatu, and designed and maintained it website until 2000.
In 2001, he joined the Hispanic Genealogical Society of New York and served on its Board of Directors from 2002 to 2006. He was responsible for redesigning and maintaining the organizations website as well as spearheading fundraising efforts. The organization recognized him several times for his efforts.
In February 2007 he was cofounder of Barrio Cinema, which together with Taller Boricua Gallery presented independent films about the Latino community at the Julia de Burgos Theater at 106th St. in El Barrio. Additionally he has organized fairs and imported other crafts from artisans in Puerto Rico.
Mr. Cordero has been instrumental in the establishment of the Comité Noviembre’s Annual Artisans Fair and Exhibit. With Luis’ help and contacts CN invited Puerto Rican artisans from throughout the US and Puerto Rico to participate in the Fair and over 40 artesanos puertorriqueños participated. Additionally, Luis along with the rest of the Artisans Committee identified and secured presenters for workshops that were given to ensure that our youth learned about our traditions and folklore. Luis was a trouble-shooter, made sure everything ran smoothly, and got things done.
In 2011, Cordero in collaboration with CN establishes Puerto Rican Institute for the Development of the Arts, PRIDA, to assists, promote and support Puerto Rican artists by developing a membership program that advocates, empowers and services the member organizations and artists. PRIDA grew out of the success of the CN Artisans Fair and the need to promote and assist Puerto Rican entrepreneurs, grow, expand and develop their unique businesses.
Luis has also launched businesses with a clear mission of promoting Puerto Rican artists, poets, authors as well as our culture and history, His first venture was in 1987 with Cemi Graphics, a graphic studio in the Bronx. Among his accomplishments Luis designed the 3rd Comité Noviembre Poster in 1989 celebration Puerto Rican Heritage Month in New York City. In 1995, he started GaleriaCemi.com, an internet business which promoted, not only his work but the work of other artisans in Puerto Rico giving them exposure and a vehicle to sell their art. In 2006 he launched Cemi Press, a book publishing company whose first published title is The Last Puerto Rican Indian, a book of poetry and short stories written by long-time collaborator and friend Bobby González. In May of 2007 he launched his most ambitious venture yet, Cemí Underground a bookstore and performance venue located at Lexington Avenue at 112th St. in El Barrio. This venture was part of the cultural and artistic renaissance of El Barrio. The bookstore closed in 2009 but continues to present cultural events in collaboration with Taller Boricua at the Julia de Burgos Latino Cultural Center.
Luis Cordero was born in Mayaguez, PR and attended City College of New York majoring in Journalism. He learned his graphics skills a as a member of El Comité MINP in the 1970’s and was a member of organization’s newspaper Obreros en Marcha. At City College, Luis was president of Boricuas Unidos in 1978 and vice president of Centro Hispano Estudiantil (CHE) in 1980. In the community he was a member of the Community Coalition in Defense of Puerto Rican & Hispanic Rights in the 1980’s. Currently he is employed as a graphics specialist on a New York Metropolitan Transportation Authority project called East Side Access. Luis Cordero has employed his graphics skill without compensation to support the work of all the community organizations he has belonged to - then and now, to ensure the promotion and preservation of our culture.
Luis Cordero, 914-505-5482 cell Email: [email protected] Website: www.cemiundergroound.com
ABOUT THE 1989 POSTER
“Count on Us…Si No Nos Cuentan No Contamos.”
“Count on Us…Si No Nos Cuentan No Contamos.” Dealt with the gross under counting of Latinos in past census counts and challenged the Puerto Rican community to stand up and be counted.”
The image depicts a Puerto Rican flag being made up of names of people in our history from Tíano caciques, pioneers, leaders, politicians and celebrities to the names of proud and humble working people. The names are the fabric that, make up the flag. Without the names they would be no flag the ultimate symbol of power, strength and identity. Luis Cordero
ABOUT THE 1990 POSTER – Néstor Otero
“Our theme, “From the Homeland to the Mainland”
“Our theme, “From the Homeland to the Mainland” makes the important connection to our island roots and the migration to the mainland over the last nine decades. This, within the context of the Quincentennial celebration, becomes a critical link to a better understanding and realization of our distinct identity as a Puerto Rican people, while connecting our culture to a common history and relationship to the larger Latin American community.
Comité Noveimbre’s goal for this November, is to make it a month of constructive dialogue about the future of Puerto Rico, and the relationship between Puerto Ricans in the Homeland, those in the Mainland, and among all Puerto Ricans who are very much a part of the Puerto Rican nation. Recent actions regarding the future status of the Puerto Rican people and the Plebiscite, is one of, if not, the most important national issue Puerto Rican face today. Over 2.5 million Puerto Ricans nationwide, are closely following the future of the Puerto Rican nation, as it bears a potential emotional, social and economic impact on each of our lives. Now more than ever we need unity and a positive image of what we have been able to accomplish and contribute as we move into a new decade and century, with new challenges and a changing socio-economic world context.”
Elizabeth Colón for Néstor Otero
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
ERNESTO RAMOS NIEVES (1958 – 1995)
Ernesto Ramos is a Puerto Rican artist who came from San Sebastian to live in New York’s Lower East Side in 1975. He studied art at both the Instituto de Cultura Puertorriqueña in San Juan and the School of Visual Arts in New York. For a number of years, he was an illustrator at the Northeast Center for Curriculum Development of the New York City Board of Education.
In 1991, he worked at the United Nations and was a freelance artist. He illustrated a collection of five Juan Bobo folktales from Puerto Rico, which were published by Harper Collins in 1995 for its “and I Can Read” book series for beginning readers. Mr. Ramos was the first Puerto Rican illustrator to be published by Harper Collins.
“Ernesto Ramos Nieves passed in 1995, his creative genius left a legacy that still lives on in the two images he created for Comité Noviembre. La Mujer Puertorriqueña La Verdadera Borinqueña,“ (1991), is one of the most sort after and “coveted” poster of this collection. “Encuentros del pasado, nuestra determinación para forjar el futuro,” (1992), has become a must have for educators in the schools throughout NY as a teaching tool during Puerto Rican Heritage Month. We will never forget him. May he rest in Peace.”
Teresa A. Santiago
ABOUT THE 1991 POSTER
“La Mujer Puertorriqueña la Verdadera Borinqueña”
“I was attracted and challenged by the opportunity to create a poster that would symbolize the experiences of four generations of Puerto Rican women in the United States. I can think of few themes that are as important to me as the struggle of women and few subjects as compelling as the women who struggle. To interpret this through the experiences of Puerto Rican women was a rare opportunity, allowing me to draw from my own life and the influences of my grandmother, my mother, my sister and my close friends. It seems that every family in our community can proudly relate inspiring stories of the women within them.”
“Artists often are challenged to simplify what is complex and that is the task I felt that I faced. Each of the four generations is represented by the figure of a woman. The migrant worker laboring in the fields and the seamstress bowed over a machine in the factory represents but two of the many workforce roles that women have assumed out of need, duty and love. To their daughters they strive to convey a respect for labor and struggle as well as encouragement for developing themselves and their abilities in new ways. The graduate holds not just a diploma but also the placard of a demonstrator. The future that she can create must embrace the lessons and experiences of their history. The baby represents the future and also love. I believe that struggle, knowledge and love are the keys for our advancement. But social progress does not come from isolated individual efforts alone and so the poster is dotted by figures in the background who represent the community struggles that have helped advance the conditions of our people, struggles that have been led in many cases by women.”
“The poster is framed by excerpts from “La Borinqueña,” a poem by Lola Rodriguez de Tío (1843-1927), which is considered by some to be Puerto Rico’s national anthem. Its revolutionary call to all Puerto Ricans, particularly women, continues to challenge us to take up the struggle for liberation to break our nation’s colonial ties.”
Ernesto Ramos Nieves, 1991
ABOUT THE 1992 POSTER
“Encuentros del pasado, nuestra determinación para forjar el futuro”
“This year’s poster design focuses on themes related to the five hundredth anniversary of the arrival of Christopher Columbus in the western hemisphere and events in Puerto Rico over the centuries. The current Puerto Rican flag, adopted in 1895, serves as the backdrop.
Five vertical panels focus on the different ethnic and racial groups that created our heritage. The images of the poster, looking left to right, evolve from the indigenous people living on the island in 1492, through the arrival of the Spanish conquerors and the enslaved Africans, to the contemporary Puerto Rican who migrated to NYC.
The left panel honors the Taínos, the indigenous people of Puerto Rico. They called the island Borinquen, “the land of courage.” The Taíno figure is surrounded by a cemí, rock carving design, and a guanine hanging over the chest of the leader symbolizing spiritual and political power. There is also a small parrot native to the island. A burning bohio symbolized the destruction of the indigenous people at the hand of the Spanish conquerors represented in the second panel. Behind the Spaniard is the banner of the Catholic kings, Ferdinand and Isabella. The sword represents the violence the Spaniards wrought in the Taíno people in the conquest. The Three Kings carving at the foot of the panel represents the Spanish introduction of Catholicism.
The Black woman in the third panel symbolizes our African heritage, rooted in the indigenous people brought from the west coast of Africa as slaves. The pattern over her chest is the floor plan of a slave ship showing how Africans were crowded together to assure maximum profits by their sale. Due to these conditions, many never survived the voyage. The broken chain represents the liberation they won through struggle, and historical necessity. Their contributions can be observed in our language, music and folk arts. The emblem to the left of her head is a West African symbol which means: “turn back, you can undo your mistakes.”
The fourth panel represents the “criollos,” the “jibaros,” an authentic island mix of all the previous races. They were dedicated to agriculture, lovers of music and a good cock fight, and an important force behind the uprising in Lares against the Spanish domination on September 23, 1868. Above the jibaro is the flag sewn by Mariana Bracetti that symbolized the republic of Puerto Rico declared at the time. In 1998 during the Spanish-American War, the United States invaded Puerto Rico, despite the island having been given “autonomy” by the Spanish Empire the year before. It stayed in the hands of the United States after the war. Under American rule the traditional economy was transformed in ways that forced the migration of hundredth of thousands of Puerto Ricans to different parts of the world, primarily the east coast of the United States and New York City.
The fifth panel represents Puerto Ricans in New York City, descendants of migrant workers who traveled to the United States to work during the “tiempo muerto,” the dead season between sugar cane harvests. They arrived here by boat and by plane. Through struggle, they pioneered many social advances which we enjoy as Latinos and Puerto Ricans today. This panel emphasizes that the future of our youth lies in increasing knowledge, community development and awareness of our history. We are the product of 500 years of cultural diversity and movements of resistance and struggle…and the struggle continues.” Ernesto Ramos Nieves, 1992
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
ANGEL RODRIGUEZ-DIAZ, 1993
Angel Rodriguez-Diaz is a Puerto Rican artist, who came from Puerto Rico 20 years ago to pursue graduate studies in Art. He received his B.F.A. from the University of Puerto Rico and his M.F.A. from Hunter College in New York City.
Rodriguez-Diaz has exhibited works throughout the 1980’s and 90’s, including solo shows at Intar Gallery, New York; Oller/Campeche Gallery, New York; Ollantay Center for the Arts, Queens New York; Mendelson Gallery, Pittsburg, PA; and the Museum of Fine Arts, San Juan, Puerto Rico. His work has been included in numerous group shows, including the San Antonio Museum of Art; Blue Star Art Space; San Antonio, TX; Museo del Chopo, Mexico City, Mexico; El Museo del Barrio, New York; Washington Project for the Arts, Washington, DC; Mexican Fine Arts Center, Chicago IL; Art in General, New York; and the Museum of Contemporary Hispanic Art, New York. He has been an artist-in-residence at Arts International, the Marie Walsh Sharpe Foundation Yaddo and the prestigious Artpace of San Antonio.
His work was included on the contemporary section of Retratos: 2000 years of Latin American Portraits. The national exhibit organized by the San Antonio Museum of Art, the National Portrait Gallery of Washington and el Museo del Barrio of New York.
Rodriguez-Diaz is an accomplished painter who has pursued the social and political boundaries of portraiture since the 1980’s. His paintings celebrate the diversity of individuals through the use of masterful brushstrokes and dynamic colors. In recent years, Rodriguez-Diaz has experimented with aspects of installation, using found objects and injecting a more direct social content into his work.
ABOUT THE 1993 POSTER
"Reconquista ’93: Affirming Our Identity…Preserving Our Community Reconquista ’93: Afirmando Nuestra Identidad…Preservando nuestra comunidad”
This year’s poster design focuses on the theme of identity and who we are as a community. My work has always explored identity, the self, and the relationship between the inner and outside world. In defining identity, I am faced with the basic principle of who the person is. The contexts in which I place my subjects foreground their manner of being in the world. When I began this piece, I wanted to concentrate only on the image. I felt that the Indian/African/Spaniard theme had been overdone and was challenged on how to depict 500 years of history, since the arrival of Christopher Columbus to Puerto Rico, onto that image. The young man pictured represents the “mestizaje” of these 500 years of history. The youth represents the new generation of Puerto Ricans living a dual culture here in the United States. He holds a “Vejigante” mask made of a coconut shell which is reflective of the AfroCaribbean tradition and represents the demons of the Fiesta de Santiago in Loiza Aldea, Puerto Rico. The mask underlines the dual nature of the Puerto Rican who, although a U.S. citizen, is tied to a strong ethnic tradition.
The items on the background reflects other aspects of the Puerto Rican culture such as el pilón (motar) representing the tasty cuisine of the island. The cemi represents the Taíno culture which inhabited Puerto Rico before arrival of the Spaniard in 1493. The portrait on the left is that of the Puerto Rican patriot Pedro Albizu Campos who struggled for the ideal of independence for Puerto Rico. The St. Martin de Porres carving, Santo de Palo, represents the strong Catholic tradition of the island. I specifically chose St. Martin, who has many devotees in Puerto Rico, because he is a saint of the New World, a mulatto, racially forged of two cultures. The portrait on the right is that of Puerto Rican poetess and feminist Julia de Burgos, who migrated to New York and died there. I admire de Burgos’ sensibility as an artist, who broke through the barriers imposed on her by society, in order to express herself freely and truthfully. I feel that she is representative of many strong Puerto Rican women who have struggled here and who have often times been overlooked by our community. The postcards on the wall represents the two different worlds the Puerto Rican lives in…two landscapes as diverse and as different as the complexity of being Puerto Rican.” Angel Rodriguez-Diaz
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
MARIA DOMINGUEZ, 1994, 1997, 2016
Maria Domínguez was born in Puerto Rico and migrated with family at the age four to New York City where she received her formal education and eventually acquired her Bachelors in Fine Arts degree from the School of Visual Arts. Her visual arts career began in 1985 as a public artist while serving as an intern for the Citiarts mural making workshop. Her trajectory in public art making commissions include; "ElViews" (2002) for The Metropolitan Transportation Authority at the Chauncey Street station in Brooklyn, NYC, Brooklyn, NYC "El Barrio, USA" NYC (1999) for the St. Luke/ Roosevelt Hospital, "El Pueblo Cantor" Bronx, NYC (1994) for El Banco Popular and in 1995 she was officially invited by the city of Milan, Italy to create a mural installation for the government building at the Triennale de Milano.
Her personal works have been included in a number of solo and group shows in the United States, Japan and Italy. Awards merited for her artistic efforts include: The National Endowment for the Arts, New York State Council for the Arts and New York Foundation for the Arts.
Domínguez' background as artist, artist educator and arts administrator has gained the respect of her peers and has been invited to serve as a panelist for: The Leeway Foundation in Philadelphia, Brio awards; Bronx, NYC, The New York Foundation for the Arts, Percent for Arts in New York City. Her arts in education background in schools and museums consist of The Guggenheim Museum's "Learning through the Arts" program, "Studio in the Schools" and she headed the Education Department for El Museo del Barrio for seven years. She is currently working for Young Audiences of New York as an artist in residence.
Contact Maria Dominguez at: [email protected], http://www.mozilla.org/enUS/firefox/central/
ABOUT THE 1994 POSTER
“Moving Towards the Light”
“As a group, Puerto Ricans in the mainland are still struggling for empowerment. The political power needed to cause a significant impact in our government is taking shape ever so slowly. We find most professionals are still competing with newly arrived immigrants. Once these jobs are filled the opportunities for advancement are few. However, there are always new horizons. Throughout our communities in the United States, there is a Puerto Rican consciousness mounting. Our youth, like those of other generations, are making a sincere effort to integrate into their communities. Their need for history is evident and they have set out to seek it with thirst. Although violence, AIDS, and drugs are serious problems in our communities, youth are connecting and making a difference. Role models are developing and placing themselves in key positions, paving the way for the next generation. The poster attempts to illustrate that movement towards the light.
The Statue of Liberty is a powerful symbol of the United States. Although the Puerto Rican flag floats from her crown, I leave it up to interpretation…since an actual event took place in 1977 causing a stir and making a change in our communities. At the base of her arm we begin with the Puerto Rican family, a true mark of home and community. It is followed by our beloved musicians, then our reigning queens: our mothers and grandmothers. It is followed by our youth graduating from universities and serving bravely in our armed forces. The top displays a child holding a flag during our parade – symbolizing hope for the future.
Our vision is to keep moving toward the light peacefully. Toward the light of inclusion that comes through awareness, organization and leadership – moving towards building and challenging North America to live up to the promise.”
Maria Domínguez
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
JUAN SANCHEZ, 1995 & 2012
Juan Sánchez was born in Brooklyn, New York, 1954, from parents who migrated from Puerto Rico. He earned a Bachelor of Fine Arts degree from The Cooper Union School of Art in 1977 and in 1980 a Master of Fine Arts degree from the Mason Gross School of the Arts of Rutgers University. He is currently Professor of Art at Hunter College, City University of New York. His paintings, graphic prints, photography and video works has been exhibited throughout the United States and abroad. His work is in the permanent collection of the Museum of Modern Art, the Whitney Museum of American Art, the Metropolitan Museum of Art and El Museo del Barrio among several. Sanchez has received many fellowships and grants from the John Simon Guggenheim Foundation, The National Endowment for the Arts, The Joan Mitchell Foundation, The New York Foundation for the Arts and the Pollock Krasner Foundation among others.
His paintings, prints and photography have been exhibited in solo and group exhibitions throughout the United States, Europe, Egypt and Latin America. Sánchez had solo exhibitions at EXIT ART, P.S.1/MoMA Contemporary Art Center, El Museo del Barrio, in the 1994 5th Habana Bienale, Bronx Museum of the Arts and El Museo de Historia, Antrpologia y Arte, Universidad de Puerto Rico. JUAN SÁNCHEZ: Printed Convictions: Prints and Related Works on Paper a 1998-2000 national tour exhibition was curated and organized by Alejandro Anreus, Ph.D and Jersey City Museum. Sánchez recently completed two public art commissions. In 2009 he designed fourteen murals and friezes fabricated from digital and sublimation ink art glass tiles for the new five storied James Monroe Educational Campus in the Bronx in 2009. Sánchez also completed a series of faceted color glass windows for the 176th Street #4 line train station commissioned by New York MTA Arts For Transit in 2006.
Fellowships and grants include the John Simon Guggenheim Foundation Fellowship, a Joan Mitchell Foundation Fellowship, and New York Foundation for the Arts Fellowships, a National Endowment for the Arts Fellowship and a Lifetime Achievement Award from the National Hispanic Academy of Media Arts and Sciences. His work is represented in the collections of the Metropolitan Museum of Art, The Whitney Museum of American Art, The Museum of Modern Art, El Museo del Barrio, The Library of Congress and El Instituto de Cultura Puertorriqueña and El Centro Wilfredo Lam in Havana, Cuba, among others. His art has also been written and reviewed in Art in America, Artnews, Third Text and Art Nexus among numerous art publications and books. He lectured, organized, conducted art workshops and participated in panel discussions and seminars in museums, universities, art schools, public schools and community centers throughout the United States, Cuba, Ecuador, Brazil, Honduras, Mexico and Puerto Rico. Sánchez has co-organized national and international artist mobilizations such as: Artist Call Against U.S. Intervention in Central America, and Art Against Apartheid. Juan Sánchez is Professor of Art at Hunter College, the City University of New York. He lives and works in his studio in Brooklyn, New York.
Photo credit: Juan Sanchez in studio, portrait by © Carla Velazco, 2012
ABOUT THE 1995 POSTER
”Rican/Structions: A Multi-layered Legacy”
”My paintings, collage and photography have always been concerned with the questions of Puerto Rican identity and the naming of the self in a society hostile to who we are. Our years of struggle against colonialism in Puerto Rico and our preservation and cultural survival in the United States has created a positive and forward moving legacy for human rights, education, healthcare and other cultural, social and political issues for self-determination. We as a people have accumulated as dense multi-layered history made up of humble and epic proportions. Our struggle and survival is waged here in the United States as well as in our beloved Boriquen. Through our achievements we continue to witness and give testimony to many unsolved issues such as AIDS, poverty and hunger, drug abuse, police brutality, the wasteful deaths of our youths and the unresolved problem of colonialism in Puerto Rico. We should celebrate the Puerto Rican Renaissance: The Spirit of Commitment…The Power of Action, but not only in music, dance, poetry and art. We must act up and act out in many different kinds of manifestations in our commitment to move forward in naming of ourselves for freedom and self- determination.
What is important to note is that the style if collage technique is a direct reflection of the very typically New York, urban walls cluttered with posters, paint and graffiti. The torn edges, text, colors and multi-layering of images behind and in front of each other is an urban aesthetic, I identify with very strongly. The collage titled, “Rican/Structions: A Multilayered Legacy” is the continual tearing away of layers upon layers of culture and history and always finding more information about who we are, where we come from and where we want to go. That is why we see images of great cultural and popular artists such as Julia de Burgos, Ismael “El Sonero Mayor” Rivera and El Jíbaro Ramito. You will find in the collage freedom fighters of different generations such as Dr. Pedro Albizu Camps, Lolita Lebrón, the Young Lords and a figure with the flag covering his identity symbolizing the over 20 men and women who are currently Puerto Rican political prisoners and prisoners of war for over 15 years in United States prisons. There are images going back to our earlier generations of Puerto Rican immigrants and our people serving the United States armed forces and one of tour many sport legends such as Roberto Clemente. We must act, hit the street, pressure our politicians with current images of us, and our youth out in the streets demanding our human rights. Among many of our people you can see that we are not only descendants of Spanish and Taíno heritage but that we Puerto Ricans are also part of the African Diaspora. The vejigante is one of our most popular visual figures that evoke our Africaness. Religion and spirituality, for better and for worse, is also part of our consciousness and culture. All this is tearing and digging into our conscious and subconscious is part of our effort of discovering, defining and recreating ourselves in a time where the need to set a new course and act upon it for the 20th into the 21st century is pivotal to the utopian dreams and desires as we aspire for ourselves and for humanity.
Juan Sánchez Photos: Juan Sánchez; “Vejigante”/Máximo Colón; Father Luis Barrios/GretchenMcHugh; Evelina López Antonetty/Adal Maldonado; “Unity”/Blanca Vázquez
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
DANIEL DEL VALLE, 1996, 1998
At an early age, Daniel del Valle, showed an interest and talent for art. He attended the High School for Art and Design, graduating in 1979 with a Diploma in graphic Design. He attended Parsons the New School of Design majoring in communications and liberal arts. During the summer of 1982, he traveled to Europe through the Parsons in Paris program to study drawing and art history. Four weeks later, he traveled to Sienna Italy to study painting and watercolors. In 1983, Daniel received his Bachelor of Fine Arts Degree in Communications Design. During his college years, Daniel worked as a silkscreen artist and painter. At Graphic Originals, Inc., a poster studio in Chelsea district in New York City, he explored and mastered the new medium, while gaining valuable professional experience. Daniel also worked as an apprentice for gold medal award winning illustrator Carol Ward. Working and gaining advice from an established artist gave Daniel great insight into the professional art world.
In the Spring of 1982, Daniel was one of the youngest artists to participate in the Bronx Museum of the Arts, Artist in the Marketplace Program, a series of creative workshops that provided emerging artists the opportunity to learn the different facets of becoming an established artist, including visits to artist studios as well as engaging in discussions with curators and gallery directors. At the conclusion of the program a group exhibit was organized to showcase the participants’ new works. In 1985, Daniel traveled to Mexico, from the amazing pyramids of the sun and moon, to the monumental murals of Diego Rivera, Daniel fully experienced the colorful and unique Mexican culture. After his return, he became attracted to Caribbean artists working in the Bronx, exploring new ideas, changing styles and attitudes in creative thinking.
Throughout his career, Daniel has exhibited in many one-man and group shows. Spaces include: The Oller Campeche Gallery, The Forchheimer Gallery, The Nuyorican Poets Café, The Longwood Arts Gallery, The Bronx River Art Center, The Spazi Contemporary Gallery, Taller Boricua and recently at the Lazarus Gallery. Daniel is a recipient of two BRIO Awards form the Bronx, Council on the Arts, Winner of an MTA-Arts for Transit subway commission, two poster commissions for Comité Noviembre, mural project for the Davidson center in the Bronx, Society of Illustrators Web-site competition in painting.
Currently, Daniel has broadened his aesthetic curiosity in experimenting with digital mixed media. Combining abstract painting with photographic images and digitally modifying them, Daniel has mounted a collection of images that include performance artists, drag queens and urban characters from within the sub-culture in the South Bronx. Finding new and exciting ways to define and to incorporate into his art, Daniel maintains a high level of curiosity and determination to capture and discover new ideas. Contact Daniel Del Valle at: [email protected]
ABOUT THE 1996 POSTER
“Unidos Adelante, el futuro está en Nuestras manos” United Moving Forward, We Hold the Future.
“My painting reflects symbols that represent the Puerto Rican people, both past and future. The white Taíno figure placed prominently on the left is an ancient figure, but yet has a futuristic feel. It represents the spirit of the indigenous people of Borinken, who are no longer here but whose presence remains alive in our language and our culture. The figure of the lamb and the cross represents Puerto Rico’s original Spanish rule since it is the symbol of St. John the Baptist or San Juan Bautista, Puerto Rico’s original name under the Conquistadors. This image is now incorporated in the seal of Puerto Rico. The Puerto Rican flag is the image that unites all Puerto Ricans, regardless of political ideology. It is the universal symbol of unity for all Puerto Ricans, no matter where they live.
The icons of the two hands reinforce the concept of unity, comradeship, and labor. It represents the community that embraces and unties. The star is surrounded by a glowing umbilical cord that stretches out towards different directions – an energy that nurtures our growth as a people. The faces of two young people center the composition, as they look towards the future with confidence and anticipation, with signs of hope and optimism in preserving the legacy, history, and memories of a proud people. The two lizard motifs are a symbol of our struggles, as we evolve from past experiences towards a new future, aware that we must never forget our history and our culture.
Certain aspects of the painting, represents Comité Noviembre’s current concern for this year. Comité Noviembre urges all Puerto Ricans to unite behind issues such as the preservation of our language (a quote by Arturo Morales Carrion reads on the painting “the knowledge of our language is the key to our success, progress and our sense of belonging,” the commitment to support Puerto Rican cultural institutions, I have painted the image of Julia de Burgos to symbolize future centers of arts and culture such as the Julia de Burgos Latino Cultural Center, which is a dream about to become reality for the community of El Barrio; and the importance of exercising our power to vote, since voting is one of the ways in which we mold the future. All our hopes and anticipation for a great and productive future rests with us all. We must embrace the goals and concerns facing young people within our community, leaving them with a sense of accomplishment, importance and cultural identity so that they can improve, expand, and broaden the road for future generations.”
Daniel del Valle
ABOUT THE 1997 POSTER - Maria Domínguez
“In the Mix: Voices that Affirm Our Vibrant Heritage – Voces Que Afirman Nuestra Herencia Dinámica”
“Dancing in the Street”
As most of us who spend summer in the City know, it becomes a full-time celebration of life. Ethnic communities throughout celebrate the best of their culture. My inspiration for Dancing in the Street is what I experienced in my community of Loisaida.
The selected images for “Dancing in the Street” poster were inspired by musical events taking place in Manhattan’s Lower East Side gardens during the Puerto Rican parade weekend. Through a series of photos taken by myself and Marlis Momber during this time demonstrates people of all ethnicities coming out to these gardens to enjoy our music and partake in our dance forms.
Music can be heard throughout the inner city. Fiery rhythms of music can be felt in the pulse of the figures dancing. The hands that play the drum connect us to the ancient voices of our ancestors. It is an expression of music and joy as a people.
Maria Domínguez
ABOUT THE 1998 POSTER – Daniel del Valle
“Puerto Rican Confronting the Challenges of a Changing World.”
”I utilized a combination of archival and family photographs which represent various topics that have been a major part of Puerto Rican identity and that comprise a menagerie of interlocking views from the past to the present.
In the foreground I illustrated a young child gazing at a computer. The image of the Earth on the screen is a metaphor emphasizing the old saying the “The world is at your fingertips, and representing a library with a wealth of important information. An enormous amount of social interaction, historical documents, educational research, and discoveries in medicine will come about as a result of great advances in computer technology.
One important image I included was of the Puerto Rican flag over the Statue of Liberty. One issue that has been continuously debated and fought over is the status of Puerto Rico: whether Commonwealth, Statehood or Independence will be the final outcome for the island continued to be a major debate. It is an issue that will be argued in the future that also brings confusion and possible division within our community.
I felt it was vital to include members of my family. My parents Victor and Jovita Del Valle were born in Aguadilla, Puerto Rico. They migrated to the United States in 1950, arriving poor, with little education and with dreams of hope and prosperity. But despite leaving behind their impoverished homeland, they instilled in the hearts and minds of their nine children a stable foundation.
One significant lesson my parents aggressively implanted was that without a good education, one does not fully succeed. Their children achieved many accomplishments my parents could only dream about. All received high school diplomas, some went on to college and obtained degrees, others enlisted in the armed forces, and all are proud Puerto Rican individuals giving back to their community.
Comité Noviembre’s commitment to create awareness of the culture, language and heritage of the Puerto Rican community must be preserved and expanded. These efforts serve to mobilize and inspire future generations to carry the torch into the new millennium.”
Daniel del Valle
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
DAVID SANTIAGO, 1999, 2017
Born and raised in the South Bronx, David Santiago has incorporated his life and community experiences and challenges into his art. He views himself as a community street artist with roots in Puerto Rican history and the hip hop culture.
David has a unique eye for detail and precision and feels blessed with what he proudly refers to as “his God given talent.” With limited formal art instruction, Santiago has been recognized for his talent and has won several important art competitions. At age 16, he exhibited at the Metropolitan Museum of Art, after winning a citywide competition. In 1988, he won first place in the famous Village Halloween Parade art competition. This is the second poster Santiago has done for CN. In 1999 his rendition of the theme “Puerto Ricans for the Millennium: Facing the Dawn of a New Age,” Amanecer has been a favorite of many.
His most recognized work came during the advent of the hip hop music and culture movement. As an underground graffiti artist, he established the world of graffiti fashion in the Bronx. He produced t-shirts, sweatshirts and Lee Jean jackets with images of hip hop life including b-boys and graffiti names of “crews” and individuals. Santiago is quick to point out that his canvas was not the subway walls but the t-shirts and Lee jackets he used to express the freedom and explosion of the hip hop era. He is proud that he is still acknowledged by the then subway graffiti artists – a compliment he holds in high esteem.
As art director for Prevor International, the publishers of Produce Business, Santiago created advertising concepts and original art for companies such as Dole and Del Monte. In addition, he has designed jewelry for Armark Jewelers in Manhattan and worked in the animation department of D. J. M., a post production company specializing in film, video and audio services.
Over the years, Santiago has been commissioned by organizations and individuals to design art pieces and sculptures. He has produced several covers for the NY Daily News’ VIVA Magazine’s Holiday and Puerto Rican Day Parade issues and designed the logo for the Institute for the Puerto Rican/Hispanic Elderly, Inc. He specializes in retouching old photographs, creating web pages and sites as well as designing and typesetting flyers and brochures. Santiago holds an Associate Degree in textile design and silk screening from the Fashion Institute of Technology in New York City. He works in various mediums, including pen and ink, oil and water colors and acrylics.
For almost 20 years, Santiago has worked for NYU Medical Center, Department of Central Services as a technician and continues to work as a freelance artist. His greatest joy is watching his children David, 30, Joseph, 27 and Georgina, 12 following in his footsteps.
ABOUT THE 1999 POSTER
Amanecer
“Puerto Ricans for the Millennium: Facing the Dawn of a New Age.”
”As the 20th century comes to an end, Comité Noviembre has chosen as its theme, “Puerto Ricans for the Millennium: Facing the Dawn of a New Age.” Based on the theme, my artistic works uses symbols that represent our current and past cultural expressions. It reflects our future through the use of an innovative vehicle that brings us into the new age – the computer. Forgoing the more conventional tools of my craft, I chose to use computer graphics. Gone are the brushes, acrylics, pencils and canvases. Instead, I used a mouse, monitor, pixels, grids, bits cursors ad linear gradients.
“Amanecer: depicts what each one of us does every day, except in a grander societal scale – we wake up prepared to face the unknown challenges of the new day. “Amanecer” represents the inherent ways we use our history and life experiences as armors of wisdom to face new challenges. Therefore, I have incorporated symbols that represent the three different cultures that have shaped our history and make up the very fabric of who we are as Puerto Ricans: the Taíno, Spanish and African ancestry. The cemi represents our Taíno ancestry, evident in our language, food and spirituality. A triangular stone, the cemi is an essential staple of Taíno art and fundamental part of the Taíno religion.
The vejigante mask in “Amanecer” is a tribute to our African ancestors who greatly influenced our religious beliefs, folklore, art and music. The mask was a significant part of African initiation ceremonies, spiritual dances and the sacred ritual of underground societies. El Moro, the fortress built in the 16th Century to protect the “key to the Indies,” symbolizes the everlasting influence of our Spanish ancestors. The presence of the Spaniard is evident in our adaptation of the Spanish language and Catholicism. The Manhattan skyline represents the Puerto Rican experience in the United States, an experience centered largely in New York City.
For over a century, New York City has been a “home away from home” for Puerto Rican migrants seeking out the American Dream. For other Puerto Ricans it has been the only home they have known. I also chose the New York City skyline because as I contemplated the challenges that we will encounter in the next millennium, I also envisioned the generations of Puerto Ricans before us that prepared to face new challenges as they made their journey to the United States. The skyline represents the courage and optimism that guided them on their journey in search of the American Dream.
Because very little is left to be explored on the planet Earth, I chose to use the heavens, space and the moon as markers of the future. I wanted to focus on the wide-ranging and limitless challenges that await us for the next millennium. However, I wanted to depict how we have maintained our ties with the past. Therefore, I made the images representing our Taíno, Spanish and African ancestry into constellations.
I chose to use a sunrise to convey the message that we are awakening into a new beginning. The sunrise represents the amanecer whereby, armed with a rich history that spans over 500 years and our experiences here in the United States, we are poised to meet the challenges of a new day, ready to face the dawn of a new age.“ David Santiago
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
JOAQUIN EMIR DÁVILA MATOS, 2000, 2002
Born in San Juan, Puerto Rico, Joaquín Emir Dávila Matos’ interest in Plastic Arts and Science began at the age of ten. His constant creation and evolution in these fields have made him what he is today—a chemist and creative artist. In 1982, he studied chemistry at the University of Puerto Rico, in Cayey, where he began his formal studies in Arts under Myrna Arocho. In 1986 he received his Bachelor’s Degree in Science (Chemistry), with minor concentrations in Philosophy, Mathematics and Arts.
While combining science and art may seem unusual it makes perfect sense to Dávila Matos. He has participated in group and individual exhibitions at the Museo de Arte e Historia and the Ateneo Puertorriqueño in San Juan, Puerto Rico. His art has also been exhibited at the University of Cayey; Museo Histórico de Caguas, Caguas, P.R.; Instituto de Cultura de Humacao, P.R.; and Pabellón de las Artes de Caguas, P.R.
He has designed sets for theatre as well as for corporate products and events. In 1994, he designed the poster for the Second Caguas-Gurabo Exposition in Puerto Rico. Joaquín has been a member of the artist collective "YA" in Puerto Rico which is comprised of 21 artists from the Valle del Turabo area. Currently, he is a Graphic Artist for a consulting firm in San Juan, Puerto Rico.”
ABOUT THE 2000 POSTER
"Understanding Our Past…Defining Our Future Entendiendo Nuestro Pasado… Creamos Nuestro Futuro,”
“The poster highlights the Taína, which symbolizes the female embodiment of our powerful Puerto Rican heritage. The Taíno were the indigenous people of Puerto Rico and thanks to their legacy of courage, pride and tradition we are a unified culture, proud and dignified by our past and our present.
The Puerto Rican flag which drapes over the Taína is a representation of our evolution and the strength of our culture. She represents the pride of what I call an “International Nation,” which encompasses our Taíno, Spanish and African heritage. The presence of our flag unites and empowers us to understand and confront issues as a united force that are affecting our community such as the campaign for peace and justice in Vieques in Puerto Rico, New York and the United States as a whole.
In the background is New York City which has received our people for decades and from where many of our future children will come. It is the embodiment of our home and a land which gives us the opportunity to create new experiences and shape our future. This cultural education prepares us to solve this paradigm: How will we crate the future…
Joaquin Emir Dávila Matos
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
ADRIENNE ASSAFF MONTALVO, 2001
Born in New York City, Adrienne Assaff–Montalvo spent summer vacations visiting her relatives in Lajas, La Parguera, P.R., an annual visit she always treasured. Her parents recognized her talent for drawing and encouraged her to attend the High School of Art & Design. It was an easy decision to continue her art education at the New York Institute of Technology where she went on to study graphic design and computer graphics, earning a BFA, and graduating with honors.
Throughout her successful career of 20 years, she has designed for many brands and industries, working in corporate and agency settings; she is currently a freelancer, creating for print and multi‐media. Some of her projects include corporate identity, website design, mobile apps, advertising and marketing collateral materials. Adrienne is immensely grateful to be able to thrive creatively and is thankful to her parents for being so supportive.
Ten years after designing the 2001 poster for the Comité Noviembre, she recalls her inspiration for the dove design selected that year, “the concept came to me that summer when the call for entries began, the topic was to bring an end to the detrimental bombing exercises at the U.S. Naval base in Vieques, P.R., but the dove image transcended it’s original purpose, to a universal message of paz mundial, post 9/11”. It is an honor for her to be a part of Comité Noviembre’s heritage and its 25th Anniversary Celebration.
Contact Adrienne Assaff Montalvo at: [email protected]
ABOUT THE 2001 POSTER
“Puerto Ricans United for World Peace...Puertorriqueños Unidos para la Paz Mundial”
“Designing the poster for Puerto Rican heritage month has been a cathartic experience for me in the wake of the WTC tragedy on September 11th. This year’s theme, “Puerto Rican United for World Peace,” is visually expressed by a dove emerging form the Puerto Rican flag embracing the world. If I can offer a soothing sense of peace to those who view this poster, then I would feel I have made a contribution to the healing process for all. Color is also an important aspect of the design. I wanted the Caribbean blue to represent our beautiful shores and the palms that connect us to the island we love so much.”
Adrienne Assaff–Montalvo
ABOUT THE 2002 POSTER – Joaquín Emir Dávila Matos
Salud Boricua
”The poster highlights the Taíno ritual of “bohique”, the presentation of the child to the sky, or gods. The Taínos were the indigenous people of Puerto Rico and thanks to their legacy of courage, pride and tradition we are a unified culture, proud and dignified by our past and our present.
Dr. Ramón Emeterio Betances is on the left. Known also as Father of the Nation and “El Antillan,” Betances was born on April 8, 1827 to a wealthy landowner in Cabo Rojo where today there stands a Masonic Lodge on the street that bears his name. Betances received his medical degree from the University of Paris in 1855 and returned to Puerto Rico where he founded a hospital in Mayaguez and worked to save Puerto Ricans from the ravages of a cholera epidemic. An ardent abolitionist, he and others founded a clandestine society dedicated to the liberation of the slaves and he was exiled for these activities several times by the Spanish colonial government. In 1867, he fled to the present-day Dominican Republic where he founded the Revolutionary Committee of Puerto Rico. The following year he organized an armed expedition that led to the abortive insurrection of September 23, known as the Grito de Lares.
He returned to France where he served as delegate to the Cuban Revolutionary Junta, Secretary of the Dominican Legation, and founded the Society of Latin American Union. Although he spent his remaining years away from his homeland, he viewed the abolition of slavery there on March 22, 1873 with great satisfaction. For his contributions to literature, the French government awarded him its Legion of Honor. As a physician, his scientific investigation entitled “Treatise on Elefantitis” was recognized all over Europe by the medical authorities. Betances died on September 16, 1898 and his remains were returned to Puerto Rico in 1920 where they were buried in his birthplace.”
Joaquín Emir Dávila Matos
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
RAY ROSARIO, 2003, 2004, 2006, 2013
With over 13 years as an established artist, Ray Rosario’s vision and artistic style have gained notable attention from artists, critics, humanitarians, and various organizations. After attending Pratt Institute, Ray Rosario began designing hand‐ crafted wall covering for Archetonic, Inc. Within five years, he received several promotions resulting in the management of the company, including the Manhattan showroom located at the Design Center. In 1996, Ray left Archetonic to merge his creative talents into life‐awakening artwork that embodied his philosophy. Two years later, he began producing work.
During this period, he volunteered at Brooklyn Hospital teaching children undergoing chemotherapy and raising funds for the hospital by selling his artwork. From 1998 to 2000, Ray spent his summers as an art teacher and program director for the summer camps (Camp Sebago & Camp Hitman) that enrolled inner city children from community centers and orphanages.
Ray began exhibiting his artwork for the first time in June 2000. His work was received with great enthusiasm at an exhibition held in NYC and many exhibits followed thereafter at various corporations, private galleries, and colleges. In 2002, Ray gained further recognition with a Barnes & Noble Booksellers year‐long tour in which his artwork was exhibited in various Barnes & Noble stores. It was during this time that Ray was invited to participate in a nationally broadcast interview on Univision’s channel 41 “Despierta America” discussing his movement for humanity. In 2003, he was invited to lecture at Rutgers University about the cultural effects of a modern‐day artist. As Ray enjoys working with young people, he gladly collaborated with Barnes & Noble on a children’s art project at the Westchester, New York, location that was ongoing throughout late 2003.
Ray has been donating his art to raise funds for children and human rights organizations such as Heart Share, Path Ways for Youth, Gay Men Association for Blacks, The Oratory Church of St. Bonfire in Brooklyn for the children in Africa, St. Peters Church in Yonkers for the children in Angola, Africa, and for The Hispanic Journalism Association, which auctioned off his artwork at Sotheby's in 2003. He collaborated with Queens Hospital Center to exhibit and sold his artwork to raise funds for the Katrina hurricane victims.
In 2007, Ray was commissioned to create a painting that depicted his interpretation of Black Madonna for an opening at The National Museum of Catholic Art and History. The painting toured other Museums around the country for a year. A few months later The New York Chapter of the Emmys invited Ray to be one of the judges
on the panel for the 59th Annual Emmy Awards. Ray collaborated with Susan G. Komen in 2008. He created a painting at the NYC Race for Cure event with the participants hand prints that was auctioned off to raise funds for breast cancer. In late 2008, he put a team of specialists together to work on an ongoing project to build a Village in Tanzania (Africa) to help his friend, Father Stephen Mosha, who resides in Tanzania. The project was adopted by the United Nations in February of 2009 and is currently being filmed for a documentary. They have acquired 10 acres of land and projection of construction started in 2012. NY 1 News interviewed him on the project in 2009.
In 2011 he was asked to participate in a nationwide public service announcement to speak on behalf of battered women who have become homeless. In August 2011 he filmed a TV pilot as part of the “NIMBY Project” to make over the women’s shelters with inspirational and uplifting murals to assist in the healing progress.
In 2012, Ray partnered with a film production company and started the non‐for‐profit organization “Revitalizing the ARTS for Youth” to assist high school seniors with scholarships as well as developing community outreach programs for children of all ages.
Comité Noviembre’s relationship with Ray started in 2003 when he was commissioned to produce an artistic interpretation of its theme to celebrate Puerto Rican Heritage Month. This collaboration has produced to date four incredible works of art for CN (2003, 2004, 2006, and 2013). In keeping with his commitment of education and community Ray is donating his honorarium back to Comité Noviembre for a $1,000 scholarship to a college art major. www.rayartweb.com, [email protected]
ABOUT THE 2003 POSTER
"Nuestra Herencia Cultural el Camino al futuro… Our cultural heritage, the path to the future”
”In these modern days we spend our time running as fast as technology does. The lack of education regarding our Puerto Rican and Hispanic history fails to make it into the schools and our generations. American culture emphasizes on the power of commerce, which takes away from our spirituality. Do we really know who we are as individuals? Do we even care too find out? Well, my purpose is to try and evoke you into questioning and finding your own answers to your existence.
This painting engages into the many different aspects of our ancestors from communication to festive times, but most important to connect with yourself so that you may be able to help others in your way through Life. Technology is not a bad thing you just have to find a way of balancing your spiritual side with modern day requirements to survive.
There is no doubt that the Taína woman prominently centered in this piece is a source of life, re-birth, energy and enlightenment. She is a symbol of balance and survival. Her hair flowing in different directions full of an almost explosive energy are the strong roots to our past, our history, our present and our future. Her face is serene, beautiful, powerful and proud all characteristics that define us as Boricuas. In her hands she holds two beams of light symbolizing the future, technology as well as faith and hope for our future as a community, the conquering of challenges and uncertainty the future may hold all being achieved because of our knowledge of our strong and rich history. Her garment is adorned with el cemi, the symbol of our ancestors our indigenous Taíno people. The gorge with the caracoles, the vejigante mask and the conga all symbolize the African influence in our culture as well as the form of communicating and expressing ourselves spiritually through music and dance. From behind this powerful image rises a Puerto Rican flag a universal symbol of who we are as a mixture of all of these cultures Taíno, Spaniard, and African.
I challenge all of you never forget your past history and educate yourself on it if you lack knowledge of it. I will try and do my part to help restore Hope and Faith in humanity for all. Take all that you can all I ask is that you share it. With Much Love, Forever Borinquen,” Ray Rosario
ABOUT THE 2004 POSTER
"Preserving our Legacy…Cultural Affirmation, Community Empowerment & Social Justice”
“As I stroke my brush,” I know that I am creating a part of our cultural history in life to take part of this cultural movement is a great honor and privilege for me.
As I contemplated how I would create a visual expression of Comité Noviembre’s theme and listened to the reasons the committee members had for their choices, I thought about what are the cultural traditions that we want to preserve for our children. What do we want our children to remember and continue from generation to generation? There are so many cultural aspects that we must preserve our art, music, dance, language, our written history. I chose to depict a beautiful proud trigeña dancing bomba y plena, a traditional spiritual dance that was brought to Puerto Rico by our African ancestors. A dance , that was a form of communication, of telling a story, of bringing attention to labor strikes, racial issues and other injustices that were occurring within the island.
The bomba’s high energy intricate dance steps and the frenzied drum rhythms give the dancer’s skirt a powerful wave of life that creates our history. In the folds of her skirt I chose to write names, organizations and historical events of people and events that changed and formed our Puerto Rican history particularly here on the mainland. I included names that are familiar to us and others that are not. I tried in my most humble way to give homage to the people that struggled and fought for the rights we have today and some even lost their lives in the process. People like Don Pedro Albizu Campos, Evelina López Antonetty, Dr. Antonia Pantoja, Richie Perez, and Anthony Baez. Historical events like el Grito de Lares, the ASPIRA Consent Decree, the struggle in Vieques and the organizations like the Puerto Rican Legal Defense and Education Fund, PRACA, el Museo del Barrio and others. And I put in names of ordinary individuals who made a difference in our community. I graced the dancer’s shoulders with our flag, the symbol of who we are as a people around the world. In the background are the images of the Three Kings Los Tres Reyes Magos to commemorate this tradition of giving that is celebrated in the Caribbean, Latin American and Europe and is slowly dying in our community and we must not let it.
I hope that my artistic impression will leave a desire to learn more about what is depicted that it will challenge you make a difference and continue to preserve our legacy of cultural affirmation, community empowerment and social justice.” Peace, Ray Rosario
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
CARLOS APONTE, 2005
Carlos Aponte is a Puerto Rican artist and designer residing in New York City. Aponte was encouraged to move to New York and pursue a career in illustration by the world renowned Puerto Rican illustrator Antonio López. Carlos studied at FIT and the School of Visual Arts. He began working as a graphic designer and worked created artwork for Jimmy Connors active wear called Stamina. At the time he designed a series of clipart for the Image Club in Canada, one of them was a group of sports icons called Energetics. These designs led the company Wieden & Kennedy in Oregon to hire Aponte. He designed characters for the Coca- Cola cricket commercial for Pakistan, India and Sri Lanka. The success of these commercials led Carlos to create three more Coca-Cola commercials with baseball as the theme. At the same time he created and illustrated a humorous book about the cultural clashes in Puerto Rico. Aponte was hired by Banco Popular to create commercials and he designed story-board and conceptualized the animated spots. These commercials won international awards in New York and London.
He is represented by the Art Department, a New York based agency that represents photographers, stylists and illustrators. Aponte’s art has graced the pages of publications like the New York Times, The New Yorker, TIME, Elle, Vibe, Sports Illustrated and Visionaire. He also created the illustration and animated opening to Raíces a musical documentary for Banco Popular de Puerto Rico. He designed the cover and packaging images for the 2004 musical special En mi País. In 2005, Carlos was chosen for a special The New Yorker issue featuring Target inspired artwork. He was also part of the collective of artist selected for The S-Files at el Museo del Barrio. Aponte developed a children cartoon series called Boquitas.
Carlos Aponte, (212) 414-1697, 130 West 25th Street, New York, NY 10001-7406
ABOUT THE 2005 POSTER
"Boricua! Atesora lo tuyo…Boricua! Treasure what is yours! Preservando Nuestro Legado…Afirmación Cultural, Poder Comunitario y Justicia Social,
“We established Puerto Rico when we say “BORICUA,” the word is used to describe Puerto Ricans derived from the Taíno word for Puerto Rico “Borinquen.” The centerpiece of the poster is a white plantain tree with the Bomba dancers which represents our folklore and African roots as well as the violinist which represents our assimilation of European cultural forms amidst the lush vegetation on the island. The fall colors represent our reality here in New York.
In our treasure of discovery which mirrors our cultural being is the scientist trying to hold molecules and the man balancing DNA.
Puerto Rico is in us, that’s our treasure. The little girl, on top of the Taíno cemi, is discovering her garden, potentials, dreams and goals as a puertorriqueña.”
Carlos Aponte
ABOUT THE 2006 POSTER – Ray Rosario
"Celebrando con Orgullo Nuestra Cultura...Hoy, Mañana y Siempre"
“As I contemplated the task of designing an image for the 20th anniversary of Comité Noviembre, I was struck by the enormity of the challenge and honored and humbled to be part of this very important milestone in the history of this very special organization. Using this year’s theme “Celebrando con orgullo nuestra cultura, Hoy, Mañana y Siempre,” as my guide I wanted to create an image that encompassed the cultural treasures that make up our vibrant Puerto Rican community. Immediately, I thought of music and dance — the passion, the rhythms, the movement, the flow — and two of my personal passions and pastimes. I wanted to pay tribute to our traditional, typical Puerto Rican music and at the same time send a message that we must continue to teach our youth about our indigenous instruments so I chose to depict two generations of men playing el cuatro and el guiro. I also wanted to firmly show the bond, the umbilical cord between the island and New York — the mainland — so on one side of the piece I painted “la garita” and on the other the Statue of Liberty — two distinct symbols of Puerto Rico and New York. In the middle of the artwork, I wanted to show the passion of the different dancers, from the Taino, Spanish and African influences, represented in the danza, bomba y plena, vejigante, ballet and “los salseros.” There is clearly movement and celebration. As we continue to flow to the next section of the piece I wanted to acknowledge the classical components to our culture transitioning from the ballerina to the symphony conductor, and violinist. Many times we forget the contributions Puerto Ricans have made to these fields and we must not. The Puerto Rican flag envelops all of the images almost as a security blanket and affirmation that these traditions will not die as long as we, as Puerto Ricans, honor them and continue to educate the next generations of Boricuas and other Latinos about our existence and place in history.
Finally, I used a technique that looks as though the images have been immersed in the beautiful crystal clear blue waters of the Caribbean — giving the piece a spiritual feel, life and vitality — a rejuvenation of sorts. It also displays the evolution of advancement with the mainland influence of painting technique. I am proud that this is the third poster I have been commissioned to do by Comité Noviembre and I am truly grateful and humbled, by the experience which will be recorded in both our Latin and American art history for future generations to experience long after I am at rest. Loving my culture always, Ray Rosario
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
MAESTRO ANTONIO MARTORELL, 2007
Antonio Martorell born in Santurce, Puerto Rico in 1939, lives and works in La Playa de Ponce. He has been artist-in-residence for close to 25 years at the University of Puerto Rico in Cayey. He keeps workshops in Hato Rey and El Barrio in New York.
In 2006, his residence at the University of Puerto Rico, was destroyed by arsonists. The fire which destroyed his home, artwork, books, photographs and documents served Martorell as fuel for further artistic creation and a profound understanding that out of the ashes transformation and grace are born.
In 2007, Martorell was selected the Wilbur Marvin Visiting Fellow at the David Rockefeller Center for Latin American Studies at Harvard University for the Winter Semester 2008. While Martorell was in residence at the Fogg Museum at Harvard he created his own interpretations of the masters. He shared with students and neighbors the dynamic cycle of creation that passes through destruction teaching ways of re-creating and forging new relationships.
He keeps busy at painting, drawing, installation and performance art, graphics, set and costume design, theatre, films, TV, radio and writing for the press. He has published two books, and exhibited widely in Latin America, the Caribbean, the United States, Canada and Europe, also participating in collective shows in Europe, Africa and Asia, having been awarded prizes in biennials in Italy, Germany, the United States, the Dominican Republic and Puerto Rico. His work was included in the 1997 Whitney Biennial of the Whitney Museum of American Art.
Martorell´s artwork is found in the collections of the Whitney, the Museum of Modern Art in New York, the Museo del Barrio in New York, the Library of Congress, Washington, D.C., the Princeton University Library, the Museum of Modern Art in Mexico City, Casa Las Americas in Cuba, Museo de Arte de Ponce, Instituto de Cultura Puertorriqueña in San Juan and the University of Puerto Rico Museum, among others.
Antonio Martorell Archivo Documental, Box 5194 C. U. C. Station, Cayey, PR 00737, 787 738-7676, Taller Playa de Ponce, Calle Salmón #54, La Playa de Ponce, Ponce, PR 00716, 787 984-6611 http://antoniomartorell.com/martorell.html [email protected]
ABOUT THE 2007 POSTER
"Encuentro Con Nuestra Patria,"
”Encuentro con nuestra patria. Encounter with our fatherland? Motherland? It is significant that the Spanish word patria, the land where we were born or from where our parents or grandparents come from, is a word with a masculine root patria pointing to the father but with a feminine ending making it a transgender noun: la patria.
In a Puerto Rican context and due to the trans-migratory, transoceanic nature of our people this verbal conjugation is of particular resonance. And there, in the resonance of what we call, recall and call out to the island where we all come from and where we always return, even if it is for a short visit, the sound itself, the listening of what can be a long forgotten lullaby, a plena we rehearsed with shaky legs when we were beginning to walk, a love sick bolero that seemed to be written and sung just for our first broken heart, the patriotic beat of our national anthem La Borinqueña, all of those familiar sounds brought to me the image of the sea conch, the caracol.
As a child on the beach of Condado before it was closed to us by high rising hotels and condominium towers my mother taught me how to listen to present, past and future voices holding close to my small ear a great, big, shining, pink-orange-blue-gray caracol. She told me that if I held it close to my ear and shut my eyes tightly I would listen not only to the secret language of the ocean, but also the ancient tales of the land, of everything that happened before and what would happen afterwards. That the sounds might not be recognizable, that the language was a secret code that need not be instantly understood, but it would be mine to cherish and to hold, a very private treasure. As time went by I shuttled like most of our people from shore to shore, from Spanish to English, from the bluegreen landscape to the brown-gray cityscape, from summer to winter, rain to snow and discovered new and fascinating worlds both welcoming and hostile charged with the challenge of difference. But I never forgot that indescribable sound, that codified language so beautifully encased in the porcelain flower of the sea.
At the Playa de Ponce a few months ago I was host to a group of friends guided by Comité Noviembre. They were part of the Puerto Rican diaspora in New York, and in Ponce with the Caribbean Sea at our doorstep, the sun above us and the sound of laughter that sometimes turns to tears, we were one again. It has not been easy to struggle, help and comfort each other when facing discrimination and hardship. Self-knowledge and collective action, education and hard work are instruments of growth, resistance and advancement. Identity is not an unmovable state, a static institution of the self. Our identity, our very being is quite like the waves of that ocean that both unites and separates the Puerto Ricans here and there, and this very here and there is sometimes hard to define since it shifts. It goes this way and that way, it changes direction, color and shape, it speaks many languages, and still it remains the same. It flows, it does not die. We must listen to the caracol that we carry within us, it never lies.”
Antonio Martorell
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
AGULIAR MARRERO, 2008
Aguilar Marrero is a painter and sculptor of mixed indigenous heritage - Taíno and Cherokee. He has traveled around the world learning, mentoring and displaying his collection. His paintings now hang in the homes of many prominent clients. Aguilar has worked in various mediums from comic books to murals, awards, caricatures, and sculptures, book covers, movies, and production sketches. But his love and spirit are always with his culture.
In addition to his focus on indigenous Taíno culture Aguilar has recently begun producing the “Orisha's Series” to honor the African culture that was brought to the Caribbean islands along with the Spanish culture. Over time these two cultures inter-mingled with the Taíno culture producing new cultural expressions, which in turn gave birth, to many contemporary and popular cultural forms found throughout the Caribbean. Aguilar also loves the oral traditions, myths and legends of other cultures because of the magic and spirit within them.
In all his work, Aguilar strives to educate, enlighten and promote cultural growth for the present and future generations. On the popular social networking site “My Space” he has developed a step by step tutorial for adults and children detailing his creative process when he paints. Aguilar loves children and will do anything in his power to teach them about their ancestors so they “learn where they came from so they'll know where they're going”.
Aguilar is a registered member of the United Confederation of Taíno People and a member of the Cacibajagua Taíno Cultural Society. Cacibajagua plays traditional style indigenous Caribbean music using ancient instruments, language and rhythms. Aguilar began Taíno Spirit where he exhibits. This year Aguilar’s works have been featured at the United Nations and the American Museum of Natural History as well as notable events such as the Capicu Events Series at the Notice Lounge, Cemi Underground, Blog talk Radio/Capicu Radio Show, New York Pod Cafe with Carmen Amoros Goldberg, and the Verizon HSO Scholarship Fashion Show. Taino Spirit has also exhibited at several Native American Pow Wows, Sunset Park in Brooklyn and countless events within the Tri State area along with Reina Miranda, his former business partner.
In 2010, he and Reina contributed to the Pal' Pueblo Charity event in Brooklyn raising much need funds for local children’s program. For the event Aguilar produced several one of a kind, hand painted jackets and also brought three laundry bags full of toys.
John “Aguilar” Marrero, Jr./[email protected]
ABOUT THE 2008 POSTER
"Vive tu cultura...!Vive Boricua¡ “Live Your Culture...! Vive Boricua!”
My painting starts with the earth on the top left corner. The position of the earth shows the Caribbean. Our ancestors were called “TAINO”. They are a proud, noble and happy people. With the lush vegetation and weather, they wanted for nothing. 60% of the world food came from the western hemisphere. When the European came to the island, they learned of our farming methods and the foods they went back with increased their health and longevity.
As the Mayohuakan (Taino Drum) is struck the stars are being made and you begin to hear the heartbeat of our people. Can you hear the beat of the drum? It’s inside you just listen to your heart. The heart keeps us alive and there can’t be life without water. The water pouring out of the drum represents our life, our love, our coqui, our pride, music, agriculture, heritage, customs, beliefs, vejigante, tradiciones, DNA origin, cultura, orgullo, of being Boricua and all that we are pours into Puerto Rico (Boriken).
Our great heritage, MI RAZA (My race), consists of the Taíno, Spanish and African cultures. This gives us the best of three cultures and makes us what we are today not only on our home island, but where ever we are, we carry all that with us every day in this City and around the world.
I travel teaching our children of our rich CULTURA. That the words that we speak, like hurricane, canoe, hammock, and bar-b-q, the foods that we eat, the music we listen to, the love of life, our mannerisms are all part of our Taíno, Spanish and African cultures that make us unique and it is still within us every day. Knowing who you are and where you come from empowers us to know where we are going.
BO’MATUM (Thank you)” AGUILAR
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
ARNALDO ALICEA CONCEPCIÓN, 2009
Arnaldo Alicea Concepción was born in New York, the youngest child of Don Nicolás Alicea Rodríguez y Doña Mariana Concepción Rivera. His family returned to Comerío, Puerto Rico where Arnaldo began to take art lessons in elementary school with “Sisito” Avilés and in high school with Ángel Luis Pérez Vega. He later studied at the Puerto Rican Institute of Culture’s Escuela de Artes Plásticas with artists such as Lorenzo Homar, Augusto Marín, Fran Cervoni, Rubén Moreira, Mirna Báez, José R. Alicea, Félix Rodríguez Báez and Julio Rosado.
At 21, Arnaldo created the Department of Arts and Culture for the Municipality of Comerío and served as its first director. During this period, he created the architectural design of the current public plaza, as well as the seal and banner of Comerío.
He stands out as a landscape and portraiture artist, painting well known public figures such as former Governor of Puerto Rico Rafael Hernández Colón, collection of the RHC Foundation, former Chairman of the House of Representatives Luis Ernesto Ramos Jordan, and the former President of the Senate Antonio Faz Alzamora, among others.
Since 1989 to the present, he runs his own graphic design agency Arnaldo Alicea Art & Design and continues to create art by commission, mostly for private collections.
ABOUT THE 2009 POSTER
"Puertorriqueño…De nuestras raíces nace un pueblo"
“Throughout the island of Puerto Rico the beautiful Flamboyán tree is an umbrella of shade when in full bloom. Its brilliant red flowers and yellow stamens are nestled along the massive branches, in the comfort of lacy leaves.
Our tree, not yet truly in full bloom, but with the promise of greatness, its roots, protecting, strongly securing, the flag – the universal symbol of Puerto Rico – and its indigenous creature, el coqui, symbolizing el pueblo encased in a sphere – a circle – the symbol of unity.
The greatness of this national tree’s roots, embraces, both, the mainland and the island, making, the unique symbiotic connection between both – our soul…nuestra alma. The two bodies of water, one in New York, and other in San Juan merging flowing into each other and creating one, nourishing, purifying our roots, strengthening the foundation of our community around the world. This tree is the personification of our perseverance, ingenuity, pride and achievements and the knowledge that we as a united community can overcome any obstacle however great.
Puerto Ricans live in every corner of this world. No matter what our life’s circumstances – what connects us to each other is the strong bonding roots that are uniquely ours. From our ancestry, Taino, Spaniard and African our roots are defined and eternal, the very fabric that makes us Puerto Rican.
Like the Flamboyán tree and the coqui we have been destined and blessed to be Puerto Rican, our strong massive roots bridging our two communities celebrates and acknowledges that we are one family no matter where we are in the world. We must always remember that de nuestras raíces nace un solo pueblo.
Teresa A. Santiago for Arnaldo Alicea Conception
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
PEDRO BRULL, 2010
Peter J. Brull was born in Vega Baja, Puerto Rico in 1938. From a very early age, he demonstrates great aptitude for drawing and convinces his father to pay for a correspondence course in drawing "cartoons” from Argentina. These studies help him many years later to work as a cartoonist for Disney.
At fifteen, Puerto Rican painter and muralist Rafael Rios Rey takes Brull under his wing as a student. It is Rios Reyes who gives Brull his first paints and brushes, an old box full of tradition that belonged to Rios Rey’s father an artist from Ponce. With these almost dry colors and paint brushes, Brull creates his first piece of art work. After working with Rios Rey at the Tapia Theatre in San Juan and graduating from high school, Rios recommends Brull to work in the Department of Staging for WKAQ-TV Channel 2 in San Juan, P.R. in 1957.
One year later, Brull moves to New York to study television at the Television Workshop of New York, where he graduates and returns to work at WKAQTV Channel 2 for the next 21 years. While at the station, he studies commercial art and completes his Bachelor of Fine Arts at the School of Fine Arts of the Institute of Puerto Rican Culture, Instituto de Cultura Puertorriqueña. During this time, he associates himself with artists Augusto Marin, Jose Alicea, Jose Oliver, Fran Cerbony, Luis Hernandez Cruz, and many others. It is the influence of these painters who form Brull’s character as an artist.
In the twenty-one years Brull works for Channel 2, eleven of them was as Art Director and Manager of Production. In addition to creating wonderful works of art, Brull teaches at the Casa Alonzo Museum in Vega Baja and has been of inspiration to countless young artists in Puerto Rico and Florida. In 1998 he moves to the City of Kissimme, Florida and continues his work as the painter of everyday experiences – a graphic reporter of everyday life – "reportero grafíco de la vida diaria." He works for a company of caricatures and became a freelance artist. Brull’s works are exhibited in museums and galleries in Orlando, Kissimmee, Tampa, Melbourne, Miami, De Land, Lakeland and Stamford, CT. Brull has created works for such corporations as General Electric, Segursos Multiples, VACO, Corp., NITCO, Corp. Commonwealth of P.R. and SITGO Corp. Brull is an award-winning artist whose paintings form part of a broad number of private and public collections throughout New York, Florida and Puerto Rico. A collection of masterfully created portraits forms part of the Casa Alonzo Museum’s permanent collection, as well as in many Government offices in the Municipality of Vega Baja. Among the many awards he has received, Brull was honored with the First Prize in painting from Disney's Animal Kingdom and a special recognition award from the Art at the Park of Lakeland, FL.
In June 2013, Maestro Brull donated one of his pieces, "Un Jibaro en la ciudad," 36" x 48” valued at $40,000 to be auctioned by CN for the benefit of the organization’s programs. Pedro Brull can be reached through email at: [email protected] [email protected], 407-957- 5955, 4914 Raylene Way, St. Cloud, FL 34771
ABOUT THE 2010 POSTER
“Puertorriqueño de alma, vida y corazón”
“When you are commissioned to paint a work it is very different from when ideas are yours. When you're commissioned you have to stay faithful to the original ideas that are created by one or more people. You can only be an interpreter of those ideas and translate them into your style.
This piece was a collaborative project, between the Comité Noviembre and me as the commissioned artist. We incorporated elements of the three great cultures that give rise to what we are, "Una mermelada de razas - Tainos, Spanish and African," the essence that makes us “Puertorriqueños de alma, vida y corazón - Puerto Ricans of mind body and soul.”
The sun and the Taino cemí are the base, drums and African beautiful women, teach rhythm, music and the cadence in our race, crowned the piece with the legacy of music, language and Spanish religion with the image of the Three Kings. We also incorporated our flag in the congas, güiro and maracas something typical of Boricuas. I could not leave out our “mancha de plátano,” las casitas del jibaro and the Lares flag, all things that remind us of our home away from home.
We connect and unite Puerto Rico with the mainland with the Salsa dancers on the conga, the "skyscrapers," and the images of ordinary people. The Puerto Rican community that migrated to the States that struggled every day to create a strong, vibrant and power Puerto Rican community, never forgetting where they came from and being proud of being “Puertorriqueños de alma, vida y corazón.”
Peter J. Brull
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
WILDA GONZALEZ, 2011
Wilda Gonzalez is a Puerto Rican multimedia artist and painter proud of her Caribbean heritage. Born and raised in the Bronx, Ms. Gonzalez attended the High School of Art and Design and continued her studies at the Fashion Institute of Technology and Parsons School of Design in New York City. Ms. Gonzalez has, worked as a visual arts educator for the Children’s Art Carnival since 1988 and for the past 17 years has been artist-in-residence and art program director at Riverbank State Park in Manhattan. She has taught art in both public and parochial schools and has been art instructor for Yaffa Productions, ASPIRA of New York and the Bronx Museum. She is the founder and director of Caribe Anani studio which houses her art work and where she is inspired to create her work. Caribe Anani also provides folkloric cultural diversity workshops for children with special needs, supervised day care programs and art therapy for children ages, four to seven. Her artistic inspiration is a testament to her Puerto Rican heritage.
Exhibtions • 2011 Comite November 25th anniversary commemorative • Boricua College Group Exhibit, 2006 poster artist • Inspiration Fine Art Group Show, 2005 • The American African Museum 2011 Artcurian Tour • The BAAD! Ass Women Group Exhibit, 2005, 2002 • The Clemente Soto Velez Cultural & Educational Center: • National Art Club Gramercy Park Group Exhibit, Femicide Awareness Exhibit, 2010 2005 • The Artcurian Gallery Artist Speakers Bureau, 2010 • Castle Gallery Exhibit, 2004 • The Rosa Parks Museum Exhibit, 2008 • Mi Sala Gallery Exhibit, 2004 • Birmingham Civil Rights Institute Exhibit, 2008 • Bronx Museum of Art Group Exhibit, 2004 • The Union Theological Seminary, James Chapel Exhibit, • New York Botanical Gardens Solo Exhibit, 2003 2007 • Bronx Council on the Arts Group Exhibit, 2003 • Caribe Anani Studio Exhibit, 2003 • The National Museum of Catholic Art & History Group • Riverbank State Park Solo Exhibit, 2002 Exhibit, 2007 • The Children Art Carnival, 2002 • Comité Noviembre’s Artisan Fair and Exhibit 2007, • Marriott Hotel Exhibit, 2007 2008, 2009 and 2010 Featured artwork in publications • Montgomeryadvertiser.com, January 2008 • Westchester Woman, 2004 • The Birmingham News, January 2008 • The Journal News Life& Style, 2005 • The Children Art Carnival News Letter, 2005 • Arte/10 Vide Hoy, 2002 • Bronx Times, 2006 • Hunts Point Alive Spring Issue, 2002
Contact Wilda Gonzalez @ [email protected] or at [email protected]
ABOUT THE 2011 POSTER
“Comité Noviembre 25 years...United by our Puerto Rican pride - Comité Noviembre 25 años…Unidos por nuestro orgullo Boricua”
The Pride - Unidos por nuestro orgullo Boricua
“This painting is based on the beauty, heritage and ancestry of the island of Puerto Rico and how we as Puerto Ricans outside of the island translate this beauty, culture, history into our everyday lives here in New York and in every metropolis in this country. How each of these images plays a special role, and symbolizes, our culture, a mixture of races, Taíno, Spaniard and African that define our ancestral roots and makes us uniquely and proudly Puerto Ricans.
Our culture has flourished for centuries and is imbedded in our daily life as we travel throughout the streets of New York from Spanish Harlem to the Lower East Side from one borough to the next on the #6 train. Our pride in our music is depicted in the plena, bomba and danza dancers. The flamboyan tree and the coqui are symbols of strength, uniqueness and perseverance. La Marqueta de East Harlem connects us back to our life here on the mainland and shows how deeply rooted our culture and traditions are in our food, places of business and daily social interaction.
The image of the three kings represents the influence of the Spaniard in our culture and the introduction of Catholicism to Puerto Rico. The celebration of the Día de los Tres Reyes is sacred to Puerto Rico and many other Caribbean and Latin American countries. I wanted to honor the Museo del Barrio’s Dia de los Reyes procession throughout the streets of El Barrio preserving this tradition for our community.
I named this piece The Pride because as an artist and educator I have the opportunity to conduct workshops for young people, interact with them and use the elements in this piece to teach them about Puerto Rican traditions and history that makes me proud each day. Instilling, teaching and encouraging this pride and love for my culture in these young minds is what I live for and hopefully by doing this continue to acknowledge, promote and preserve our culture like Comité Noviembre has charged us to do for the past 25 years and counting. Wilda Gonzalez
ABOUT THE 2012 POSTER – Juan Sanchez
“Pioneros Puertorriqueños: un legado de amor, poder, y valor.. Puerto Ricans Pioneers: a legacy of love, empowerment and courage”
THE SUPER BORICUA POSTER
The art for the poster is titled Super Boricuas. The poster bears some of our people, history, culture, stories…struggles and most important our progress and achievements. The artwork is intended to reflect how we as a people pioneered in our struggle to progress through our creative cultural expressions, civil and human rights activism and establishing programs, alternative education, counseling and schools, organizations and foundations to fulfill the needs, aspirations and dreams of our Puerto Rican community. We see faces of individuals who’s optimism and urgency helped and inspired us to create, speak, seek and find new ways to forge towards our goals and future. That has become our heritage. That is why some of so many extraordinary individuals are in this poster. These pioneers are our heroes... they are Super Ricans. Still there are so much we need to accomplish and save. Today many of our programs, institutions and institutions are struggling to survive. We can lose what is left of our visibility.
Our voices will not be heard. Our presence will no longer be felt. This is our jeopardy. They will fold if we do not find creative means to sustain and move them forward. We need new attitudes, perspectives and strategies to continue our struggles, fight, and progress in order to be free. It has always been an extraordinary task. Let’s look how far we have arrived and the distance we need to go. We must build on that. This poster was created for our youth. I believe you, our future generation, will take the baton and continue the struggle to preserve, build, awaken, provoke and contribute to our Puerto Rican and Latino legacy... because that’s who we are.... Super Ricans!
Juan Sánchez
ABOUT THE 2013 POSTER – Ray Rosario
“Preservando el legado de la Díaspora Puertorriqueña…La responsabilidad es nuestra… Preserving the living legacy of the Puerto Rican Diaspora...The time is now, the responsibility is ours!”
The image depicts two children a male and female reading a book. The flag on the book symbolizes Puerto Rican culture and history. The faces of the children are shining in the glow of light and their expressions show interest even awe at what they are eagerly reading. This light expresses enlightenment, learning and knowledge.
The images and figures almost in a dream state floating above their heads represents the important history that they are learning about the Puerto Rican Diaspora. The struggles and accomplishments that the Puerto Rican community has fought for, so that today future generations and other Hispanics have a right of passage.
Struggles, issues and Victories like: 1. The ASPIRA Consent Decree (ASPIRA/PRLDEF) 2. Young Lords 3. Struggle to keep open admissions, Puerto Rican Studies Departments 4. Struggle Keep Eugenio Maria de Hostos Community College Open 5. Voting Rights Act Amendments of 1975 6. El Diario la Prensa founded 1913 7. Establishment of Spanish Language media - Telemundo 8. Latino Representation on the NYC Board of Education 9. Supreme Court Justice Sonia Sotomayor
We must celebrate the legacy of the Puerto Ricans that came before us and struggled against many obstacles to build organizations, empower our community and achieve the necessary changes of their time so that today Puerto Ricans and other Latinos benefit from their commitment, dedication and perseverance. As a community we must never forget their achievement and we must pay homage to their legacy.
Teresa A. Santiago for Ray Rosario
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
JOSÉ BUSCAGLIA GUILLERMETY, 2014
The field of monumental sculpture is barely part of the current art vocabulary, making the art of José Buscaglia all the more compelling. Referring to himself as a cultural nationalist, Buscaglia has committed a long and impressive career to the social and political context of public art. Trained in Puerto Rico and Barcelona, Spain, as well as Harvard, he has been internationally recognized as a sculptor, painter, educator, social scientist and as a specialist in the study of creativity. Born in the capital city of San Juan in 1938, his involvement with the arts dates from the precocious age of eight. During this early phase of his career he underwent intensive training with the Catalonian artist Ismael Díalsina. While a student at Harvard, he spent a year abroad in Barcelona, working at the studio of world-renowned sculptor Enrique Monjo. He also took courses at the Real Academia de Bellas Artes de Barcelona, where Picasso, DalÌ and Miró had studied earlier. Following his graduation with honors from Harvard in 1960, he collaborated with Monjo as his assistant and secretary. Returning to Puerto Rico in 1962, Buscaglia held positions for 18 years at the University of Puerto Rico as professor, sculptor in residence and Director of Fine Arts.
His lifelong interest in the nature of the creative process and thinking skills led to his participation in the designing and implementation of experimental educational programs in Venezuela from 1979 to 1985. A joint effort by Harvard University and the Venezuelan government led to an innovative process-oriented program to teach thinking skills known as Project Intelligence.
Buscaglia is perhaps one of the most prolific artists in the field of monumental sculpture, with major shows at Harvard, Yale, Rockefeller Center in New York, and several times in Washington, D.C., Barcelona and Madrid. In 1968 The New York Times referred to Buscaglia’s bronze bust of Robert Frost, unveiled at the National Portrait Gallery (Washington, D.C.) as: “Unofficially the most important gift to the gallery since its opening.”
Artist/Professor Ben Shahn said of Buscaglia: “There are few sculptors, young and old, who have the courage to go their own way, not to be overwhelmed by trends and by journalistic approval: there are fewer still who have the competence to do the kind of work that José can and does.” Buscaglia has authored over 40 public monuments in Puerto Rico, the Virgin Islands and the United States. He is a Fellow of the National Sculpture Society and founding member of the Academy of Arts and Sciences of Puerto Rico. As an educator he has taught and lectured at leading institutions in Europe, Latin America and the United States, and has published considerably on the teaching of intelligence and the voluntary control of the creative process.
ABOUT THE POSTER
MONUMENT TO THE PUERTO RICAN FAMILY
Comité Noviembre’s poster for 2014 features a pen and ink study for a monumental sculpture titled Monument to the Puerto Rican Family by the dean of Puerto Rican sculptors, Jose Buscaglia Guillermety. Inaugurated on September 23, 2009 (the anniversary of the Grito de Lares), the sculpture stands in the Learning Corridor in Hartford, CT.
Four heroic-size figures dominate the central area of the composition. Husband and wife stand together and in front of them, their daughter and son carry the Lamb of God, the heraldic and official symbol of Puerto Rico. The family group is placed within its historical and psychological context through eight main thematic areas that surround the central portion of the relief. The upper lefthand corner depicts a typical town in Puerto Rico setting the point of departure. The path that leads away from the town shows the migrant leaving on a mare. This is in direct reference to a segment of Valle de Collores, the best-known poem by the Puerto Rican poet laureate Luis Lloréns Torres, which expresses the anguish of departure. From the lower left to the mid-central area, migrants ascend a staircase to board the airplane that will bring them to the mainland. They carry with them various symbols of their cultural heritage. In the lower triangular area below the staircase, an allegorical representation evokes the dreams and aspirations of the migrants. This is signified by a female figure daydreaming in a plantain grove— “el sueño en el platanal.” In front of this figure, two girls jump rope, and on the left angle a motif of tropical fruits completes the symbolism.
The lower right triangular area provides the psychological counterpoint to its equivalent one on the left side. The main figures show a mother with two children defying adversity in a poorly lit basement. The corner motif, which on the left side is an array of tropical fruits, has turned into an entanglement of thorns. From the lower right to the mid- central area, a progression of people struggles to help each other rise to higher ground. Brick steps suggesting tenement housing replace the boarding staircase here. The last top figures at the top complete the process by pointing to the city of Hartford on the upper right-hand corner of the composition. Answering Lloréns Torres’ poem, the area to the right of the central group carries sculptor José Buscaglia’s poem, which describes the migrants’ journey and final triumph in their new homeland.
The bronze relief is 12’ wide and 10’ high. It is permanently anchored to a granite stela and rests upon a 4’ high three- ton attached pedestal, structurally integrated into a supporting wall. The bronze weighs approximately 2,000 pounds. The front of the monument carries the following inscription: HONORING THE CPNTRIBUTION OF THE PUERTO RICN FAMIESTO THE DEVELOPMENT OF THE UNITED STATES OF AMERICA. The back of the monument shows the Puerto Rican flag in full color and, underneath, the names of all the towns of the island.
Jose Buscaglia Guillermety
COMITÉ NOVIEMBRE mes de la herencia puertorriqueña/Puerto Rican Heritage Month Thematic Impact on the Community: 1987 – 2017 Poster Exhibit
Nitza Tufiño, 2015
Nitza Tufiño is perhaps one of the most influential muralist and public artist in our community. Her most recognized ceramic murals have been commissioned for a number of public locations including the 103rd Street and Lexington Avenue subway station, the Third Street Music School and La Guardia Community College
Nitza was born in Mexico City in 1949 to the late Puerto Rican artist, Rafael Tufiño and Mexican dancer and model, Luz Maria Aguirre and grew up in Puerto Rico. Nitza was greatly influenced by both her parents. In her youth, she learned graphic arts while working with her father. After earning a B.F.A. from, Academia San Carlos in Mexico City, she moved to New York City. In 1969, together with a group of artists, educators and activists, Tufiño founded El Museo del Barrio. As associate director of Taller Boricua, she oversees the Rafael Tufiño Studio Workshop, a free collective printing workshop for artists.
In the early 1980s she returned to school and obtained an M.S. in Urban Affairs from Hunter College on a fellowship from the U.S. Department of Housing and Urban Development (HUD). Her career as a muralist and public artist flourished. She was commissioned by educational institutions and governmental agencies, including: the Metropolitan Transit Authority, the Health and Hospitals Corporation, La Guardia Community College, Trinity College, and the Hospital for Special Care. As resident artist teaching art and design at the Central Connecticut State University, she developed and created the first murals public art program at CCSU.
In 1970, Tufiño began her 45 year relationship with El Taller Boricua. Nitza is a proud member of “El Consejo Grafico”, a national coalition of Latino printmaking workshops and individual printmakers. She has received numerous awards including one from the Puerto Rican Legal Defense and Education Fund, the 1991 “Outstanding Puerto Rican Professional in the Arts Awards” from the Office of Andrew Stein, New York City Council President and the Association of Hispanic Arts, as well as grants and fellowships from the New York State Council on the Arts and the National Endowment for the Arts.
ABOUT THE 2015 POSTER
“Rio Blanco in Naguabo, PR is a magical place. It is magical because of the art that has endured for over five centuries depicted on the Piedras Petroglifo carved by the Taínos the indigenous people of Boriken. I chose to honor our First Heritage with the images on the art work of this year’s CN poster.
I dedicate this piece in loving memory of Dr. Ricardo Alegria, who was and continues to be the Champion of our Puerto Rican culture. The Rio Blanco archeological site must be preserved and protected. Comité Noviembre has been in the forefront and have lent their voice to other ecological preservation campaigns and have been successful. I am thrilled that the members of CN has committed themselves to help us preserve and protect this magical place in Boriken. I look forward to working with CN and placing a memorial plaque in 2016 to honor our Heritage at this site.
Nitza Tufino
Nitza created a piece that exemplifies CN’s mission of preserving and protecting our culture and history. She has challenged CN to raise consciousness of and protect the five century archeological site in Rio Blanco in Naguabo, PR which is home to one of the very first finding of Taíno petroglyphs carving. She has generously donated 25 pen and ink etching that CN will auction off to raise funds to protect this area.
To learn more on how you can become involved or to bid on the auction, please send email to: [email protected] or [email protected]
ABOUT THE 2016 POSTER – Maria Domínguez
As the artist selected to commemorate Comite Noviembre’s 30th year anniversary became a true honor and a challenge as well. How does an artist compress the impact this organization has had for the Puerto Rican community at large into one image?
How would I capture the impact CN has had on the Puerto Rican community throughout the years. How would I convey the strong partnerships it has made geared to supporting, creating consciousness, having open dialogues, and building consensus on the issues that affect the 8.5 million Puerto Ricans living on both the mainland and island with the ultimate goal of developing a plan of action that will lead to effective change.
Every meaningful step to bring light to youth, families, leaders, artists and politicians were done with intent and the names told the story.
I used each individual and organization names who contributed to support Comite Noviembre’s trajectory as fabric by which its’ foundation was laid. Over the fabric of names the dedicated hands stretch out to promote the best of our community through Comité Noviembre’s activism, their art forms, their services and educational programs.
Comité Noviembre’s efforts reach out to bring together their love for the island of Puerto Rico, its people and culture, to the city of New Yorkers making a difference over the blue waters.
Lastly, the sun rises for Comite Noviembre and all they’ve instituted, particularly, the youth who are enriched by their scholarship programs.
Comite Noviembre has become a trailblazer to other NYC and nationally based organizations whom now use the month of November to celebrate Puerto Rican culture – What a unifying force Comite Noviembre! Bravo! Bravo! Bravo!
Maria Domínquez
ABOUT THE 2017 POSTER – David Santiago
As I reflected on the 2017 theme, ¡Diaspora puertorriqueña...es ahora o nunca! Invierte en Puerto Rico...Puerto Rican diaspora...it's now or never! Invest in Puerto Rico,” I thought that Puerto Ricans are in every corner of the world and our roots run very deep where ever we find ourselves. That is why I included the image of the world showing the United States side to pay homage to all of the accomplishments and contributions Puerto Ricans have made to this country and the world.
The word Diaspora, even as you pronounce it, gives the feeling of something being all in compassing, massive, and that is a great but let us be clear we are an extended nation – Una Patria Extendida, that consciously brings together our culture, history, and language, to all points of this world.
The strong, vibrant, healthy roots are giving energy and growth to the flamboyan tree that is my representation of Puerto Rico. The Diaspora – La Petria Extendida are those roots that are giving life, color, energy to Puerto Rico.
When I started the image in early September the discussion centered-around the very difficult time Puerto Rico was experiencing with a crippling debt, a failing healthcare system and massive unemployment and that we as the Diaspora could affect change by investing in Puerto Rico in whatever way possible.
Then Hurricane Maria destroyed our beautiful island. Today we are facing an unimaginable humanitarian crisis so this theme and my rendition took on an even stronger call to action.
I added our precious Puerto Rican flag the ultimate symbol of our country, rising with the dawn of a new day to reflect the sentiment that we are resilient people and just as the sun rises each day we too will rise and overcome any and all obstacles put in our way.
It is Now or Never we as members of the Diaspora must invest and fight for the future of our Patria!
David Santiago
Member Organizations
ASPIRA of New York۞Casita Maria۞Centro de Estudios Puertorriqueños۞Hunter College/CUNY El Museo del Barrio۞El Puente۞Eugenio María de Hostos Community College/CUNY Fundación Nacional Para la Cultura Popular۞Institute for the Puerto Rican/Hispanic Elderly .La Casa de la Herencia Cultural Puertorriqueña۞National Congress for Puerto Rican Rights – Justice Committee
Board of Directors Angel Santini Palos,Chairman Lili Santiago Silva, Treasurer Lourdes R. Torres, 1st Vice Chair Sandy Figueroa, Secretary María Román Dumén, 2nd Vice Chair Teresa A. Santiago, Chairwoman Emeritus
Members at Large Elba Cabrera, Co-chair CN Scholarships Committee Haydee Morales, Casita Maria Suleika Cabrera Drinane, CN Kick-Off/Lo Mejor Committee Carmen Diaz Malvido, ASPIRA of New York Luis Cordero, Journal; Artisans/Authors Fair Committee, Alicia Rodriguez PRIDA Leticia Rodriguez, La Casa de la Herencia Cultural Lisa Rodriguez, Co-chair, CN Scholarships Committee Puertorriqueña Martha Laureano, NCPRR Javier Santiago, Fundación National Para la Cultura Popular
Comité Noviembre… Puerto Rican Heritage Month Managing Office
TAS Communications, LLC 45 East Hartsdale Avenue – Suite 3L; Hartsdale, NY 10530, [email protected] www.comitenoviembre.org
© 2018 COMITÉ NOVIEMBRE
EDTING: Teresa A. Santiago EXHIBIT INSTALLER: David Santiago CURATORS: Teresa A. Santiago, Angel Santini Palos SPECIAL THANKS TO: Assemblyman Marco Assemblyman Marcos Crespo, Chair of the SOMOS Legislative Task Force, Paloma Hernandez, SOMOS Board Chair, Jose Paulino, SOMOS’ Executive Director, Teresa A. Santiago, CN’s Chairwoman Emeritus; Angel Santini Palos, CN’s Chairmen, Maria Roman, CN’s 2nd Vice Chair, Lili Santiago Silva, CN’s Treasurer. Exhibit Volunteers: David Santiago, Maria Diaz Santiago, George Daniel Santiago and Carmen Marilla Castro.
POSTER EXHIBITION CONTRIBUTORS
Special thanks and acknowledgement to the individuals who made the 31st Anniversary Poster Exhibit possible, by lending Comité Noviembre posters from their collections.
Mr. & Mrs. Carlos & Carmen Fernandez, 1987 Ms. Suleika Cabrera Drinane, 1993 Ms. Teresa A. Santiago, 1988, 1991, 1992, 1995, 1997, Ms. Lourdes R. Torres, 1998 2011, 2012, 2013. 2015 Ms. Maria Dominguez, 1994, 2016 Ms. Elba Cabrera, 2013 Ms. Julia Mandry, 1996 Mr. Luis Cordero, 1989 Mr. David Santiago, 2017 Mr. Néstor Otero, 1990