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Centro Teaching Guide Memories on the Wall: Education and Enrichment through Community Murals Developed by Raquel M. Ortiz Rodríguez, PhD.
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Table of Contents
I. Introduction II. Discussion Questions and Learning Activities III. Vocabulary IV. María Domínguez Biographical Essay V. Background Historical Essays on Community Murals El Pueblo Cantor (1994), Nuestro Barrio (1998), and Baile Bomba (1983) VI. Teaching Resources for Memories on the Wall
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I. Introduction
Centro Teaching Guide Memories on the Wall: Education and Enrichment through Community Murals Developed by Raquel M. Ortiz Rodriguez, PhD. 5/23/13
This Centro teaching guide focuses on the documentary Memories on the Wall: Education and Enrichment through Community Murals. The documentary explores the creative process used by María Domínguez and students from I.S. 406 in conjunction with the exhibit Labor (September 27, 20011 to January 6, 2012, Hunter College East Harlem Art Gallery) to create a mural. This guide also looks at select community murals created and directed by Domínguez. It is one in a series of teaching guides on Puerto Ricans in the United States that the Center for Puerto Rican Studies makes available to middle and secondary school educators to promote a better understanding of the cultural, intellectual and economic contributions of U.S. Puerto Ricans in the public school curriculum. This guide contains:
Background information on visual artist María Domínguez and essays on select community murals that she helped to design and create. An interdisciplinary, standards-based instructional unit that aligns with the new Core Standards and that may extend over a week or longer. Teaching resources that include primary and secondary sources accessible at Centro’s website and in its library and archival collection, including manuscripts, newspaper articles, photographs, audio recordings, film/video; and recommended readings appropriate for young adults are available through CUNY inter-library loans, the New York Public Library holdings and local bookstores. Formative assessments in the form of oral and written responses to prompts enable teachers to gauge their teaching effectiveness through students’ comments during and after each session, which allows teachers 4
to make timely adjustments as students move through the unit. Summative assessments enable teachers to evaluate both anticipated and unanticipated learning outcomes at the conclusion of this unit. It is expected that knowledge of the history and contributions of U.S. Puerto Ricans should, over time, create consciousness of the value of education, and the written and spoken word in particular, to improve the quality of life of U.S. Puerto Ricans. Two essential questions guide this unit: (1) How are community murals instruments of popular education that help transform our society? (2) How does studying community murals by María Domínguez help us to understand the personal and communal histories that are reflective of the experiences, accomplishment, struggles, and challenges of the Puerto Rican communities in New York City? References of resources available in print or online by and about community mural-making and María Domínguez. These resources are organized into 4 sections: (a) Books authored or edited by the individual; (b) Web-based resources; (c) Chapters in books, articles, book reviews; and (d) Archival collections containing resources on featured Puerto Ricans. There are sufficient examples in each category to enable teachers to select those resources that most closely fit their instructional goals and teaching styles.
Learning Outcomes Students are expected to meet appropriate performance standards in the NYS Common Core English Language Arts Standards, Grades 6-12. Student work over time shows us whether students exceed, meet, or fall short of expected outcomes. Teachers are encouraged to collaborate with students in specifying acceptable levels of performance all agree serve as fair and valid indicators of what students should understand and demonstrate. Participating in creating indicators of what constitutes acceptable performance at each level helps students to take a more active role in their learning and in meeting expectations.
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Specifically, students are expected to: Provide evidence of thoughtful reading and drawing conclusions from a range of texts of varying genres and increasing levels of intellectual and linguistic complexity. These texts may be documentaries, images of art, historical documents, personal essays, poetry, speeches, opinion pieces, power points, and articles produced for a broad audience/readership.
Write routinely in response to prompts that have a specific purpose, such as to comment on and raise questions about instructional content and procedures, and to explain how community murals help us to understand the personal and communal histories that are reflective of the experiences, accomplishment, struggles, and challenges of the Puerto Rican communities in New York City . Emphasis will be on how well students integrate and evaluate information presented in diverse formats and media (e.g., in print, online, film), with written and verbal feedback.
For grades 6-12, produce a well-documented and coherent final essay, (1-2 typed pages, 12 pt font, 1” margins) on a community mural created by María Domínguez (essays on El Pueblo Cantor, Baile Bomba, and Nuestro Barrio are included in this teaching guide). The teacher will guide this writing through examples modeled in class (e.g., timeline, essay organizer, drafts of select essays). Although the rubric for determining the extent to which the essay exceeds, meets or falls short of meeting assignment requirements and established conventions for language use will be developed in collaboration with students, students are expected to use evidence from the film, primary and secondary documents and class discussions to support their thesis/argument in a coherent, well- documented and interesting manner appropriate to a given or self- selected audience.
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II. Discussion Questions Questions for discussion after viewing the documentary Grades 3-5: 1. What was your favorite part of the documentary? Your least favorite? 2. Which student did you enjoy listening to the most? 3. Who is María Domínguez? What does she do? Why? 4. What is identity? What is your identity? 5. What are symbols? Identify a symbol and explain what it stands for. 6. How is a community mural made? 7. How were resources available to you at the Center for Puerto Rican Studies used by the students of Global Tech Prep? Grades 6-8: 8. What was most appealing visually about the documentary? 9. What would you add to the documentary? 10. What did you learn about Puerto Rican history and culture? 11. What struggles regarding the Puerto Rican community are you familiar with? 12. Define the following concepts: Symbolism Community mural making Archives Grades 9-12: 13. How was research important to the mural making process shown in the documentary? 14. What types of resources were shown at the Archives? 15. How was the exhibit Labor used in conjunction with the mural project? 16. Who is Antonio Matorell? Juan Sanchez? Nitza Tufiño? Miguel Luciano? Melissa Calderón What were their works of art about? How did their artwork influence the mural created by the students? 17. What do you know about the nearly 600,000 Puerto Rican workers who, in the 1940s and 1950s migrated to the United States looking for work and a 7
better life? 18. Discuss the meaning of some of the images and information found on the website regarding the art exhibit Labor. http://centropr.hunter.cuny.edu/about/events/labor-art-exhibit-new-centro- library-archives-home
Mural Activity Grades 3-5: After viewing and discussing the documentary have a discussion regarding the concept of symbols with the students. In the documentary María Domínguez and students form I.S. 406 explored symbols in regards to the art exhibit Labor. Then she and the students spoke of future careers. Labor was an art exhibition inspired by information in Centro Archives. The exhibit pays tribute to the nearly 600,000 Puerto Rican workers who, in the 1940s and 1950s migrated to the United States looking for work and a better life. Images and information on the exhibit Labor can be found at: http://centropr.hunter.cuny.edu/about/events/labor- art-exhibit-new-centro-library-archives-home
Invite the students to brainstorm symbols that they identify with themselves. Encourage the students to explore the concepts of their families and their communities in regards to how they see themselves. Discuss the connection between personal and shared identities. Then invite the student to share what they would like to be in the future, and how these professions will enrich their communities. Have each student draw 3-5 symbols that represent their dreams and goals for themselves. Then invite the group to share their symbols.
Have each student select one symbol and then color or draw this symbol as a stamp to incorporate into a bigger piece.
As a group, have the students design, then, create, a mural design that showcases their stamps, that are symbols of their future plans for themselves. In 8 the documentary the students of I.S. 406 used an urban setting, reflecting El Barrio, and placed their stamps on windows of buildings. Encourage the students to think of their neighborhoods and images that are familiar to them. The theme of community and neighborhood should be incorporated into their design. The mural design can be done on a large sheet of paper or canvas and can be painted collectively. Ask the students to address the following in their design: o Community o Place o Labor
Invite the students to incorporate their personal stamp into the bigger art piece.
EXERCISES USING IMAGES OF MURALS After viewing and discussing the documentary select one of the murals in the documentary (essays on El Pueblo Cantor, Baile Bomba, and Nuestro Barrio are included in this teaching guide).
Nuestro Barrio Grades 3-5: Have the students identify an image in the mural that María Domínguez created in the Puerto Rican community of El Barrio. Ask them to share their understanding and/or definition of the symbol. Invite some of the students to share their answers. Images that can be found in Nuestro Barrio are: poet Julia de Burgos, musicians Rafael Hernández and Mark Anthony, the painting El pan nuestro by Ramón Frade, Santos de palo (wooden sculptures) of the Three Kings, images of tropical fruit and vegetables, Taíno petroglyphs, a conga, maraca, guitar, pandereta and a güiro with a raspador. Banners, with the names of places in El Barrio included in the murals, are: Taller Boricua; La Marqueta, El Museo del Barrio, and The Harbor Music Conservatory. 9
Have each student do research on the Puerto Rican image that he or she chose. Request that 2-3 different sources be identified and brought in. Centro Archives and On-line resources can be helpful. Invite student to share / present their research. Ask the students to connect how the symbol they researched reflects the Puerto Rican experience.
Invite the students to create a 250-word essay using the information that they have learned about the symbol. Ask the student to approach this essay using the following two steps: 1. Define the following two terns: identity culture 2. Explore the concept of either your identity or culture. Try to answer some or all of the following questions in your essay: Who am I? How do I see myself? How do others see me? What does identity/culture mean to me? What are symbols of my identity/culture? How can I explain the symbol I researched? Where does it come from? What do I know about the Puerto Rican community in El Barrio in the 1990s?
This exercise can be modified to be a poem, song, short story, rap, speech or letter to someone.
Baile Bomba Grades 6-12: In either essay, poem, or short story form explore the concept of identity and culture in the community mural Baile Bomba (Lower East Side, 1986). Try to 10 answer some or all of the following questions in your writing: What do you know about the Puerto Rican community in the Lower East Side in the 1980s? What symbols are found in this work of art? What do these symbols represent? What do I know about bomba? How is this dance form similar to other dance forms in the Caribbean? How do I relate to this work of art? Why or why not?
Bomba stems from Puerto Rico’s African heritage. According to Vega Drouet’s research the possible source of these rhythms brought to the island more than 300 years ago may be the Ashanti people of Ghana (West Africa). The etymology of the word bomba has been traced to the Akan language and to the Bantu of Africa. In most Bantu languages bomba has a meaning that encompasses a spiritual connotation for a gathering. The development of bomba has similar manifestations in Guadeloupe, Haiti, Martinique, Venezuela, Louisiana, Cuba, Colombia, and Panama.
See: Juan Cartegena, 2004. “When Bomba becomes the National Music of the Puerto Rico Nation,” CENTRO Journal of the Center for Puerto Rican Studies, Vol. XVI, num. 1, Spring 2004. Pp. 14-35.
EXTA ACTIVITY Documentary Viewing Activity, Grades 3-5: Vejigante Masks 1. How many mask were in the documentary? 2. What did they look like? 3. How were they similar? 4. How were they different?
Research about Masks 11
A. Find out about the tradition of Puerto Rican masks. In pairs of two answer the following questions with a classmate. 1. What are the masks used for? 2. When did the mask begin to be used in Puerto Rico? 3. Which municipals have celebrations that include the use of masks?
B. Pick a municipal that has a celebration with mask. Do research to complete the following sentences. 1. The town I picked is ______. 2. The celebration is called ______. 3. This year the dates that the celebration will be held are ______. 4. In this celebration people that wear mask will ______. 5. I would like to go to this celebration because ______.
C. Write a paragraph about mask in Puerto Rico with the information from the previous exercises. III. Vocabulary COMMUNITY MURALS are public spaces where we rescue, capture, share and preserve our histories. These works of art are instruments of holistic education that help us transform society by defining our cultures and histories. By using art as an expression of the local community, murals become visual voices that share personal and communal histories and experiences. They are public manifestations of pride, accomplishment, struggles, challenges and self-respect.
HISTORICAL PRESERVATION is a process of identifying, protecting and sharing objects and documents of historical significance. Both the Center for 12
Puerto Rican Studies Library and Archives have been consistently amassing a considerable amount of primary and secondary sources that portray the Puerto Rican communities across the United States, including Hawaii. In order to seek out to the community in general and spread the word about the importance historical preservation has to offer to our community, Centro created the Historical Preservation and Research Partnership Program. The collaboration with Maria Dominguez and Raquel M. Ortiz Rodriguez began as a historical preservation proposal for the curation and research of a select body of Dominguez’s murals to be presented to the Puerto Rican community in Lorain, Ohio in the fall of 2009. From this initial project the exhibit moved to New York City and has been shown in various cultural organizations in the area, reaching over 3,000 people. The classroom experience depicted in the documentary is also a by-product of this historical preservation initiative.
Santos de palo: Wooden, hand-carved figurines of saints or other religious figures. The santos tradition has been alive in Puerto Rico since the 16th century. Originally served a practical purpose: for home use in rural areas that had limited access to churches.
Taíno petroglyphs: These are carvings or drawings made by the indigenous people of Puerto Rico, the Taíno.
IV. María Domínguez Biographical Essay María Domínguez moved from Cataño, Puerto Rico to New York City when she was four years old. She spent the next 30 years of her life residing in the Lower East Side (LES). It was in the LES that she began her artistic career as a muralist with the organization Cityarts. In 1982 she worked as an assistant for the mural Avenue C Mural. This first experience with public art showed her the true philosophy of creating art with the community as a form of community art conceived as a collective thought, created through a collective process that ends 13 with collective ownership. 1982 was also the year that Domínguez obtained her Bachelors in Fine Arts degree from the School of Visual Arts. For the past thirty years Domínguez has dedicated a great part of her artistic work to public art. Her trajectory in public art making commissions include; "El-Views" (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. Presently, Domínguez has created twenty-one public art murals, the majority in New York City, using the process of community mural making. Dominguez embodies the definition of activist as artist. She is committed to social change and uses the visual arts to reclaim spaces, memories, and heroes. She reminds us how to “write on walls” to share memories we should never forget. Through paint we translate our thoughts, ideas, and feelings into symbols that are displayed in the shared living space of a community. Domínguez is an artist who empowers everyone she works with, helping us to learn about ourselves as we fill walls with symbols and imagery that celebrate our identities, cultures, and communities. Domínguez’ murals sing the stories of Puerto Rican migration, history, and culture as they celebrate our contributions to our new barrios. These works of art commemorate who Puerto Ricans are and celebrate a metamorphosis into collective memory facilitating a new reading of Puerto Rican histories. With a deeper understanding of our history we build up individual and communal self- respect. It is with that confidence we can continue to challenge what we think we know or have been taught. Prepared by Raquel M. Ortiz Rodríguez, Ph.D , Education Consultant, New York, NY. 2013
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V. Background Historical Essays on Community Murals El Pueblo Cantor (1994), Nuestro Barrio(1998), and Baile Bomba (1983)
El Pueblo Cantor El Pueblo Cantor (1994), located in the South Bronx on the corner of Prospect and East Tremont, is a twenty by ninety food artistic manifestation that captures the celebration of a song. The design for the mural, created by María Domínguez with students from Intermediate School 193 (I.S. 193), was based on their drawings and numerous conversations that they held with Domínguez. It offers alternative views of Puerto Rican identity to the rhythm of plena. The images transport the spectator from a gritty, gray New York City street to a colorful voyage through the Caribbean Sea, into the tropical rain forest El Yunque and rural mountain town, that was the colonial city of Old San Juan. An incredible image of a vejigante dominates the mural. This carnival personality is part of the patron saint celebration of Saint James (Santiago) in Loíza on the northeast coast of Puerto Rico. Its masks are made of a coconut shell that is painted in the traditional colors of yellow and red, reminding us of the chorus of a popular song: “El vejigante está pintaó / de amarillo y coloraó.” This fantastic vejigante is ready to leap off the wall and dance through the streets, playing pranks and celebrating life. The vejigante mask is embodied in a mural that represents the vibrant Nuyorican community. He or she has freedom to question the socio-political and religious order to the rhythm of plena, which is a musical genre often referred to as the people's “newspaper.” The vejigante mural observes a group of people singing and dancing in the middle of a colonial street in Old San Juan, possibly on their way up Calle de Cristo to celebrate a bombazo in the Plaza San José. There are three dancers: One, a fair jibarita from the mountains in typical plena dress, another a black woman from the coast in the traditional clothes of a bomba dancer and a third dancer, a mulata in traditional bomba dress with an urban look. Domínguez ingeniously incorporates a contemporary Nuyorican into the mural who 15 celebrates her African heritage by participating in an Afro-Puerto Rican dance. In the background, a fair jíbaro is formally dressed in a guayabera and white hat, playing the cuatro, that is the national instrument of Puerto Rico. To the right of the mulata is a mestizo who scratches a güiro and his head covered with a pava. His long sleeves are rolled up, proudly sporting the look of a sugar cane cutter. To his right is a mulato dressed in contemporary clothing playing the bongos, and a black man dressed in stylish urban youth fashion of the 90s, playing the pandereta. Together, the musicians and dancers compose and dance a new rhythm for a new social and cultural reality: the mountains, the coast, and the diaspora united in the capital city of San Juan as they play and sing a plena. El Pueblo Cantor incorporates a piece of New York City into the island reality it presents. The dancers and musicians invite us to not only sing with the community, but also to remember the past and prepare ourselves for an insecure future that will most likely involve a fight for space and identity. The mural captures the celebration of a song where Puerto Ricans of the diaspora are active participants in its creation, not passive listeners. Like the vejigante, the Puerto Ricans in the diaspora are ready to jump off the wall and play actively, vibrantly, and proudly in their community, carrying on traditions of oral history, regional festivals, and shared spaces with every symbolic step forward.
Information about the mural: El Pueblo Cantor (1994) is a 20’ by 90’ mural located in the South Bronx on the corner of Prospect and East Treemont. It was financed by Banco Popular of Puerto Rico and is painted on the wall of one of their branch offices. Furthermore, to a certain extent, the style of the mural coincides with the Christmas videos that Banco Popular produces and sells annually, celebrating puertorriqueñidad with music and dance. El Pueblo Cantor was created as an anti-grafitti wall with students from Intermediate School 193 (I.S. 193). The students, who were studying Puerto Rican culture, drew images that they wanted in the mural. María Domínguez created her design for the mural based on those drawings and on the numerous 16 conversations that she held with the students. After the mural was designed, the 7th and 8th graders helped paint the base and create a grid for the mural. The students fully embraced the creative process of community murals: they created a work of art for a local audience based on themes that were interesting to the community. They used art as a medium of expression with and for the community. An important part of the artwork is a long list of names of artists and participants in the creation of the mural that highlights the following students: Sammy Gil, Gabriel Sarmiento, Tito Robles, Lizbeth López, Esther Marqués, Esmeralda Pagán, Maurios Allen, Jerry Figueroa, Javette McCoy, Damian Thompson, Kedwin Díaz, Cathy Alberti, Ruby Rivadeneira, Amy Smith, Nicole Garsen, Creighton Isaac, Orlando Franco, Melinda Pagan and Thelma.
Prepared by Raquel M. Ortiz Rodríguez, Ph.D , Education Consultant, New York, NY. 2013 Nuestro Barrio Nuestro Barrio (1998), was painted on the front of the building that originally housed El Museo del Barrio’s Education Department in the heart of El Barrio on Lexington Avenue and 104th Street. This fifteen by thirty foot triptych, created by María Domínguez and a group of teens from El Barrio in the Summer Youth Employment Program, pays tribute to various community institutions and individuals that have a long history of cultivating and rescuing Puerto Rican art and culture. The panel to the right highlights Puerto Rican fine arts and literature with the images of a poet and a painter. In the upper right-hand corner, on a vibrant red background, is the portrait of Julia de Burgos (1916-1953), who lived the last years of her life in El Barrio. Her poetry, like her life, continues to be an inspiration in how to live and celebrate puertorriqueñidad in the Diaspora. The image of the poet is also a reference to the Cultural Center Julia de Burgos opened in 1998. Placed inside a window diagonal to the portrait of the revolutionary poet is 17 a reproduction of the canonic painting El pan nuestro by Ramón Frade. The image is accompanied by art material cradled by a banner with the words “Taller Boricua.” This painting can be interpreted as a reference to the canonic fine art of Puerto Rico while Taller Boricua represents a new Nuyorican reality. El Taller Boricua established a new Puerto Rican identity, embracing and celebrating an Afro-Taíno heritage. The pencil, paintbrush and paint are instruments that are used in Taller Boricua to create and share revolutionary art. They appear to tumble out of the mural and invite us to participate in a creative celebration to “eat art” with the artist. The middle panel explores El Barrio’s cultural iconic imagery: Santos de palo (wooden sculptures) of the Three Kings, images of tropical fruit and vegetables, and Taíno petroglyphs alluding to spaces and institutions built by and for Boricuas in East Harlem. It is a celebration of spaces such as La Marqueta and El Museo del Barrio and a reference to artwork made by Nitza Tufino in the subway station at 116th street. In the panel to the left the best of Puerto Rican Diasporic music is celebrated by showcasing two internationally famous El Barrio residents, Rafael Hernández and Mark Anthony. Hernández is most famous for writing the bolero “Lamento borincano,” and capturing one day in the life of a peasant so succinctly it has become Puerto Rico’s unofficial anthem. The Nuyorican salsero Marc Anthony recorded “Lamento Borincano” in 2004 as an homage to Hernández. Under their portraits, falling out of the window and into our hands are musical instruments: a conga, maraca, guitar, pandereta and a güiro with a raspador. All of these images are held in a banner labeled “The Harbor Music Conservatory.” Domínguez creates a work of art based on a past that has not been well documented and is in danger of being forgotten. By the immortalization of symbols, people, and institutions of El Barrio, this mural becomes an iconic image of the community and the artist prevents these stories from falling into oblivion. Prepared by Raquel M. Ortiz Rodríguez, Ph.D , Education Consultant, New York, NY. 2013 18
Baile Bomba María Domínguez began her career as a muralist in her own barrio of the Lower East Side. Her first public art commission, Baile Bomba (1983), was produced in conjunction with the Clinton Street Revitalization Project. The mural was a part of a community-based movement against gentrification and was painted in the Lower East Side so that those moving in would know that Puerto Ricans are still a vital part of the neighborhood. The message is of art speaking for the displaced and it resonates with Domínguez. A five-year-old María and her family, like many Puerto Ricans, found themselves displaced to the Lower East Side due to the economic hardship faced in Puerto Rico. The fifteen by twenty-five and twenty by twenty-five feet walls on Clinton Street between Houston and Stanton yell: “Bomba! A dance of spiritual revitalization… Bomba! …introduced by African slaves, Bomba, a dance of the people…the people want to dance Bomba!” (Domínguez 1992:2) The Afro-Puerto Rican imagery of bomba was chosen because it is a communal celebration. Everyone who attends a bombazo participates and becomes a dancer, musician and singer. It is an intense, magical performance between dancers and musicians that creates a dynamic dialogue between movement and sound. The baile de bomba, painted in the middle of a drug- infested neighborhood, is a metaphorical communal symbol for the preservation of barrio, space, and culture. For example, on the first wall a smiling dancer, inspired by the troupe Loisaida Folklórica, floats on the Caribbean Sea and her dress is the shape of the island of Puerto Rico. She dances to the bomba that Nuyoricans from Loisaida sing. The rhythm of their strong voices demands the preservation of their neighborhood in a call-and-response that they all create and participate in. On the second wall the dancer raises the hem of her dress, poised to tirar un paso, make a dance move, to answer the bomba drums screaming displacement and threatening the unity of the Puerto Rican community in Lower Manhattan. To her right is a vejigante mask with a European aesthetic. Out of his open mouth lyrics of a bomba may be tumbling out: “Campo yo vivo triste/ cada 19 día sufriendo más./ Ahh Díos, que será de mi? / Si no bailo está bomba me voy a morir,” (Countryside, I’m living a sad reality, every day I suffer more and more. Oh my God, what is going to become of me? If I don’t dance this bomba I’m going to die.) A ribbon wrapped around one of his horns ties him to the dancer and the beautiful community she represents, celebrates, and is trying to defend. The dancer is a clear personification of the Puerto Ricans of Lower Manhattan's battle against the talking drums of gentrification in this bombazo. Among her petticoats she cradles the ideal community that Boricuas want: a healthy, safe, vibrant space. In her outstretched hand she holds a flamboyán, which is the official flower of the island of Borinquen, as an offering of hope, symbolic of un pueblo Nuevo, a new town.
Prepared by Raquel M. Ortiz Rodríguez, Ph.D , Education Consultant, New York, NY. 2013
VI. Teaching Resources for Memories on the Wall
Section I: Print Sources on María Domínguez and Community Murals
Braun-Reinitz and Jane Weissman. 2009. On the Wall: Four Decades of Community Murals in New York City. The University Press of Mississippi, Jackson.
Cardalda Sánchez, Elsa B. y Amílcar Tirado Avilés. 2001. “Ambiguous Identities! The Affirmation of Puertorriqueñidad in the Community Murals of New York City.” Mambo Montage: The Latinization of New York. Editors Agustín Laó-Montes and Arlene Dávila. NewYork: Columbia University Press. pp. 263-289.
Cockcroft, Eva, John Weber y James Cockcroft. 1977. Towards a People’s Art: The Contemporary Mural Movement. 20
Domínguez, María. 1999. “Community Art: Catalyst for Change.” Race and Construction of the Puerto Rican Identity. New York: Baruch College.
Mendoza, R. G. and C. Torres. 1994. “Hispanic Community Murals and Social Technology.” Handbook of Hispanic Cultures in the United States: Anthropology. Editors Nicolas Kanellos and Claudio Esteva-Fabregat. Houston: Arte Publico Press. Pp. 77-84
Pocock, Philip and Gregory Battcock. 1980. The Obvious Illusion: Murals from the Lower East Side. New York: George Braziller in association with the Cooper Union for the Advancement of Science and Art.
Ortiz Rodríguez, Raquel M. “Painted Walls: Urban, Public, and Community Art in El Pueblo Cantor.” Sargasso, Lowell Fiet, Katherine Miranda (eds.), num. II: 2009/10. pp 50-62.
Ortiz Rodríguez, Raquel M. El Arte de la Identidad: Aproximacion critica al jibarismo puertorriqueno en la literature, la musica y las obras de arte. Granada: Editorial Universidad de Granada, 2011.
Section II: Web-based & audiovisual materials on, María Domínguez, Community Murals, and select Puerto Rican Muralist
Domínguez, María. “María Domínguez.” http://www.mariadominguez.com/murals.html
Vega, Manny. “Manny Vega: Byzantine Hip-Hop Visual Artist.” http://artbymannyvega.com/public
21 de la Vega, James. “De La Vega” http://www.pixelpixie.net/vega/
White, Jonothan. “ChicoArtNYC.com” http://www.chicoartnyc.com/BiogPg.html
Matunis, Joe. “Bushwick: History in the Making” http://citynoise.org/article/7072
Art Exhibit Labor, September 27, 20011 to January 6, 2012, Hunter College East Harlem Art Gallery http://centropr.hunter.cuny.edu/sites/default/files/Labor%20Photo%20Gallery/ind ex.html http://centropr.hunter.cuny.edu/about/events/labor-art-exhibit-new-centro-library- archives-home
Hernandez, Pedro Juan. “Panel V: Cultural and Social Activities.” Centro de Estudios Puertorriquenos, Hunter College. http://centropr.hunter.cuny.edu/sites/default/files/1898- 1998_PRicans_in_the_USA/Panel_V/index.html
Gotham Center for New York City History, excerpt: On the Wall: Four Decades of Community Murals in New York City. http://www.gothamcenter.org/blotter/?p=265
Ventana al Pasado Latino Digital Archives http://www.archives.nysed.gov/a/research/ventana/eng/about.shtml 22
Electronic Schoolhouse Project http://www.archives.nysed.gov/projects/escuela/eng/eschool_about.shtml.
Section IV: Sources for understanding the context of María Domínguez’s Work
Caragol-Barreto, Tanía B. 2005. “Aesthetics of exile: The construction of Nuyorican identity in the art of El Taller Boricua.” CENTRO Journal of the Center for Puerto Rican Studies, Vol XVII, num. 2, Fall 2005. 4-41. http://centropr.hunter.cuny.edu/sites/default/files/Journal/2003- 2006/Vol_17_2_2005_fall/2_Caragol_p6-21.pdf
Cartegena, Juan. 2004. “When Bomba becomes the National Music of the Puerto Rico Nation,” CENTRO Journal of the Center for Puerto Rican Studies, Vol. XVI, num. 1, Spring 2004. pp. 14-35.
Córdova, Nathaniel I. 2005. “In his image and likeness: The Puerto Rican jíbaro as political icon.” CENTRO Journal of the Center for Puerto Rican Studies, Vol XVII, num. 2, Fall 2005. 170-191. http://centropr.hunter.cuny.edu/sites/default/files/Journal/2003- 2006/Vol_17_2_2005_fall/10_C%C3%B3rdova_p170-91.pdf
Dávila, Arlene. 1997. Sponsored Identities: Cultural Politics in Puerto Rico. Philadelphia: Temple University Press.
Duany, Jorge. 2002. The Puerto Rican Nation on the Move. Identities on the Island and in the United States. 23
(Chapel Hill: The University of North Carolina Press).
Flores, Juan. 2000 "Prelude. From Bomba to Hip-Hop," From Bomba to Hip-Hop. Puerto Rican Culture and Latino Identity. New York: Columbia University Press.
Flores, Juan. 2011. “Labor of Love, Love of Labor. Work and Culture of the Puerto Rican Diaspora” in Labor. New York City: Hunter College East Art Gallery. P. 10-16.
Hernandez, Pedro Juan. 2011.“Preface: Artists’ Journey Through the Centro Archives” in Labor. 2011. New York City: Hunter College East Art Gallery. P. 6-7
Ramírez, Yasmin. 2005. “Nuyorican visionary: Jorge Soto and the evolution of an Afro-Taíno aesthetic at Taller Boricua.” CENTRO Journal of the Center for Puerto Rican Studies, Vol XVII, num. 2, Fall 2005. 22-41. http://centropr.hunter.cuny.edu/sites/default/files/Journal/2003- 2006/Vol_17_2_2005_fall/3_Ramirez_p22-41.pdf
Sevcenko, Liz. 2000. “Making Loisaida. Placing Puertorriqueñidad in Lower Manhattan.” Mambo Montage: The Latinization of New York. Editors Agustín Laó- Montes and Arlene Dávila. NewYork: Columbia University Press. pp. 293-317.
Torrella Leval, Susana, curator. 2011. “Love’s Labor Recovered” in Labor. New York City: Hunter College East Art Gallery.
Section V: Archival materials and archival collections with materials on María Domínguez and Community Murals
Archives of the Puerto Rican Diaspora. Centro de Estudios Puertorriqueños, Hunter College, CUNY.