Puerto Rico. Division of Community Education. Department of Education Search this
Extent:
1 Cubic foot (32 map folders)
Type:
Collection descriptions
Archival materials
Screen prints
Posters
Place:
Puerto Rico -- 20th century
Date:
1955-2005, undated
Summary:
Collection consists of 378 posters documenting the social, cultural, and educational issues for Puerto Rico of Puerto Rico for nearly fifty years.
Scope and Contents:
The collection consists of 378 posters, the majority of which are approximately 22" x 28" documenting social, cultural, and educational issues for Puerto Rico. The posters were widely displayed throughout Puerto Rico and provide a window into the lives of the residents for fifty years. The collection is divided into three series. Series one documents events primarily for holidays. Series two provides information relating to the type of social services available to the residents. Economic and employment issues are documented in series three.
Arrangement:
The collection is arranged into three series.
Series 1, Events, 1955-1990, undated
Series 2, Social Services, 1971-2005, undated
Series 3, Economics and Employment, 1987-1989, undated
Biographical / Historical:
The Puerto Rican Division of Community Education [DIVEDCO] provided resources primarily for the island's poor and rural residents. Created in 1949, it employed community leaders, artists, and writers to develop programs and cultural works that addressed many of the issues and concerns of the Puerto Rican community.
See: Wikipedia for more information.
Related Materials:
Archives Center, National Museum of American History
Teodoro Vidal Collection, NMAH.AC.0712
Division of Community Life Dissertation Series: Lange, Yvonne, Santos: The Household Wooden Saints of Puerto Rico, NMAH.AC.0197
Spanish Language Broadcasting Collection, NMAH.AC.1404
Goya Foods, Incorporated Collection, NMAH.AC.0694
Manuel Quiles Films, NMAH.AC.0765
Frank Espada Photographs, NMAH.AC.1395
Archives Center Business Americana Collection, NMAH.AC.0404
Graciela Papers, NMAH.AC.1425
Maidenform Collection, NMAH.AC.0585
Edward J. Orth Memorial Archives of the New York World's Fair, NMAH.AC.0560
Provenance:
The posters were donated to the Archives Center, National Museum of American History by the Archivo General de Puerto Rico through Nelly V. Cruz Rodriguez on May 19, 1997.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
(photocopy of exhibition catalog, The Poster in Puerto Rico 1946-1985, University of Puerto Rico Museum, Rio Piedras Campus)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
These programs and brochures, from a wide variety of charity events and wine auctions, are arranged alphabetically by the benefiting institution. Dennis Foley acted as coordinator, host, auctioneer, or sommelier for many of the events and his annotations provide sale prices and other information. The oversized posters of events include Un ete du Vin, KCBX, and Puerto Rico Hotel and Tourism Association Scholarship Fund.
Collection Restrictions:
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Dennis Foley Papers, 1963-2004, Archives Center, National Museum of American History.
Collection documents the personal life and professional career of Graciela Perez-Gutierrez, a well known Afro-Cuban singer. Born in Havana, she performed for over thirty years, first with the all-female Orquesta Anacaona and El Trio Garcia and then with her brother Machito before a solo career.
Scope and Contents:
Collection documents the music career of Graciela and the development of Afro Cuban jazz in the United States. It includes correspondence, music manuscripts, financial records, photographs, posters, flyers, newsclippings, and audiovisual materials. These materials primarily relate to Graciela's professional career but also include her personal papers. There is a substantial amount of material relating to other jazz artists including Machito, Mario Bauza, Celia Cruz, Gilberto Santa Rosa, Dizzy Gillespie, Tito Puente, and Chico O'Farrill. In addition, the career of Maria R. Torres (Mappy), head of production for the Afro-Cu-Bar Company and manager of Graciela's music career, is also documented. The richest portion of the collection lies in the photographic and performance materials which include social gatherings and many of the performance spaces where Afro Cuban jazz (Danzón or Salsa) developed, including The Palladium and Lincoln Center. Music festival programs related to jazz and Latin rhythms; tribute concerts; song and lyric notes and music manuscripts composed by Bobby Manrique, Lou Perez, and Lillian Gonzalez document the creative process of the music. Finally, researchers interested in Cuban and Caribbean history, immigration, and Latin internet forums for Afro Cuban jazz will find materials of value in this collection.
The collection is arranged into seven series. Series one contains Graciela's personal papers. Series two consists of incoming and outgoing correspondence. Series three has business records. Series four comprises the largest portion of the collection and contains photographic materials. Series five includes materials relating to performances. Series six contains publications and Series seven includes audiovisual materials.
Arrangement:
The collection is divided into eight series:
Series 1: Personal Papers, 1934-2010, undated
Subseries 1.1: Personal Materials, 1934-2010
Subseries 1.2: Latin American Publications, undated
Series 2: Correspondence, 1944-2010, undated
Series 3: Business Records, 1937-2008, undated
Series 4: Photographic Materials, 1938-2009, undated
Subseries 4.1: Albums, 1938-2004, undated
Subseries 4.2: Photographs, 1944-2009, undated
Recognized as Queen of Boleros, First Lady of the Afro Cuban-Jazz, Graciela Perez Gutierrez was born in La Habana, Cuba, on August 23, 1915 and died in New York, United States on April 7, 2010 at the age of 94 years. Daughter of Marta Gutierrez Izquierdo and Rogelio Perez, Graciela started her professional career in the early 1930's at the age of sixteen with the all-female group "El Septeto Anacaona" at the famous Cuban bar "Tropicana" without the permission of her father. She stayed in the group for ten years and traveled to Puerto Rico, México, Panamá, the United States, Venezuela, Colombia, and France. She performed with the "Trio Garcia" for a year mostly in the Vedado, Cuba. In 1943, she decided to join, with her stepbrother (Frank "Machito" Grillo) and brother in law (Mario Bauza) in the band called "Machito and his Afro-Cuban Jazz Orchestra." Graciela became the "First Lady of the Afro Cuban-Jazz" in the 1940's-1950's when mambo and Latin rhythms where at their peak and became accepted by American jazzmen. They performed with Dizzy Gillespie, Herbie Mann, Charlie Parker, Sarah Vaughan, Ella Fitzgerald, Nat King Cole, Lester Young, Polito Galindo, and many others. "Machito and his Afro-Cuban Jazz Orchestra" stayed together for almost 35 years and their biggest hits were: "! Si, si, No, no! ," "Ay Jose," and "Caso Perdido". At this time Graciela became a famous solo star but she preferred to stay with Machito and Mario and they made almost 70 albums with the orchestra. In 1970, Graciela left Machito's Orchestra and joined "Mario Bauza and the Afro-Cuban Orchestra" as a lead singer for 20 years. Graciela, Machito and Mario recorded many albums including: "¿Dónde estabas tú?" (Machito and his Afro-Cuban Jazz Orchestra, 1952), "Esta es Graciela" (Machito and his Afro-Cuban Jazz Orchestra, 1963), "Íntimo y sentimiental" (Machito and his Afro-Cuban Jazz Orchestra, 1965), "Yo soy así" (1972), "Sí sí no no" (Machito and his Afro-Cuban Jazz Orchestra, Mike Young, 1999), "Cubop City" (Machito and his Afro-Cuban Jazz Orchestra, Howard McGhee, Brew Moore, Flip Phillips, 2000) and "Inolvidable" (Candido & Graciela, 2004). After Mario Bauzá died (1993), she decided to retire, but she continued recording singles in a very selective way; she recorded with Chico O'Farrill, Steve Turre, and other artist. Graciela was honored by the Latin Grammy Lifetime Achievement Awards in 2007 for her pioneering career as a Latin and jazz rhythms fusionist.
Related Materials:
Materials in the Archives Center, National Museum of American History
Charismic Productions Records of Dizzy Gillespie (NMAH.AC0979)
Chico O'Farrill (NMAH.AC0892)
Tito Puente Papers (NMAH.AC0894)
Paquito D'Rivera Papers (NMAH.0891)
Mongo Santamaria Papers (NMAH.AC0893)
Leonard Gaskin Papers (NMAH.AC.0900)
W. Royal Stokes Collection of Music Photoprints and Interviews (NMAH.AC0766)
Separated Materials:
Division of Cultural and Community Life, National Museum of American History
Dress, Accession number: 2018.0078.01
Dress, Accession number: 2018.0078.02
Dress, Accession number: 2018.0078.03.01
Jacket, Accession number: 2018.0078.03.02
Dress, Accession number: 2018.0078.04
Ring, Accession number: 2018.0078.05
Ring, Accession number: 2018.0078.06
Bracelet, Accession number: 2018.0078.07
Painting of Graciela by Erich Padilla, Accession number: 2018.0078.08
Print of Ballerina, owned by Graciela, Accession number: 2018.0078.09
Print of Three Birds, owned by Graciela, Accession number: 2018.0078.10
Latin Grammy awarded to Graciela in 2006, Accession number: 2018.0078.11
50 Years of Cuban Music Plaque, Accession number: 2018.0078.12
Microphone with case, Accession number: 2018.0078.13
Bible, Accession number: 2018.0078.14
Cigar box, Accession number: 2018.0078.15
Eyeglasses, Accession number: 2018.0078.15.01
Fan, Accession number: 2018.0078.15.02
Badges, Accession number: 2018.0078.15.03
Badge from Jazz '92, Accession number: 2018.0078.15.04
Artist Badge, Heimatklange 1992 Carnevale Caribe, Accession number: 2018.0078.15.05
Provenance:
Collection donated by Lisa Sokolov, 2017.
Restrictions:
Collection is open for research. Gloves must be worn when handling unprotected photographs and negatives. Special arrangements must be made to view some of the audio-visual materials. Contact the Archives Center at 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection consists of photographic materials taken by Frank Espada, mostly images from the Puerto Rican Diaspora Documentary Project, which documents these communities across the Unites States. In addition, there are materials relating to his earlier work documenting civil rights activities and HIV/AIDS awareness, also in the United States during the 1960s, 1970s, and 1980s.
Scope and Contents:
Photographs and negatives taken by Frank Espada, mostly images from his most well-known body of work, The Puerto Rican Diaspora Documentary Project, which consists of several hundred prints and thousands of negatives of Puerto Rican communities across the Unites States. The purpose the project was to establish the national presence of Puerto Ricans in the United States, to celebrate Puerto Rican culture and Latinidad, and to make a political statement.
Arrangement:
Collection is arranged into five series.
Series 1: Puerto Rican Diaspora Documentary Project, 1962-2008, undated
Sub-Series 1.1: Photographic and Digital Prints, 1962-1986, undated
Sub-Series 1.2: Proofs, 1979-1986, undated
Sub-Series 1.3: Contact Sheets and Negatives, 1964-1987, undated
Sub-Series 1.4: Interviews, 1980-1982, undated
Sub-Series 1.5: Site Notebooks, 1981-1985, undated
Series 2: Civil Rights Era Materials, 1963-1974, undated
Sub-Series 2.1: Black and White Prints, 1963-1974, undated
Sub-Series 2.2: Proofs, Negatives, and Contact Sheets, 1963-1968
Sub-Series 2.3: Slides, 1969
Series 3: Personal Papers, 1966-2007, undated
Series 4: Out of School Youth (OSY) Project, 1989
Series 5: Youth Environment Study (YES) Project, 1989-1991
Biographical / Historical:
Francisco Luis Espada Roig, later known as Frank Espada, was born in Utuado, Puerto Rico in December 1930. He and his family migrated to New York City in 1939. He attended public school and after high school, briefly attended City College of New York. In 1949, he joined the Air Force.
In 1952 he married his wife, Marilyn. They had three children, Lisa, Jason, and Martin. Espada began working for an electrical contractor to provide for his family, a job he would hold for ten years.
There followed a second stint in the Air Force, during the Korean War, and then, in 1954, Espada began attending the New York Institute of Photography on the GI Bill. In the late 50s and early 1960s, influenced by mentors such as important New York-based photographers Dave Heath and the legendary W. Eugene Smith, Espada became intent on pursuing what he called his "first love," documentary photography, but this dream had to be delayed.
From the early 60s on, he became heavily involved in the New York community and the Civil Rights Movement, organizing voter registration drives, rent strikes, and marches for civil rights. He photographed many subjects in New York throughout the 1950s and 1960s, including the civil rights era. Because he was close to Puerto Rican activists and communities, he photographed these as well.
In the 1970s, he was a Ford Foundation Fellow working with the Drug Abuse Council. In 1979, with a grant from the National Endowment for the Humanities, he was finally able to receive income from photography. This fellowship allowed him to pursue his "life-long dream of shooting a major documentary" on the Puerto Rican diaspora. He documented Puerto Rican communities and the Puerto Rican experience around the United States, including Hawaii and Guam.
In 1985, Espada moved to San Francisco and was given the opportunity to teach at the UC Berkeley Extension Program. He discovered that he loved to teach, which resulted in what he referred to as "eighteen of the best years of my life," and he was revered by his students.
In 1989 he joined forces with the Youth Environment Studies (YES), documenting the growing HIV/AIDS epidemic. In 2005 he retired from teaching and continued working on his book, encompassing his documentation of Puerto Rican communities. The Puerto Rican Diaspora: Themes in the Survival of a People, reproducing many of his photographs with his incisive, poignant text was published in 2007, twenty-eight years after the Diaspora project had begun.
Frank Espada was an activist for justice and an important documentary photographer in the "socially conscious" tradition, who wrote: 'The purpose of showing my work is to get young people thinking, to stimulate their minds and hearts, to make conditions known, and to attack injustices wherever they exist."
In his later years, he turned to color photography and landscapes for personal artistic expression. He passed away in February of 2014 from a heart problem.
Materials at Other Organizations:
Duke University Libraries
Frank Espada papers and photographs, 1946-2010 and undated, bulk 1975-2010
The Frank Espada Papers and Photographs collection consists largely of photographic prints, contact sheets, proofs, and negatives, chiefly dating from the mid-1970s through 2010, relating to Espada's Puerto Rican Diaspora Documentary Project, his project work on indigenous Chamorro communities in Micronesia, primarily in Guam, Tinian, and Saipan, and his work documenting HIV/AIDS outreach and education in San Francisco. The largest body of materials, which includes photographs as well as manuscripts and recorded interviews, derives from Espada's work with the Puerto Rican communities which spanned several decades. A smaller group of materials, nineteen prints, associated contacts and negatives and several folders of documents, were created through Espada's activism in the Civil Rights Movement for voter registration and school desegregation in New York City from 1962-1970.
Other materials include research files on documentary topics he was currently investigating; materials used in preparation for his many photography project exhibits, large and small; teaching syllabi and notes from his photography courses; awards and memorabilia; and other manuscript and printed materials from his career in photography.
Library of Congress, Prints & Photographs
The Puerto Rican diaspora, between 1979 and 1981
83 photographic prints
Detroit Institute of Arts Research Library and Archives
[Frank Espada: artist file]
1 folder. Folder may contain clippings, press releases, brochures, reviews, small exhibition catalogs, resumés, other ephemera.
Related Materials:
Archives Center, National Museum of American History
Collection was purchased from Frank Espada's son Jason Espada with funds from the Latino Initiatives Pool.
Restrictions:
Collection is open for research. Some ethnographic materials in this collection are restricted because participants did not sign release forms. Restricted materials are part of series 4 and housed in boxes 57 and 59. Material may not be accessed or used until 2064.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Frank Espada Photographs, circa 1962-2008, Archives Center, National Museum of American History.
Sponsor:
This collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center, and the funds were used to purchase the collection from Jason Espada.
Goya Foods, Inc., supported the cultural life of various communities in the United States and Puerto Rico. The company's current headquarters is in Secaucus, New Jersey. Photographs, calendars, sales promotional materials, cookbooks, packaging, and news clippings. Photographs depict primarily company sponsored events, but a few are family pictures.
Scope and Contents:
The Goya Foods, Incorporated Collection documents the history of the company from the 1960s to 2000. (A few earlier documents pertaining to Unanue and Sons and family photographs can be found in the collection, as well.) Materials include photographs, calendars, sales promotional materials, cookbooks, recipe packages, point-of-purchase items, and box and can labels, scrapbooks, and clippings files. Sound recordings, televisions advertisements, and anniversary video productions are also included. The material documents sales meetings, plant activities, and workers' events as well as the office life of the company and the philanthropic efforts and community activities of Goya Foods, Incorporated.
Series 1, History and Biography 1960s-1990s, includes photographs and biographies of the Unanue family members. Also includes company anniversary programs.
Series 2, United States Publicity Materials, 1970-2000, undated, contains extensive files of news clippings (compiled by an outside agency) arranged in chronological order. Also, press releases and publicity materials and copies of the newsletter La Voz Femenina[2], 1982-1989.
Series 3, United States Photographs, 1960s-1990s, includes photographs of Goya "sponsored" activities, which took place in the United States. The majority of the photos are unlabeled and undated. The series is divided into twelve subseries.
Subseries 3.1, Parades and Festivals, 1966-1999, include parades and festivals which Goya participated in, mainly in New York City and New Jersey. For many parades, Goya created a special float for participants to ride on. Many parades feature pageant contestants (see Subseries D). Tito Puente is a frequent performer.
Subseries 3.2, Parties and Banquets, 1970s-1990s, include many of the banquets and parties included are related to the various parades and pageants, this may or may not be obvious from looking at the photographs. Also included are employee parties.
Subseries 3.3, Community Events, 1970s-1990s, Goya prides itself on its civic work within the Hispanic communities of the United States. This subseries reflects many of the events Goya has sponsored or been a part of, including its support of the Manhattan Valley Golden Age Senior Center and Casa de Don Pedro, a home for children.
Subseries 3.4, Pageants, 1980s-1990s, include beauty pageants sponsored throughout the 1980s and 1990s, usually associated with a community parade (for example, a Dominican Parade Pageant). Sometimes the photos from the pageants and related events are included, though the parades themselves can be found in Subseries A.
Subseries 3.5, Employees, Plants, and Offices, 1960s-1990s, include photographs of Goya employees (both line workers and executives), offices, and plant facilities. Events in which employees participated (dances, parties, and picnics) are included here.
Subseries 3.6, Awards, 1970s-1990s, include awards given to the Unanues or Goya Foods, Incorporated by various organizations and awards given to others by Goya.
Subseries 3.7, Celebrities, 1980s-1990s, mainly events with celebrities in attendance. Prominent people include: Cardinal Cooke, Gloria Estefan, Michael J. Fox, Ed Koch, Spike Lee, David Letterman, Olga Elena Mattei, and Tito Puente.
Subseries 3.8, Sporting Events, Teams, and Awards, 1970s-1990s, soccer, baseball, bowling, volleyball, and softball teams are included, as well as little league teams and sporting workshop participants (mainly children with "professional" players). Teams are mostly Goya sponsored, though some professional players appear.
Subseries 3.9, Concerts, 1980s-1990s, include Tito Puente, Eddie Palmieri, and Willie Colón concerts at Penns Landing, plus multi-city Festival de Musica Goya, 1990.
Subseries 3.10, Trade Shows, 1966, 1980s, include Food expositions, trade shows, and demonstrations.
Subseries 3.11, Travel, 1970s-1990s, trips taken by [presumably] Goya employees. Santo Domingo, Peru, and Haiti were destinations.
Subseries 3.12, Unidentified, 1970s-1990s
Sub-subseries 3.12.1, Parade related events, 1980s-1990s
Sub-subseries 3.12.2, Other, 1970s-1990s
Series 4, United States Corporate Materials, 1960s-1990s, includes product labels and packaging, advertising materials, press kits, and memos.
Series 5, Puerto Rican Publicity Materials, 1980s-2000, consists of publications arranged chronologically within each title.
Series 6, Puerto Rican Photographs, 1960s-2000; undated, include photographs documenting events sponsored by Goya in Puerto Rico. The majority of the photographs were not identified or dated. The items that could be identified were arranged by subject including parades, parties, banquets, community events, employees, plants, offices, award ceremonies, sporting events, travel and products.
Subseries 6.1, Parades, 1977, include images from one parade, Reina el Dario la Prenza.
Subseries 6.2, Parties and Banquets, 1970-1996, primarily document employee parties.
Subseries 6.3, Community Events, 1972-1999; undated, documents Goya's involvement with the Puerto Rican community and some of the events that the company sponsored.
Subseries 6.4, Employees, Plants, and Offices, 1961-1999, undated, include images of Goya employees (both line workers and executives), offices, and plant facilities. Events in which employees participated (dances, parties, and picnics) are included here.
Subseries 6.5, Awards, 1970s-1996; undated, awards given to the Unanues or Goya Foods, Incorproated by various organizations and awards given to others by Goya.
Subseries 6.6, Sporting Events, Teams, and Awards, 1970s, contains one (1) folder of sporting events and teams sponsored by Goya.
Subseries 6.7, Travel, 1960s; undated, document trip(s) taken by [presumably] Goya employees primarily to Boca Cagrejos and Puerto Rico.
Subseries 6.8, Products, 2000, undated, contain images of Goya products and of a photograph shoot for an advertisement.
Series 7, Puerto Rican Corporate Materials, 1970s-2000, included are office forms, blank letterhead, advertising materials, press kits, annual reports, and newsletters.
Series 8, Audiovisual Materials, 1990s; undated, consists of commercials and biographical programs on the Unanues. ** No reference copies exist for most audiovisual materials; please see the Reference Archivist for availability in viewing.
Arrangement:
The collection is arranged in eight (8) series:
Series 1, History and Biography 1960s-1990s,
Series 2, United States Publicity Materials, 1970-2000; undated
Series 3, United States Photographs, 1960s-1999; undated
Subseries 3.1, Parades and Festivals, 1966-1999
Subseries 3.2, Parties and Banquets, 1970s-1990s
Subseries 3.3, Community Events, 1970s-1990s
Subseries 3.4, Pageants, 1980s-1994
Subseries 3.5, Employees, Plants, and Offices, 1960s-1990s
Subseries 3.6, Awards, 1970s-1990s
Subseries 3.7, Celebrities, 1980s-1990s
Subseries 3.8, Sporting Events, Teams, and Awards, 1970s-1990s
Subseries 3.9, Concerts, 1987-1990; undated
Subseries 3.10, Trade Shows, 1966-1994; undated
Subseries 3.11, Travel, 1970s-1996
Subseries 3.12, Unidentified, 1970s-1990s
Sub-subseries 3.12.1, Parade related events, 1983-1993
Sub-subseries 3.12.2, Other, 1970s-1992; undated
Series 4, United States Corporate Materials, 1960s-1990s
Series 5, Puerto Rican Publicity Materials, 1980s-2000
Series 6, Puerto Rican Photographs, 1960s-2000; undated
Subseries 6.1, Parades, 1977
Subseries 6.2, Parties and Banquets, 1970-1996
Subseries 6.3, Community Events, 1972-1999, undated
Subseries 6.4 Employees, Plants, and Offices, 1961-1999, undated
Subseries 6.5, Awards, 1970s-1996, undated
Subseries 6.6, Sporting Events, Teams, and Awards, 1970s
Subseries 6.7, Travel, 1960s, undated
Subseries 6.8, Products, 2000, undated
Series 7, Puerto Rican Corporate Materials, 1970s-2000; undated
Series 8, Audiovisual Materials, 1990s, undated
Biographical / Historical:
Prudencio Unanue (1886-1976) was born in the Basque region of northern Spain. He immigrated to the island of Puerto Rico in 1902 and married Carolina Casal (1890-1984) in 1921. In 1916, he moved to New York where he studied business and worked for a customs agency. Missing the tastes and smells of home cooking, the Unanues believed that there was an expanding immigrant market for the ingredients of "authentic Spanish cuisine." In 1936, they opened Unanue, Incorporated, a warehouse on Duane Street in lower Manhattan, to supply corner stores or bodegas. Over thirty years, the Unanue and Sons import business grew tremendously. Eventually, the business began to do its own food processing, canning, and packaging. In 1958, Goya Foods bought its first factory in Brooklyn, New York.
The Unanues and Sons Company purchased the name "Goya"[1] in 1936 from a Moroccan sardine supplier for one dollar. In 1946, the company changed its name to Unanue and Sons, Incorporated. It assumed the name Goya Foods, Incorporated in 1961, although it had used the name Goya for its products since 1936.
Goya Foods Company continued to innovate, pioneering television advertising in Puerto Rico. During the 1960s, Goya Foods sought out opportunities to expand its customer base as larger numbers of Caribbean immigrants moved into the United States. By sponsoring music festivals, sports teams, and other activities Goya Foods supported the cultural life; parades, beauty pageants, festivals, of various communities in the United States and Puerto Rico.
In 1974, Goya Foods moved to its current office headquarters and factory building in Secaucus, New Jersey. By 2000, Goya owned factories in upstate New York, California, Illinois, New Jersey, Massachusetts, Texas, Florida, as well as Puerto Rico, the Dominican Republic, and Spain.
Footnotes:
[1] Francisco de Goya (1746-1828) was an influential Spanish artist whose paintings reflected the historical upheavals of his time. For many, the art of Francisco de Goya truly revealed Spain because he painted all of its people.
[2] Note that words in Spanish are set off in italics; periodical titles are underlined.
Related Materials:
Government of Puerto Rico Division of Community Education Posters, Teodoro Vidal Collection, and Tito Puente Papers.
Separated Materials:
The Division of Culture and the Arts (now Division of Cultural and Community Life) holds items related to this collection including promotional items, display props, a neon sign, products and containers, and clothing. See accession number, 1999.3017.
Provenance:
This collection was donated to the National Museum of American History in 1999 by Goya Foods, Inc. through Rafael Toro, Director of Public Relations.
Restrictions:
The collection is open for research use.
Physical Access: Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Technical Access: Do not use when original materials are available on reference video or audio tapes.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.
In this early design, Maldonado employs dramatic cropping and a close-up of the horse's white legs in imitation of angular filming techniques. The 1955 film tells the story of a small tobacco farmer who faces operational and economic problems, but who is able to free himself from the exploitation of a loan shark by receiving assistance from a grower's cooperative. (From exhibition text by Marvette Perez.)
Local Numbers:
AC0615-0000023.tif (AC Scan)
1997.3100.19 (Museum Cat. No.)
Exhibitions Note:
In the exhibition "Posters from the Division of Community Education (DIVEDCO) of Puerto Rico, 1948-1989," Sept. 17, 2008-Jan. 18, 2009, at the Smithsonian's S. Dillon Ripley Center.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.
This dramatic poster depicting a male silhouette with a chest x-ray promoted the 1964 film, "Hope," which educated communities about tuberculosis prevention and treatment. The symbol for tuberculosis placed behind the male figure, is a modified version of the cross of Lorraine, signalizing the "crusade" against tuberculosis. (From exhibition text by Marvette Perez.)
Local Numbers:
AC0615-0000010.tif (AC Scan)
1997.3100.20 (Museum Cat. No.)
Exhibitions Note:
In the exhibition "Posters from the Division of Community Education (DIVEDCO) of Puerto Rico, 1948-1989," Sept. 17, 2008-Jan. 18, 2009, at the Smithsonian's S. Dillon Ripley Center.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.
This movie poster depicts a drop of blood as a stylized, vertigo-like spiral. The documentary promotes and demonstrates the processes of blood donation and even depicts a caesarean section to convince the public of the urgency to donate blood. (From exhibition text by Marvette Perez.)
Local Numbers:
AC0615-0000040.tif (AC Scan)
1997.3100.22 (Museum Cat. No.)
Exhibitions Note:
In the exhibition "Posters from the Division of Community Education (DIVEDCO) of Puerto Rico, 1948-1989," Sept. 17, 2008-Jan. 18, 2009, at the Smithsonian's S. Dillon Ripley Center.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.
![View Puerto Rico Division of Community Education [DIVEDCO] Poster Collection digital asset: Finding aid](https://ids.si.edu/ids/deliveryService?max=120&id=https://sirismm.si.edu/siris/findingaid.gif "Finding aid")
