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                  <text>Idar, Eduardo</text>
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                <text>Rev. Addie and Rev. Claude Wyatt Papers, Box346, Photo 040, Vivian G. Harsh Research Collection of Afro-American History and Literature, Chicago Public Library.</text>
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                  <text>&lt;p&gt;&lt;a href="https://www.youtube.com/watch?v=09q9B5oy870&amp;amp;list=PLIXOFTxfP8OUwvSGu2F14l9_ol1Pk1YOW&amp;amp;index=7&amp;amp;t=45s"&gt;&lt;span style="font-weight: 400;"&gt;Presentation video&amp;nbsp;&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://www.youtube.com/watch?v=z4Is8ZBSWxw&amp;amp;list=PLIXOFTxfP8OUwvSGu2F14l9_ol1Pk1YOW&amp;amp;index=19"&gt;&lt;span style="font-weight: 400;"&gt;Presentation video 2&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;Fighting Fascist Spain -- The Exhibits (FFSTE) is a digital project that recovers and preserves U.S. Hispanic antifascist print culture (periodicals, communities, theatre, and graphic art) with the goal of documenting victims, fighters, and survivors of Spanish fascism and their allies. FFSTE expresses historical justice by amplifying antifascists' voices and perspectives.&lt;/p&gt;&#13;
&lt;p&gt;Director and Curator: &lt;a href="https://montsefeu.wixsite.com/montsefeu"&gt;Montse Feu&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;b&gt;Other repositories&lt;/b&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://www.youtube.com/playlist?list=PLIXOFTxfP8OUwvSGu2F14l9_ol1Pk1YOW"&gt;Fighting Fascist Spain - YouTube&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;&#13;
&lt;p&gt;Arte Público Hispanic Historical Collection Database (EBSCO),&lt;/p&gt;&#13;
&lt;p&gt;Hispanic American Newspapers Database (Readex), and the&lt;/p&gt;&#13;
&lt;p&gt;Recovering the U.S. Hispanic Literary Heritage, University of Houston.&lt;/p&gt;&#13;
&lt;h6&gt;How to cite the project: Montse Feu. "Fighting Fascist Spain --The Exhibits." Recovering the US Hispanic Literary Heritage Digital Collections. http://usldhrecovery.uh.edu/exhibits/show/fighting-fascist-spain--the-ex. Accessed [DATE].&amp;nbsp;&lt;/h6&gt;&#13;
&lt;h6&gt;Funded by 2020 Grants-in-aid of the US Latino Digital Humanities (USLDH) program, 2021 FAST SHSU Award, and 2022 Pilot SHSU grant.&lt;/h6&gt;&#13;
&lt;h6&gt;This site is for educational and research purposes only **FAIR USE** Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education, and research.&lt;/h6&gt;</text>
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                  <text>&lt;a href="https://usldhrecovery.uh.edu/exhibits/show/fighting-fascist-spain--the-ex"&gt;Fighting Fascist Spain -- The Exhibits&lt;/a&gt;</text>
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                  <text>Frente Popular (New York, 1936-1939); &#13;
España Libre (New York, 1939-1977);&#13;
Ibérica (New York, 1953-1974)</text>
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                  <text>Alonso S. Perales, one of the greatest Latino civil rights leaders ever, was one of the first Latino public intellectuals to master the use of the media in pioneering efforts to track and report on discrimination. Over the course of forty years of activism, during the 1920s to 1960, Perales wrote a weekly column in San Antonio’s La Prensa newspaper, the periodical with the greatest and most extensive circulation; had a radio program; published books; and maintained an unheard of level of correspondence, writing daily as many as ten letters to the authorities, civil rights activists and just everyday folk. One campaign he maintained over many years was his use of the periodicals and radio program to invite victims and witnesses of discrimination to document the cases in letter form and send them to him at his San Antonio law office. He would abstract these testimonies in his newspaper columns and radio programs and use them as evidence to demand corrective action and policy changes from government at every level. In the Alonso S. Perales archive hundreds of these letters have been preserved; many of them were written by hand by working-class people who were most likely to suffer the indignities and denial of services because they were Mexicans or Latinos. Because La Prensa and Perales’ network was so broad, the letters came not only from throughout Texas and the Southwest but from as far north as North Dakota and east as the Carolinas. The record is diverse in documenting everything from barbers refusing to cut hair to schools that would not allow Mexican families to register their children. The Perales collection of correspondence is one of the very few documentary sources that precisely date, locate and describe the instances of segregation, violence and racism experienced by Latinos over a long period of time: names are named, addresses noted and alleged crimes publicized; in most cases, however, these acts were committed with impunity, but the informal history and conscience of la raza was recording them. And now, the researchers of posterity can study and reference them in writing a truer history of the United States, and communities can become aware of these acts in developing laws and policy.</text>
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                  <text>Alonso S. Perales, uno de los líderes latinos más importantes de derechos civiles, fue uno de los primeros intelectuales públicos en dominar el uso de los medios de comunicación y  pionero en dedicar esfuerzos a rastrear y denunciar instancias de discriminación. A lo largo de cuarenta años de activismo, durante las décadas de 1920 hasta 1960, Perales escribió columnas semanales en el periódico La Prensa de San Antonio, el diario con la mayor y más extensa circulación de ese período; además tuvo un programa de radio; publicó libros; y mantuvo una extensa correspondencia, escribiendo hasta diez cartas diarias dirigidas a autoridades, activistas de derechos civiles y gente en general. Perales impulsó una campaña, que mantuvo durante muchos años, donde a través de publicaciones en periódicos y su programa de radio invitaba a las víctimas y testigos de actos de discriminación a documentar estos casos en forma de cartas y a enviárselas a su despacho de abogados de San Antonio, Texas. Perales resumía estos testimonios en sus columnas periodísticas y programas de radio y los utilizaba como prueba para exigir medidas correctivas y cambios de política al gobierno a todo nivel. En el archivo de Alonso S. Perales se conservan cientos de estas cartas; muchas de ellas escritas a mano provenientes en su mayoría de la clase trabajadora que tenía más probabilidades de sufrir humillaciones y negación de servicios por ser mexicanos o latinos.&#13;
Como la red de La Prensa y de Perales eran tan amplias, las cartas vinieron no solo desde Texas y del suroeste sino también desde lugares tan al norte como Dakota del Norte y del este como Carolina del Sur y Carolina del Norte. El material es variado y documenta desde barberos que se negaban a cortar el pelo hasta escuelas que no permitían a las familias mexicanas matricular a sus hijos. La colección de correspondencia de Perales es una de las escasas fuentes documentales que datan, localizan y describen con precisión los casos de segregación, violencia y racismo sufridos por los latinos durante un largo periodo de tiempo: se citan nombres, se anotan direcciones y se publicitan presuntos delitos; en la mayoría de los casos, sin embargo, estos actos se cometían con impunidad, pero la historia informal y la conciencia de la raza los registraban. Y ahora, los investigadores de la posteridad pueden estudiarlos y hacer referencia a ellos al escribir una historia más verdadera de Estados Unidos, y las comunidades pueden tomar conciencia de estos actos al momento de elaborar leyes y políticas.</text>
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                <text>Revised Letter: To Sr. Lic. Alonso S. Perales, San Antonio, Texas, From Jose Caballero, Grafton, North Dakota, June 9, 1947</text>
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                <text>Letter from Jose Caballero asking Perales to publish a letter in the local Grafton, North Dakota newspaper describing the discrimination in that city. Caballero also asks Perales to speak with a company recruiter to request that he stop sending men to Grafton due to this discrimination.</text>
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                <text> To Sr. Lic. Alonso S. Perales, San Antonio, Texas, From Jose Caballero, Grafton, North Dakota, June 9, 1947</text>
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                <text>Revolución Illustration </text>
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          <element elementId="49">
            <name>Subject</name>
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                <text>ART</text>
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                <text>LATINO Americans</text>
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                <text>POLITICAL participation</text>
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                <text>MEXICAN Americans</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Ink illustration for Caracol magazine, ca. 1978, signed "ASH"</text>
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          <element elementId="39">
            <name>Creator</name>
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                <text>de Hoyos, Angela</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Caracol magazine</text>
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            <name>Date</name>
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            <name>Format</name>
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                <text>hoya0013</text>
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            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>SAN Antonio (Tex.)</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="71226">
                <text>Items in this collection may be under copyright. Please contact apprec@central.uh.edu for more information.</text>
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            <name>Transcription</name>
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                <text>Revolución&#13;
"-stage. They sit holding hands as the lights go on. Music begins to play."</text>
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        <name>Revistas Políticas</name>
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  <item itemId="4761" public="1" featured="0">
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        <src>http://usldhrecovery.uh.edu/files/original/32/4761/LULA0042.jpg</src>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="43502">
                  <text>Newspaper articles about LULAC</text>
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            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
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                  <text>Hispanic American periodicals</text>
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                  <text>Sports stories, American</text>
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                  <text>Baseball</text>
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                <elementText elementTextId="57944">
                  <text>Basketball teams</text>
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                  <text>Sports for women</text>
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              </elementTextContainer>
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            <element elementId="39">
              <name>Creator</name>
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              <elementTextContainer>
                <elementText elementTextId="57946">
                  <text>Idar, Eduardo</text>
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                <elementText elementTextId="57947">
                  <text>Ozona Council No.28, LULAC</text>
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            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="57949">
                  <text>Hispanic American Newspapers, Recovering the US Hispanic Literary Heritage. </text>
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              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="57950">
                  <text>La Prensa</text>
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                <elementText elementTextId="57951">
                  <text>El Defensor</text>
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              <name>Date</name>
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              </elementTextContainer>
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            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="57954">
                  <text>Arte Público Press</text>
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            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
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              <name>Language</name>
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              <name>Identifier</name>
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                  <text>LULAC0000</text>
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              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                  <text>San Antonio, Texas</text>
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                  <text>Edinburg, Texas</text>
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                  <text>Laredo, Texas</text>
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                <elementText elementTextId="57962">
                  <text>Robstown, Texas</text>
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                  <text>Del Rio, Texas</text>
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                <elementText elementTextId="57964">
                  <text>Austin, Texas</text>
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                  <text>Ozona, Texas</text>
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                  <text>Brownsville, Texas</text>
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                  <text>Hebronville, Texas </text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>This collection includes newspaper articles from various Hispanic American newspapers that mention the activity of the League of United Latin American Citizens (LULAC), including activism, fundraising and their involvement in sports. It includes the names of several LULAC members and information about their meetings throughout the state of Texas.</text>
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          <element elementId="43">
            <name>Identifier</name>
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              <elementText elementTextId="54616">
                <text>LULA0042</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="54617">
                <text>Rio Grande City repartición de leche a los escolares</text>
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            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="54618">
                <text>La Prensa</text>
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            <name>Date</name>
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                <text>1932-11-3</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>"Rio Grande City repartición de leche a los escolares." La Prensa, 3 November 1932, p. 5.</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Article reporting that the Red Cross, Masons, and Knights of Columbus worked together to donate milk to school children as they are underweight and lack nutrients. LULAC is preparing a festival to celebarate the Armistice and the money earned from that event will be donated to children in need. </text>
              </elementText>
              <elementText elementTextId="54622">
                <text> La Cruz Roja, Los masones, y los Caballeros de Colón colaboraron para donar leche a los niños de las escuelas porque presentan poco peso y carecen de nutrientes. LULAC está preparando un festival para celebrar los Armistice y el dinero ganado de ese evento será donado a los niños necesitados.</text>
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          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="54623">
                <text>Hispanic American periodicals</text>
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              <elementText elementTextId="54624">
                <text> Charity</text>
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              <elementText elementTextId="54625">
                <text> Hispanic Americans--Politics and government</text>
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                <text> Mexican Americans--Civil rights</text>
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              <elementText elementTextId="54627">
                <text> Mexican American civic leaders</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Rio Grande City (Tex.)</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Spanish</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="54632">
                <text>PDF</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="72600">
                <text>Items in this collection may be under copyright. Please contact apprec@central.uh.edu for more information.</text>
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        <name>LULAC</name>
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  <item itemId="3840" public="1" featured="0">
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        <src>http://usldhrecovery.uh.edu/files/original/29/3840/Valdes0014.jpg</src>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Las “Estampas de Harlem” de José Valdés Cadilla en &lt;em&gt;La voz&lt;/em&gt; (1938)/ "Sketches of Harlem" by José Valdés Cadilla in &lt;em&gt;La voz&lt;/em&gt;.</text>
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              <name>Subject</name>
              <description>The topic of the resource</description>
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                  <text>Prensa en español&#13;
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                  <text>Humor gráfico, sátira, etc.</text>
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                  <text>Cartoons, satire, etc.</text>
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            <element elementId="41">
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                  <text>Colección de 18 viñetas del dibujante José Valdés Cadilla. Esta colección se publicó en el periódico &lt;em&gt;La voz&lt;/em&gt; de Nueva York entre marzo y julio de 1938. Casi todas las imágenes vienen acompañadas de un texto escrito que ayuda a explicar las sutilezas de la escena. Trece de estas imágenes forman parte una colección titulada “Estampas de Harlem” y son escenas costumbristas, irónicas, críticas y/o humorísticas que retratan a los vecinos del barrio. Estas viñetas documentan la vida cotidiana y también los retos y logros de esa vecindad mayoritariamente hispana y latina. Cuatro dibujos conmemoran fechas y eventos especiales: el séptimo aniversario de la República Española, el homenaje a las madres españolas, el segundo aniversario de la Guerra Civil o el primero de Mayo. El retrato de Fernando de los Ríos es una imagen inédita que pertenece a una colección particular. &lt;br /&gt;Los pocos datos que se conocen sobre José Valdés Cadilla provienen del censo de los Estados Unidos. Nació en San Juan (Puerto Rico) en 1908, su madre era puertorriqueña y su padre español. José y sus cuatro hermanxs se quedaron huérfanos muy pronto y se mudaron a vivir a Arecibo con unos tíos. En los años treinta Valdés Cadilla vivía en Nueva York y en 1953 seguía residiendo en la ciudad, pues fue el pintor encargado de dibujar un fresco alegórico para las honras fúnebres de Julia de Burgos. &lt;span&gt;El periódico &lt;em&gt;La voz&lt;/em&gt; lo describe como un "bohemio consuetudinario en perenne regeneración, Valdés Cadilla ha vivido de cerca la tragedia de muchos hispanos en esta Babel inmisericorde y sabe como pocos del duro aguijonazo del dolor neoyorquino.” (&lt;em&gt;La voz&lt;/em&gt; 1938-03-26, p. 12). &lt;/span&gt;Hasta el momento, ha sido imposible localizar ningún otro dato sobre este dibujante de gran talento, creador de esta magnífica breve colección de viñetas que ofrecen una singular panorámica costumbrista de Harlem en los años treinta.&lt;br /&gt;&lt;em&gt;La voz&lt;/em&gt; describe así esta colección de documentos: "Es esta una valiosa colección de "Cuadros costumbristas de Harlem", representativos de escenas, personajes y costumbres típicas del corazón hispano de Nueva York. En ellos se plantea, con sobriedad de rasgos y riqueza de expresión, muchos de los graves problemas que aquejan a la colectividad y cuya solución se hace cada día más imperiosa. También se exhiben, con el sano propósito de combatirlos, algunos de los vicios imperantes en determinados ambientes y que son comunes a todo conglomerado humano" (&lt;em&gt;La voz&lt;/em&gt;, 1938-3-26,p. 12)</text>
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                  <text>&lt;strong&gt;Cómo citar este proyecto: Ana María Díaz-Marcos. "Las ʽEstampas de Harlemʼ de José Valdés Cadilla en &lt;em&gt;La Voz&lt;/em&gt; (1938)" Recovering the US Hispanic Literary Heritage Digital Collections. http://129.7.224.3/collections/show/29. Acceso [FECHA].&lt;/strong&gt;</text>
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                <elementText elementTextId="39045">
                  <text>A collection of eighteen sketches by José Valdés Cadilla. This collection was published in the newspaper &lt;em&gt;La voz&lt;/em&gt; (New York) from April through July of 1938. Every image is accompanied by a written description that helps explain the nuances within the drawing. Thirteen of the images are part of a collection entitled “Estampas de Harlem” (“Scenes from Harlem”). These ironic, critical, and/or humoristic scenes capture the neighborhood residents and their local customs. These sketches illustrate everyday life, the customs and festivities, but also the difficulties, challenges, and achievements of the primarily Hispanic and Latino community. &lt;br /&gt;There are four drawings that commemorate special dates and events: the seventh anniversary of the Spanish Republic, a tribute to Spanish mothers, the second anniversary of the Civil War, and International Workers Day. The portrait of Fernando de los Ríos has never been published as it belongs to a private collection. &lt;br /&gt;There is little data about Puerto Rican artist José Valdés Cadilla. He was born in San Juan (Puerto Rico) in 1908. His mother was Puertorrican and his father was from Spain and worked at the tobacco factory. José and his four siblings were orphaned in childhood and moved to Arecibo to live with some relatives. In the 1930s Valdés Cadilla was living in New York. In 1953 he still lived in the city as he painted an allegorical fresco for Julia de Burgos´ funeral services. &lt;span&gt;The newspaper &lt;em&gt;La voz&lt;/em&gt; described him as a “bohemian in permanent regeneration, Valdés Cadilla has lived the tragedy of many Hispanics in this merciless Babel, and he knows about the cruel bite of New York´s pain” (La voz 1938-03-26, p. 12). &lt;/span&gt;Until now, it has been impossible to obtain any additional information about this talented artist and creator of this short-lived but brilliant collection of sketches that offers an exceptional panorama of everyday life in Harlem during the 1930s. (Translation by Michelle Tennyson, University of Connecticut)</text>
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                  <text>&lt;strong&gt;How to cite this project: Ana María Díaz-Marcos. "Las ʽEstampas de Harlemʼ de José Valdés Cadilla en &lt;em&gt;La Voz&lt;/em&gt; (1938)" Recovering the US Hispanic Literary Heritage Digital Collections. http://129.7.224.3/collections/show/29. Accesed [DATE].&lt;/strong&gt;</text>
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                  <text>Editado y compilado por/Curated and compiled by&#13;
Prof. Ana María Díaz-Marcos, University of Connecticut.&#13;
Traducciones al inglés de Michelle Tennyson, University of Connecticut&#13;
</text>
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                <elementText elementTextId="40306">
                  <text>&lt;strong&gt;Agradecimientos/Acknowledgements&lt;/strong&gt;&amp;nbsp;a Gloria Barbazán y Raquel Starace (hija y nieta de Ceferino Barbazán, presidente de&lt;em&gt; La voz&lt;/em&gt;) y a Cristina Pérez Jiménez de Manhattan College que compartió conmigo la viñeta "La voz en el subway".</text>
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              </elementTextContainer>
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              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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                <elementText elementTextId="39046">
                  <text>Valdés Cadilla, Jesús&#13;
</text>
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Note: La voz should be in public domain. The newspaper was published with a copyright note between 1937-1939 but there is no registration in the Catalogue of Copyright entries on those years. Copyright was not renewed after 28 years and it does not appear in the 1965 Catalogue of Copyright. </text>
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                <text>Items in this collection may be under copyright. Please contact apprec@central.uh.edu for more information.</text>
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Solís, Diana</text>
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                <text>This screenprint by Nicole Marroquín pays homage to Chicago-based, Puerto Rican poet Salima Rivera (1946-2004). It features text from Rivera’s poem, “Pilsen,” written in 1978. This was produced for the print festival Grabadolandia for a portfolio organized by Instituto Grafico de Chicago with Marimacha Monarca Press in 2019. The theme of the portfolio exchange was This Bridge Called My Back. This drawing of Rivera is based on one of Diana Solís' photographs. Two color screenprint, 11x15.</text>
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