Marcos A. Romero 2021 Honors Project: Puerto Rico: Arts and Experiences Professor Elissa Hugens - Romero 1 - South ...

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       Marcos A. Romero

      2021 Honors Project:

Puerto Rico: Arts and Experiences

     Professor Elissa Hugens

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                                      Glossary

•   Puerto Rico, An Island, A colony, a complicated history.

       o Native peoples

       o Spanish Colony

       o American “Unincorporated Territory

•   Influences on Puerto Rican Art from other countries

       o African influence

       o Native influence

       o Spanish influence

       o American influence

•   Art mediums in Puerto Rico throughout its history 18th to 19th Century

       o Early Architecture

       o Early Painting and sculpting

       o Early Music

•   Effects of Americanization

       o On society

       o On education

       o On art

•   Art mediums in Puerto Rico in modern times

       o Painting

       o Music

•   Puerto Rican Art: What is it to me?

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                   Puerto Rico, An Island, A colony, a complicated history.

       When it comes to pinpointing the location of the country of Puerto Rico on any world

map, the average person will more than likely fail to locate this little, 110x35 mile island tucked

away in the Caribbean, next to its bigger, more intimidating cousin Cuba, and next to its trailing

sisters, The U.S. Virgin Islands. While most may not be able to find it without some assistance,

chances are that most will have heard, or more rarely, seen its art in some way or another. This is

lent to this tiny island nation’s big character and rich artistic background which has spawned

many famous artists, from the likes of Francisco Oller to Bad Bunny.

                                          Native Peoples

       Understanding what Puerto Rico’s artistic scene entails is not a relatively simple thing to

do, owing to the islands rich and interesting history. Beginning with the beginning of Puerto

Rican settlement, the first inhabitants of the island known to the old world (and the modern to a

certain extent) were that of the Taíno people, an Arawak people who were known to have

inhabited the island dating back to at least the 13th century. The Taíno people lived in small

communes, and had a hierarchal social structure, with a chief known as a Casique. This tribe of

native peoples came in contact with Spanish settlers in the late 15th century, leading to the

incorporation of many of the Taíno settlements into formal Spanish towns. The initial

interactions between the Spaniards and the natives were not necessarily confrontation, with the

tribal chiefs negotiating for goods with the white settles, trading in valuable gold and other island

commodities, however, as most first interactions go, things went sour quickly.

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       The Taíno people were not resistant to the strains of European diseases that came

alongside the settlers, the quickly dwindling population of the native people where easily

subjugated and those who survived were utilized as slave labor to quench the ever-lustful

Spanish desire for gold. These interactions lead to the decimation of the Taíno identity in the

island of Puerto Rico, with Spanish influence overtaking whatever was left of the population.

       This however, was not the end of the Taíno’s identity, as the Spanish interbred with the

native women to create a Mestizo population which incorporated some aspects of both cultures,

allowing towns to keep their Taíno names, and preserving some of the language and customs

which still persevere until this day, with many symbols like that of the Coqui (Puerto Rico’s

signature sound of the night, made by a specific species of small frog) holding their meaning,

among other influences in culture. Another avenue of the discovery of Taíno customs and art has

been the archeological discoveries of carved art, found on cliff faces, and the many discoveries

of pottery and other types of sculpting found on archeological dig sites all over the island, which

yield artifacts which show some resemblance to concepts in modern Puerto Rican art, proving

            Cacique Mabodamaca’s carved bust, believed to have been carved in
            the 16th century.

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their influence over generational shifts, however most, if not all Taino history is lost to the anils

of time.

                                          Spanish Colony

       Puerto Rico’s integration as an official Spanish colony began in the 15th century,

originally having had value due to the presence of gold on the island, however the natural and

native reserves of gold went quickly due to their sparce nature. Luckily enough, the Spanish

Conquistadors quickly found another use for the island, as a natural choice for a Military outpost,

due to the island’s strategic location and favorable topography, which allowed the Spaniards to

settle in comfortably, being able to grow tobacco, coffee and sugarcane as the islands fertile

ground allowed, which naturally made the Spaniards too comfortable, and after exhausting their

reserves of native slave labor, they decided on the next best thing.

                          Spanish fort “El Morro” San Juan, Puerto Rico

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       The next logical step for the Spaniards was that of the importation of African slaves for

labor force. This led to the further mixing of the Spanish Mestizos, Africans, White Spaniards,

and surviving Taino to result in the modern Puerto Rican race. The African slaves that were

imported into Puerto Rico brought what can be considered one of the greatest influences to

Puerto Rico’s art, in that many of the dances, songs and traditions were born of mixes from the

various cultures from differing African regions, and that of the already present Spanish and

Taino norms to end up with early Puerto Rican culture.

Baile de Bomba y Plena

                            American “Unincorporated Territory”

       Following the colonization of the island of Puerto Rico by the Spanish crown, Puerto

Rico continued to serve as a military outpost and as a Spanish Presence in the Caribbean

alongside Cuba, having been largely neglected by Spain from the 1700’s to the 1800’s, until the

Spanish-American war resulted in the acquisition of Puerto Rico from Spain as a colony for

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reparations in the conflict, which resulted in Puerto Rico coming under United states rule for the

first time, resulting in the island coming under U.S. Military government rule by the Foraker Act

in 1900, having later given the island inhabitants U.S. Citizenship in 1917 under the Jones Act,

signed by president Woodrow Wilson. The Military government was later replaced by that of a

traditional party system which still persists until this day, with the same acts and laws presiding

over Puerto Rico in terms of its relationship and autonomy from the United States as an

“unincorporated territory”, which allows it to make its own laws, but still be subject to that of the

U.S’.

                     Influences on Puerto Rican Art from other countries

        When it comes to quantifying a critical part of the Puerto Rican identity, Puerto Rican art

comes to mind frequently, but the cultural identity which makes up Puerto Rico, is a composite

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one, which evolved from the mixing and integration of multiple cultures, starting with what

aspects the African Cultures brought to Puerto Rico.

       One of the most visual aspects is that of the dresses, dances, and music, the beating of

drums and scratching instruments which lead to the unique sound of the music like that of

Bomba y Plena, with twirling dresses and joyful movements.

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       Another of the visual influences of Puerto Rican art is that of the Taino imagery, like that

of the Coqui frog, and symbolic nature of the representation carved and painted by these lost

people, which still has representation in modern Puerto Rican Art and styles, mostly via Tattoos

and knick-knacks.

       The third culture to have major influence and arguably the basis for the Puerto Rican

identity must be that of the Spanish influence on the culture. Most of the more well-known early

Puerto Rican artists like that of Francisco Oller painted in what can be considered Spanish style,

with more interpretational takes on realism and portrait work than its European counterparts, as

well as mainly affecting the language and mannerisms of the Puerto Rican culture, which still

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hold their difference due to the previous other influences.

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       And finally, what can be considered the latest cultural influence in Puerto Rico currently,

the United States. Ever since Puerto Rico became a U.S. colony, attempts were made to

“Americanize” the local population of Puerto Ricans, beginning with the banning of the Spanish

language in school, and further progressing to gag laws prohibiting congregation and speaking of

Spanish in public, to the most egregious of all, law 53, which outright banned the ownership and

display of the Puerto Rican flag, making it illegal to have even in one’s own home. These early

attempts at stifling the Puerto Rican identity were laughable at best and offensive at worst, but

luckily attempts generally ceased in the 1950-60’s as the United States had more pressing matters

to attend to. The gag laws put in place are the reason that Puerto Ricans are so proud to display

their flags today, wherever they may be, if there is a Puerto Rican, there’s a flag, which is

something I can attest to considering there is one hanging on my wall right now, and a tiny one on

the back glass of my car. The attempts at American integration were not entirely unfruitful though,

as English became an academic language spoken in schools and universities, with exposure to

American media doing the rest, alongside American products like Coca Cola making it to the

island and sparking markets for these products from distant shores.

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          Art mediums in Puerto Rico throughout its history, 18th to 20th Century

       The visual and auditory arts of Puerto Rico’s artists can be considered to be products of

their time. Born of experiences and opinions held by their respective artists, they where able to

express their emotions, their pride, their discontent, their melancholy through what they made,

and through either their character, or the recognition of their talent, we know of them and their

works today. Works which can be classified into their respective mediums and genres, clearly

defined or not, leaving an impact on their Puerto Rican audiences, and some even reaching

international recognition.

       Beginning with Early architecture in Puerto Rico, there are not many notable

architectural feats achieved in the island’s long history, baring that of some of the world heritage

sites on the island. Those that predate our modern times that are of architectural note have been

generally relegated to government buildings. Beginning with one of the most visited tourist

attractions on the island, the castle “El Morro” located in San Juan, this structure was not

envisioned by a Puerto Rican architect, but rather Battista Antonelli, an Italian born architect that

worked for the Spanish crown. This defensive structure was built in the 16th century and

completed in the 18th century. Moving on from El Morro, the next notable piece of Puerto Rican

architecture is “La Fortaleza”. This building was to serve the same purpose that the White House

serves for the U.S. government, a secure location of central governance for the island. This

building was built before the construction of El Morro and has seen occupancy of government

since its construction in the 16th century. These structures were designed with European styles in

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mind, baroque, and renaissance, with a pinch of the French enlightenment in tow. These styles

were also reflected on towards the city of San Juan, of which these fortifications encircled.

                                                   La Fortaleza

                          Typical sights of the colorful houses along the San Juan streets

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Parque de las Bombas fire station, designed by Maximo Meana, built in 1880

    Teatro Yaguez, Built in the Baroque style by architect Sabàs Honoré

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        Starting off big when it comes to early Puerto Rican painters, Francisco Oller is arguably

one of the most influential painters if not, artists of Puerto Rico to have had an impact on the

outside world before the 21st century. His role’s importance not only lies in him being an

excellent artist, but also having the title of the only painter to play a role in the development of

impressionism in the middle Americas, helping revolutionize painting over his career. I chose to

start off with Oller as he has left a great impact on me and my family, we own many

reproductions of his paintings, with my favorite being El Velorio.

                                        El Velorio, By Francisco Oller

        Francisco Oller’s career went through different stages of focus when it came to his

painting, going through periods of time where he learned and utilized different styles. He began

painting in what can be considered the Realism style, later moving onto Impressionism in his

later years.

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       Francisco Oller was often compared in his impact and influence on another great Puerto

Rican visual artist who came before him, Jose Campeche. Being classed as one of the best

Rococo artists of the new world, Jose Campeche was born of Mestizo origin, his father a freed

slave, and his mother a native from the Canary Islands. His work mainly entailed religious works

and portraits of government officials. While I am not too familiar with his works, we do own a

reproduction of one of his portraits which terrified me as a child, hung at the end of the dark

hallway leading to my grandmother’s room.

                                 Jose Campeche, Las Hijas Del Gobernador.

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       Now for one of the most exiting parts in my eyes of Puerto Rican artists, the music, and

in my eyes, the one man to write and perform a song which sparks the flame of pride in every

proud Puerto Rican, regardless of where they may be with this unofficial anthem to our people.

His name is Rafael Hernández Marín, A hell of a man, and a hero for not only his people, but his

nation, for when duty called, he served under prejudice as a Harlem Hell fighter in WWI. His

music carried the spirit of the Puerto Rican everywhere it is played.

                                 Preciosa, as interpreted by Marc Anthony

       Puerto Rican Music has always been a blend of all its influencing factors, Spanish and

Afro-American influence mixed with the pride of its people, and while there a lot of other music

from this period of time in Puerto Rican history, none other could compare Rafael Hernández

Marín’s Preciosa, which incorporates the majority of Puerto Rico’s sounds and soul.

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                                   Effects of “Americanization”

       After the transfer of colonial rule from the Spanish crown to the United States of

America, Puerto Rico was left in a precarious spot. The island had been experiencing movements

related to more autonomy and governance, and the transfer of power left those movements

mothballed until the 1950s, what resulted after the transfer was Puerto Rico, ruled by U.S.

military governance, and the influx of foreign companies and policies. The Foraker law in 1900

granted no citizenship to Puerto Ricans, imposed trade tariffs on all imports and exports on the

island, and leading the seats of governance open to local governors who respond to a council

picked by a man appointed by the President of the United States, meaning that any laws, any

changes in governance would always have to answer to an American authority, and it didn’t help

that there were language and cultural barriers in place inhibiting these interactions from their full

experience, combined with an indifferent force.

       As mentioned before, the process of Americanization, which had been tried on many

other nations and colonies taken over by the United States had been put into effect. Gag law put

into action to destroy the Puerto Rican identity did not stop at just the flag, Civil liberties were

restricted, curfews were put into effect, language was restricted in public spaces, the whole nine

yards of “educational reform” were put into effect, and it started to resemble what occurred to

many Native American tribes which had their lands conquered by manifest destiny, destroy and

reeducate, possibly with the intention of having another Hawaii situation.

       But the Puerto Rican people persevered, our pride and our roots held us strong through

this occupation and attack on our culture, and we eventually outlasted the attempts at

reeducation, and came out on top of it all with a stronger cultural identity than ever before, a

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unified one which birthed many of the modern civil rights movements which run in the hearts

and minds of generations new and old in the island. Everything from civil rights movements,

Feminism movements, Independence movements, and LGBT movements.

       The effects of the American arrival were not all necessarily bad, the island had gone

under a period of relative abandonment from the Spanish crown for up to 30 years before the

Spanish-American war, so the introduction of funding for the necessary infrastructure for

American establishments and institutions helped bolster the educational and governmental scenes

on the island. This focus on education allowed the founding of more schools and universities,

and these proved to be the perfect breeding grounds of artistic progress, having many great

Puerto Rican artists coming out of this era and the following years, out of institutions like the

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Universidad de Puerto Rico, of which my great uncle Pedro Brull graduated from and went to

pursue art. Sadly I do not have any images of his works, and I seem to be unable to find any

images on google which isn’t unsurprising as he would only sell his works locally or so I’ve

been told.

       These institutions also had the effect of attracting scholars and artists alike from other

regions of the Americas and even some parts of Europe, leading to some of the favorable

influences of the old world and new world to persist and evolve together into a more modernized

Puerto Rican art, regardless of medium.

                         Art mediums in Puerto Rico in modern times.

       Like all cultures around the world, the progression of the common arts keeps moving

forward with the coming times, and Puerto Rico is no different. Coming out of the eras of

Realism, Rococo and Baroque and moving into the contemporary, Puerto Rico’s art began to see

more mainstream appeal in certain genres, of which are the reason why many people may know

about Puerto Rico, or at least know about a Puerto Rican Artist.

       Starting off with one of Puerto Rican artists which I enjoy personally and is a shining

example of genre and what an artist’s life and message can mean, and her name was Myrna

Baez. Her expertise was in being visual painter, beginning her early career with painting

traditional images of the island, going into what could be considered the daily life, similar to

what Francisco Oller would do. She would later be influenced by the more abstract art, like that

of Oller’s impressionism, having had also studied in Spain for a time. Her works would be

inspired by the influences that surrounded her in the 70’s with changing sociopolitical climates,

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often depicting a dichotomy between the individuals in her portraits and themselves, fitting

individuals into a “space”

                                     Entre dos Mundo’s, Myrna Baez

       She was at the cornerstone of Puerto Rico’s modernist movement, going into the clash

between rural and urban, tradition or progress. Her works were not the only things which set her

apart, she was also an avid feminist. She had developed her opinions around her time in college,

as she was attending during the time the ideas of civil liberties and feminism were budding in

educational scenes, and later in life used her standing and platform to voice her cause,

spearheading and empowering feminist movements across the island. Her talent has been also

recognized internationally, as she has works on display at the Smithsonian, and at the Museum of

Modern Art in New York.

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       The visual arts, while varying in their compositions, subjects, mediums, and genres, they

tend generally resonate more with certain audiences of those who can appreciate their intricacies,

unlike our next category of art, which is generally easier to enjoy and involve oneself in, music.

For this reason, when most people hear about a Puerto Rican artist, they will most likely think

about an artist who is known for their music.

       And when it comes to Puerto Rican artists who make music in the 21st century, I cannot

really give the title to none other than Benito Antonio Martinez, otherwise known as Bad Bunny.

To make myself clear, I do not enjoy his music, at all, as I’ve never really enjoyed Reggaeton or

rap, but the reality is, that Benito has been an international hit, more so than any other Puerto

Rican artist in the 21st century who identifies themselves as Puerto Rican, and has made such an

active effort in his music and career to put both his name and his home on the maps of many that

you cant really fault him for simply not liking his style. His style is mainly what can be

considered to be Latin trap, or Reggaeton music, having been inspired by artists like Daddy

Yankee, Vico C, and Marc Anthony, them having similar styles to what he does currently.

Benito has utilized his platform to denounce evils like sexual harassment, and to call out

injustices made against Puerto Ricans like in the wake of what happened to hurricane maria, and

in the campaign asking for the resignation of corrupt Puerto Rican Politian Ricardo Rossello. His

career has led him to perform in the LIV Super Bowl halftime show, a great achievement for any

artist, let alone one from my tiny island.

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                               Puerto Rican Art: What is it to me?

        It has been relatively cathartic to be able to write about the arts and culture that constitute

the Puerto Rican identity, what makes homes, well, home for me and many other estranged

islanders residing in lands foreign to us. To think that 4 years ago I would have thought to end up

in Arizona all cooped up, studying from home, and missing the place I loathed so very often

seems impossible, but here I am, and the only thing I can think of is “What am I doing here? I

don’t belong in this sandy frying pan!”. I think a lot about going back home, but I fear that those

feelings are nothing but rose-tinted bliss, a horrible reality disguised by a botched memory, but

then I see the arts which used to surround me.

        I see the old unmistakable buildings, the beautiful landscapes, the paintings back at

grandmother’s house, the frankly irritating reggaeton music blared from boosted clapped out

beaters waiting at a stop sign, and it makes me think, “it wasn’t all bad”. These artists and the art

they made were a great part of the experience which I carnally miss, an experience which I am

unsure ill ever relive, but the reality is that this paper is not the place to relate my experiences,

both in Puerto Rico, and here in Arizona.

Thank you for your time, and I am sorry if I bored you with this paper, regardless, I hope you

                                       have an excellent day!

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                                           Sources:

Santos, Mariela. “A Tour of Puerto Rico's Architectural Landmarks.” Culture Trip, The Culture

       Trip, 8 May 2017, theculturetrip.com/caribbean/puerto-rico/articles/tour-of-puerto-ricos-

       architectural-landmarks/.

“Art in Puerto Rico.” Discover Puerto Rico, www.discoverpuertorico.com/things-to-

       do/art#!grid~~~random~1.

“Myrna Báez.” Smithsonian American Art Museum, americanart.si.edu/artist/myrna-baez-

       30399.

“Artist Directory.” Myrna Báez | Museo De Arte De Puerto Rico,

       www.mapr.org/en/museum/proa/artist/baez-myrna.

“Taino Indian Culture.” Welcome to Puerto Rico!,

       welcome.topuertorico.org/reference/taino.shtml.

“History of Puerto Rico.” Encyclopædia Britannica, Encyclopædia Britannica, Inc.,

       www.britannica.com/place/Puerto-Rico/History.

“Puerto Rico's History.” Welcome to Puerto Rico!, welcome.topuertorico.org/history.shtml.

“Impressionism and the Caribbean: Francisco Oller and His Transatlantic World.” Brooklyn

       Museum: Impressionism and the Caribbean: Francisco Oller and His Transatlantic

       World, www.brooklynmuseum.org/exhibitions/francisco_oller.

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“Puerto Rican Bomba and Plena: Shared Traditions - Distinct Rhythms.” Smithsonian Folkways

       Recordings, folkways.si.edu/puerto-rican-bomba-plena-shared-traditions-distinct-

       rhythms/latin-world/music/article/smithsonian.

“Bad Bunny, Artist Biography.” Peermusic.com, www.peermusic.com/roster/214.

“Puerto Rico and the United States  :  In Search of a National Identity: Nineteeth

       and Early-Twentieth-Century Puerto Rico  :  Articles and Essays  :

        Puerto Rico at the Dawn of the Modern Age: Nineteenth- and Early-Twentieth-

       Century Perspectives  :  Digital Collections  :  Library of

       Congress.” The Library of Congress, www.loc.gov/collections/puerto-rico-books-and-

       pamphlets/articles-and-essays/nineteenth-century-puerto-rico/puerto-rico-and-united-

       states/#:~:text=In%201917%2C%20the%20U.S.%20Congress,citizenship%20to%20Puer

       to%20Rican%20citizens.