Nuyorican movement
[1] It originated in the late 1960s and early 1970s in neighborhoods such as Loisaida, East Harlem, Williamsburg, and the South Bronx as a means to validate Puerto Rican experience in the United States, particularly for poor and working-class people who suffered from marginalization, ostracism, and discrimination.
Key cultural organizations such as the Nuyorican Poets Café and Charas/El Bohio in the Lower East Side, the Puerto Rican Traveling Theater, Agüeybaná Bookstore, Mixta Gallery, Clemente Soto Vélez Cultural Center, El Museo del Barrio, and El Maestro were some of the institutional manifestations of this movement.
The next generation of Nuyorican cultural hubs include PRdream.com, Camaradas El Barrio in Spanish Harlem and Piragua Art Space on the lower east side of Manhattan.
The center was built with the intention of revitalizing Loisaida,[4] to encourage Latino pride and community action, to preserve the neighborhood and protect those still living there.
The original organization was built in 1964 with the intention of helping youth gang members use their skills and ideals for positive use by encouraging business development and educational programs.
His efforts have been repeatedly halted by CB3, who made the building a NYC landmark shortly after he began to destroy moldings of almost a hundred years of age.
The likelihood of this occurring was immediately shot down by Singer, who made a statement following Mayor de Blasio's claiming he had no intention to sell the building.
Later voices include Lemon Andersen, Emanuel Xavier, Mariposa (María Teresa Fernández), Bonafide Rojas [14] and Caridad de la Luz (La Bruja), as well as non-Latino poets including Dael Orlandersmith, Paul Beatty, Carl Hancock Rux Cheryl Boyce Taylor and Saul Williams.
Current organizations include The Acentos Foundation originally based in the Bronx, New York City which publishes poetry, fiction, memoir, interviews, translations, and artwork by emerging and established Latino/a writers and artists four times a year through The Acentos Review, and Capicu Cultural Showcase based in Brooklyn, New York City.
Furthermore, many salsa songs address this diaspora and relationship between the homeland, in this case, Puerto Rico and the migrant community, New York City.
Thus the musical relationship between the United States and Puerto Rico has become a circular exchange and blended fusion, as embodied in the name Nuyorican.
[1] Spanish-language Puerto Rican writers such as René Marqués who wrote about the immigrant experience can be considered as antecedents of Nuyorican movement.
[22][23] Playwrights who pioneered the Nuyorican movement include Pedro Pietri, Miguel Piñero, Giannina Braschi, Jesús Papoleto Meléndez, and Tato Laviera.
Candido Tirado and Carmen Rivera, Obie Award-winner for her play La Gringa; and Judge Edwin Torres wrote Carlito's Way.
Raphael Montañez Ortiz, an important conceptual artist and activist, established El Museo del Barrio in 1969 as a way to promote Nuyorican art.
[29] In photography, the group En Foco was instrumental in showcasing a distinctly Puerto Rican view of life in the U.S. and the island.
Installationists Antonio Martorell and Pepon Osorio created environments that brought together traditional aesthetic practices with political and social concerns.
Writers and poets such as Sandra María Esteves and Nicholasa Mohr alternated and complemented their prose and lyrical compositions with visual images on paper.
Among them are painters, muralists and conceptual artists such as James De La Vega, Jorge Zeno, Miguel Luciano, Miguelangel Ruiz, Sofia Maldonado and Soraida Martinez.
Gallerists, curators, and museum directors such as Marvette Pérez, Yasmin Ramírez, Deborah Cullen, Susana Torruella Leval, Judith Escalona, Tanya Torres, and Chino Garcia have helped Puerto Rican and Nuyorican art gain recognition.
