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Founded in 1925, the University of Miami is a private research university with more than 15,000 students from around the world. It comprises 12 schools and colleges serving undergraduate and graduate students in more than 180 majors and programs.

The Iron Arrow Honor Society, founded in 1926, is a highly selective honor society for students, faculty, staff, and alumni at the University of Miami. Historically, the Society was male-only, founded as the "The Highest Honor Attained by Men." After several years of social and legal pressure, the all-male membership voted to admit women in 1985. Criteria for membership include scholarship, leadership, character, humility, and love of alma mater. Membership in the Society is the highest honor bestowed by the University.

Dr. Bowman Foster Ashe was the first President of the University of Miami from 1926 to 1952. He received a Bachelor of Science degree in economics in 1912 from the University of Pittsburgh, taught English and history in public schools, and later received an appointment to the University of Pittsburgh's faculty and administration. The University awarded Dr. Ashe an honorary LL.D. degree in 1927 for his many achievements.

Bowman Foster Ashe, first president of the University of Miami, served from 1926 to 1952. Born in 1885, he earned a Bachelor of Science degree from the University of Pittsburgh. After graduation, he took a job teaching English and history in public school. Ashe also worked as the educational/social director of Langeloth, a model town near Pittsburgh. Ashe’s work eventually led him back to the University of Pittsburgh where he became a faculty member and supervised the admission, transfer and academic progress of freshmen and sophomores.

The founders of UM hired Ashe from Pittsburgh to oversee the institution during its challenged infancy. In 1929, with the collapse of the economy, UM's financial plight was severe, but Ashe held it together almost single-handedly during the dual hardships of the land boom failure in Florida and the Great Depression. During Ashe's presidency, the University added the School of Law (1928), the School of Business Administration (1929), the School of Education (1929), the Graduate School (1941), the Rosenstiel School of Marine and Atmospheric Science (1943), the School of Engineering (1947), and the School of Medicine (1952). He took over as Chairman of its Board of Trustees in 1929, but later gave up that role and continued as President until 1952, the year of his death.

Yolanda Arenas is a Cuban actress who trained in dance and theater in Havana, Cuba. Among her various credits in Cuba, she formed part of the theater group Prometeo under the direction of Francisco Morín for two years in the late 1950s and acted in the story "Los Novios" in the 1960 film "Cuba '58."

In 1968, she went into exile in New York, where she acted with Repertorio Español. Arenas also performed in commercials and did voice over work. She currently resides in Miami, Florida.

Ofelia González (b.1920) was a Cuban theater actress and the first actress to win an OBIE Award without having performed in English. In her native Cuba, she appeared often in performances at Havana's Palacio de Bellas Artes. She enrolled in an acting academy in the 1950’s and went on to be the recipient of six “best actress” awards. After leaving Cuba in 1971 due to the political situation, González arrived in Miami, and settled in North Bergen, New Jersey with one of her daughters and two grandchildren. In 1972, she became a founding member and prominent addition to the New York based company, Repertorio Español founded in 1968 by producer Gilberto Zaldivar and Artistic Director René Buch, after she was seen cast in Bernarda Alba and El Pagador de Promesas by Max Ferra, artistic director of INTAR Hispanic American Arts Center. She stayed with Repertorio Español for the entirety of her decades-long career. Since all of the productions are performed in original Spanish language geared towards Hispanic audiences, González never learned English, although she expressed desire to, she noted that developing her art was always her primary focus.

She was one of the strongest actresses in Repertorio Español, with Zaldivar calling her the backbone of the company. In fact, at 73 years old in 1993, she played four roles of a grandmother or grandmother-like character in the same season, first for an adaptation of Gabriel Garcia Marquez's Innocent Erendira, as Doña Geno in Dolores Prida's comedy Botánica, the cigar-smoking grandmother in Gloria González's lighthearted Cafe con Leche and the title character in Garcia Lorca's House of Bernarda Alba. In a 1989 New York Times review of the Repertorio’s ''La Casa de Bernarda Alba,” it says that “Ofelia Gonzalez, as Bernarda Alba, plays to the ridicule of her sharp-toothed servants. She makes you believe absolutely that her character is absurd, terrifying, irresistible and pitiable all at once.” A review of Repertorio Español’s production of Federico García Lorca's tragedy ''Blood Wedding'' (''Bodas de Sangre'') where González played the role of “Mother,” notes that her voice had the timbre of a cello. The artistic director of Repertorio Español, Rene Buch, stated that "[Ofelia] is the most instinctive actress I have ever encountered." In a 1984 interview, González herself admits that her technique was always to work from ''intuition, not method.''

Her major roles on theater were her portrayals of Bernarda in The House of Bernarda Alba in New York, Nurse in Romeo and Juliet in New York, Serafina in The Rose Tattoo in Havana, the title role in Medea in New York, Amanda in The Glass Menagerie in New York, the title role in Celestina in New York, Clara in The Visit in New York and Mother in The Guns of Mother Carrar in Havana. She has also acted in film and TV.

Blanca Varela was a singer born in Camagüey, Cuba, on April 6, 1927. Her vocal range from mezzosoprano to soprano coloratura allowed her to sing parts for various operas, operettas and zarzuelas Cubanas. Varela studied ballet, singing and piano. She graduated from la Academia de Música Colonia Española in Camagüey. At the young age of 9, she debuted her singing on the radio station CMJC with a selection of tangoes. She then went on to win a local contest hosted by the chocolate brand “La Estrella,” which allowed her to travel to Havana with her parents to appear in a special performance at Cadena Crusellas. She sang the zarzuela (romantic operetta) “María La O ' soprano, by Ernesto Lecuona. During her youth, she performed many more operatic recitals of bel canto repertoire and particularly mastered the “Aria de la locura'' from Lucia De Lammemoor, which became one of her signature pieces.

In the 1950’s, she was invited to perform in variety programs in Havana. At one of these recitals, the composer and director Gonzalo Roig heard her performance and was impressed by her voice. He invited her to sing the principal role in his zarzuela Cecilia Valdés, which is now considered one of Roig’s most popular works. She took on the roles of all the heroines of the Cuban zarzuela repertoire, such as “Amalia Batista'' and performed as "Cio-Cio-San" in the opera Madam Butterfly on three separate occasions. Additionally, Varela performed as "Micaela" in Carmen and "Leonor" in Il Trovatore. She also starred in long-running productions with roles created for her voice such as Luisa Fernanda or La Viuda Alegre (the Happy Widow) at the famous Tropicana nightclub.

In 1961, she interpreted six zarzuelas, Katiuska, Luisa Fernanda, Los Claveles, La Parranda, Amalia Batista, and Cecilia Valdés, for a new television program under the direction of singer and director Miguel de Grandy, and all conducted by the maestro Gonzalo Roig. Later in 1961, she left Cuba, relocating to South Florida with her family. Several full recordings of Varela were released during this time, Amalia Batista, Los claveles, La parranda, which was edited by JA Productions of Miami in 1961 and Cecilia Valdés edited by JBR of Miami in 1962. Additionally, selections of her music has been included in recordings: “Romanza” de Maria La O, “Los aguinaldos” de Lola Cruz, “Romanza” de Soledad, “Romanza de Sagrario” de La Rosa de Azafrán, “Romanza” de El Clarín, “Romanza” de La Hija Del Sol, released by JB Productions of Miami, 1955-1962.

In Miami, she quickly became involved with the “Sociedad Pro Arte Grateli,” which was founded to promote the musical legacy of Cuba, Spain, and Latin America. In 1968, she performed in their second production, Luisa Fernanda. For several decades, she performed her extensive repertoire for the Sociedad and took on a prominent position there along with her associate Marta Pérez. She also took her concerts abroad, traveling around the U.S. and to other countries abroad. Even upon her retirement from the stage, she continued to sing in her Christian church congregation.

Teresa María Rojas was born in Havana, Cuba and graduated from the University of Havana in 1957. She studied acting at Sala Prometeo, a small theater located in Havana. After leaving Cuba in 1960, she went to Venezuela and then to Miami in 1963. Rojas began working as a professor of theater and acting at Miami-Dade College (MDC, also formerly known as Miami-Dade Community College) in 1972. In 1985, Rojas founded the Prometeo Theater, a bilingual theater group at MDC and assumed position of its artisitc director. More than 400 students worked in the Prometeo Theater each year. During her teaching career, Rojas has performed, produced and directed more than 90 plays. In recognition of her teaching, she has been endowed with three Teaching Chairs. Further, one of her former students, Nilo Cruz, wrote a Pulitzer Prize winning play in the drama category, "Anna in the Tropics." Rojas performed in the play, when in returend to Miami after its Broadway debut. Rojas has over 35 years of theater acting and teaching experience.